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For instance, Bruce Springsteen's "Born in the U.S.A." (1984) listed in Rolling Stone's "The 500 Greatest Songs of All Time" and RIAA's Songs of the Century was written as a satire yet canonized as a "patriotic rock anthem," a designation that ignores the message "how far political leaders had strayed from the values the country was founded on ...
" The song itself is a response to and parody of "Download This Song" by MC Lars. It is also a spoof of the ending song during the credits on Dickie Roberts: Former Child Star with all the former child stars. [3] "Don't Wear Those Shoes" Polka Party! (1986) Original, although the intro is in the style of The Kinks' "Father Christmas". [1]
One of several songs that Bowie wrote about Orwell's Nineteen Eighty-Four; Bowie had also hoped to produce a televised musical based on the book. [31] "2112" 2112: Rush: Anthem: Ayn Rand: Song shares themes with the novel, such that Neil Peart recognized Rand in the album's liner notes. [32] "Abigail" Creatures: Motionless in White: The ...
Satellite (The Hooters song) Scrap the Monarchy; Short People; Should the Bible Be Banned; Shukusei!! Loli Kami Requiem; So You Want to Be a Rock 'n' Roll Star; Song for Whoever; A Song of Patriotic Prejudice; Springtime for Hitler (song) Stars Over 45; Sue Me, Sue You Blues; Sword of Damocles (Rufus Wainwright song)
Some of them being, "Underground", "Sports and Wine", and "Rock Star". Dead Kennedys, an American punk band, often used satire in their songs, most notably Kill the Poor. Frank Zappa and the Mothers of Invention's We're Only in It for the Money, a satire of flower power and conservative America.
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Written by George Harrison as a social commentary, the song serves as an Orwellian satire on greed and consumerism. Among several elements it incorporates from classical music , the track features harpsichord and orchestral strings in the baroque pop style, which are contrasted by Harrison's acerbic lyrics and the sound of grunting pigs.
The song was also widely panned by critics, with Vulture calling it “the stalest sort of retread," The Cut calling it “forgettable” and “cringe," and The Guardian deeming it "regressive ...