In 1981, Bruce Springsteen He sat with his legs resting atop a coffee table in his house in Colts Neck, New Jersey, contemplating a tune partly motivated by a script penned by screenwriter Paul Schrader. As he strummed his guitar, The Boss perused his notepad for jotted notes of an evolving lyric concerning the hardships faced by soldiers who had returned from serving in Vietnam. He utilized as the refrain the provisional title of the screenplay beside him. That temporary title was "Born In The USA."
As Springsteen would subsequently pen in his memoir, Born To Run From 2016, "Born In The USA" continues to be one of my most significant yet frequently misinterpreted musical works. This song juxtaposes somber bluesy verses with uplifting anthemic refrains, advocating both for critical patriotism and national pride simultaneously. For certain audiences who prefer lighter fare without much introspection, these contrasting elements can seem at odds—or simply become bothersome! Music albums tend to act like inkblot tests; people interpret them based on their own perspectives.
Surely, we can relate. There have definitely been numerous times when I've found myself stumbling. fall victim to misinterpreting lyrics of songs I encounter For several years — let's say about three decades — I genuinely thought that the lyric "I was invited in for coffee and I gave the dog a bone" from Squeeze's hit "Cool for Cats," implied that the singer literally offered skeletal material to a dog. At least I wasn’t as clueless as another person at the Hammersmith Odeon during the late 1970s when they watched Tom Robinson perform "Glad To Be Gay” with the lines: “Sing if you're glad to be gay, sing if you're happy that way, hey!" This individual turned to their companions asking, “Do you think he’s homosexual?"
On occasion, it can happen that a songwriter might misinterpret their own work. Actually, just this week, Victor Willis, the creator of the song widely recognized as the gay anthem "YMCA," has threatened legal action against those who refer to the Village People hit as — well, hold on — a gay anthem.
"Starting from January 2025, my spouse plans to initiate legal action against every single news organization that inaccurately portrays YMCA as some sort of gay anthem—whether in their headlines or within the body of articles," Willis penned earlier this week, somewhat unclearly. He argues that these claims rest exclusively on the song's lyrics hinting at suggestive activities without sufficient basis. wife Still, she'll be the one filing the lawsuit. Doesn't get much clearer than that, does it?
However, I'm certain we've all faced challenges in different aspects. Recalling my father, who had an unusual knack for misinterpreting song lyrics, he would often tell me more than forty times that "Livin' Thing" by ELO was actually about a man going bald (it definitely isn’t about that). Even stranger was his belief that the narrative of "Mrs. Robinson," performed by Simon & Garfunkel, mirrored the plot of *The Graduate*, where the song originally featured. Despite my efforts, I could never convince him that the introductory lines — including the couplet “We'd like to know a little bit about you for our files; We'd like to help you learn to help yourself” — were clearly Regarding a lady stepping into a mental health clinic. 'Stop being ridiculous,' he would respond, 'why would anyone compose a song about it?' that ?”
When discussing "Born in the USA," it's intriguing to think about how this anthem-like song might have been perceived if it had been included in the stark and gloomy setting of the album "Nebraska." Published in 1982, Springsteen's hauntingly poignant work presents individuals caught in dire circumstances within a nation that often overlooks those less fortunate. Characters such as someone struggling domestically or another tormented by memories from the Vietnam War like the battle of Khe Sanh, could seamlessly fit into the narrative fabric of "Nebraska."
Supported by the E Street Band at the peak of their powers upon release in 1984 through an album bearing the same title, this song surprisingly turned into a prime illustration of how swiftly tunes with clear-cut lyrics could be misinterpreted. For instance, the trade publication Cash Box characterized it as "an unambiguous hymn extolling America’s core principles," whereas libertarian commentator George Will stated he had "absolutely no idea regarding Springsteen's political stance" — talk about stating the obvious — yet noted that the chorus of Born In The USA served as "a splendidly uplifting declaration." He went so far as to propose to Reagan's team that they seek Bruce Springsteen's endorsement for President Reagan's reelection bid during the 1984 presidential race. His suggestion met with rejection.
It seems to demonstrate the strength of popular music that even the most rebellious or intricate lyrics can occasionally be conveyed with such ease. They remain there, concealed in broad daylight, enduring through the years.
Sometimes, however, overlooking things can have advantages. "Pills And Soap," a song by Elvis Costello & The Attractions' album under the pseudonym "The Imposter" was pulled from stores just 72 hours after its release, coinciding with the 1983 general election. Despite being clearly politically charged—lines like "the sugar-coated pill is getting more bitter, though you believe your nation requires you, deep down you know it won’t ever," among others—are sharp jabs—the record allowed Costello to momentarily bypass broadcast restrictions. He managed this by persuading those in charge at Top of the Pops that this ominous-sounding track actually advocated for animal rights. To his credit, had turned into a vegetarian that very same year following a documentary on factory farming.
Last week, during a bus tour around Belfast, I was struck again by how Costello often begins his politically charged songs with imaginative embellishments and grandiose wordplay. While driving through the north side of town, our guide mentioned that we were passing what locals call "Murder Mile," a former hazardous area predominantly inhabited by Protestants, which gained fame as one of the artist’s most popular tracks. However, Oliver’s Army does not reference Belfast at all. This hit song, composed following their performance in the city back in 1978, was initially meant only for the B-side until Steve Nieve, the band’s keyboard player, added a piano riff reminiscent of Abba's Dancing Queen to the track.
However, even though I enjoy picturing Elvis Costello being utterly satisfied that the magnificent tunes of "Oliver’s Army" distract listeners from catching words and expressions like “Palestine,” “Johannesburg,” and “white n-----” unless they pay close attention to the lyrics, some musicians become quite upset when their song's intent goes unnoticed.
At first glance, the choice made by New Zealand’s Deputy Prime Minister, Winston Peters, to utilize "Tubthumping," Chumbawamba As a theme song, this serves as a clear example. After all, it’s not as though this working-class national anthem, which celebrates the unyielding spirit of marginalized communities in overlooked parts of England, is similar to a populist politician who espouses forceful views on social and economic issues, making even Liz Truss appear mild-mannered compared to him.
However, when using a chart-topping song from a group that previously criticized John Prescott — starting from the left, no less — by pouring water from a bucket holding bottles of champagne over the deputy prime minister during the Brit Awards in 1998, Winston Peters attracted unavoidable criticism that could have been sidestepped with some basic research about Chumbawamba. If he had taken the time to look them up, he would have realized that it was absurd for the band to endorse a politician who previously opposed the decriminalization of homosexuality through his vote.
Allow me to clarify: 'Tubthumping' was penned to honor the perseverance and steadfastness of working-class individuals who continue to fight despite tough times," explained Boff Whalley, the band’s primary guitarist, in an article for The Guardian released earlier this month. "The song bears absolutely no resemblance to affluent politicians advocating extreme anti-liberal platforms.
Whalley proceeded to criticize "this fresh wave of populist leaders who believe they can mask their millionaire 'champion of the common folk' paradoxes with widely beloved tunes." Expanding his critique, he pointed out that Donald Trump "specifically lacks knowledge regarding his selection of rally anthems; he has had to cease utilizing music from artists like Pharrell Williams, Rihanna, Neil Young, Bruce Springsteen, The Beatles, and Elton John. When an as-yet-unpresident Trump attempted to use 'Tubthumping,' Chumbawamba felt compelled to issue our own 'stop-and-desist' order upon realizing we would strongly protest this usage."
Boff Whalley believes that the real problem here is that “the right doesn’t have any good songs [which is] why they keep trying to nick ours”.
Who am I to claim he’s missing the point? Undeniably, when conservative politicians, particularly, align themselves with their political adversaries, they often tread on metaphorical landmines that are glaringly obvious. Following David Cameron identifying "The Eton Rifles" by The Jam as one of his favorite tunes, the song's creator, Paul Weller, reacted sharply: “Which part did you fail to understand…? It wasn’t meant to be some damn cheerful anthem for military training clubs." Similarly, Johnny Marr expressed dissatisfaction with the ex-Prime Minister’s support. his The old band, really. "Quit claiming you enjoy The Smiths," the guitarist remarked. "You actually don't. I prohibit you from liking them."
Inevitably, things become trickier when a track is pliable enough to be justifiably utilised by any and all political tribes. Over the years, the indisputably rousing We’re Not Gonna Take It, by brickies-cum-glam-rockers Twisted Sister, has been the go-to fight song for groups as diverse as striking teachers, gun control advocates and Republican party politicians. When members of the far-right marched to its beat, frontman Dee Snider expressed his displeasure publicly. “ATTENTION QANON, MAGAT [sic], FASCISTS: Every time you sing ‘We’re Not Gonna Take It’, remember it was written by a cross-dressing, libtard, tree-hugging half-Jew who HATES everything you stand for,” he tweeted. “It was you and people like you that inspired every angry word of that song! SO F--K OFF!”
Keep in mind, "We're Not Gonna Take It" has often been misinterpreted since day one. Following years of performing in Long Island’s clubs throughout the early '70s and into the mid-'80s, Twisted Sister found out in 1985 that their emotionally charged anthem had landed among 14 other rock and pop tracks labeled unacceptable by the politically connected censor organization called PMRC [Parents Music Resource Center]. With his appearance resembling chaos akin to an explosion at a Bette Midler production facility, Dee Snider was compelled to participate in a hearing organized by this group on Capitol Hill. There, he aimed to debunk the idea that he intended to corrupt youthful audiences through his music.
I want to share some information about myself with the committee," he stated. "I am 30 years old, married, and have a three-year-old son. I was brought up as a Christian and continue to follow those beliefs. Surprisingly enough, I neither consume alcohol nor cigarettes, and I abstain from using drugs.
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