20 Hit Songs from the ’80s Whose Lyrics Are Considered Highly Problematic Now
The 1980s were a decade of memorable music that still holds a special place in many hearts. However, as society evolves and becomes more aware of social issues, certain songs from that era have become scrutinized for their problematic lyrics. Let’s take a closer look at 20 hit songs from the ’80s that, upon reflection, are now considered to contain highly problematic content.
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“You Give Love a Bad Name” by Bon Jovi (1986)
This Bon Jovi song blames a failed relationship solely on the woman (“you”) while portraying the man as a victim (“shot through the heart”). It places the blame for emotional pain on women and reinforces stereotypes of masculinity that equate vulnerability with weakness.
“Under Pressure” by Queen and David Bowie (1981)
Although “Under Pressure” is celebrated for its powerful vocals and captivating melody, some interpretations suggest its portrayal of mental health struggles may trivialize the complexities of such issues. The lyrics, while highlighting societal pressures and existential crises, have been criticized for potentially reinforcing stigmas surrounding mental illness.
“Money for Nothing” by Dire Straits (1985)
Dire Straits’ iconic hit, “Money for Nothing,” gained popularity for its catchy guitar riff and energetic rhythm. However, its use of homophobic slurs in the lyrics has sparked controversy and criticism. The lyrics, which include derogatory terms to describe effeminate men, have been deemed offensive and hurtful by many listeners.
“Walk Like an Egyptian” by The Bangles (1986)
On the surface, “Walk Like an Egyptian” is a catchy pop tune with a memorable hook. However, critics say the song perpetuates stereotypes and trivializes Egyptian culture. By reducing Egyptian culture to a dance move or novelty act, the song fails to acknowledge the rich history and complexity of the civilization it references.
“Relax” by Frankie Goes to Hollywood (1983)
“Relax” by Frankie Goes to Hollywood was a controversial hit in the ’80s, banned by the BBC for its explicit lyrics and sexual content. The song’s provocative lyrics and themes of hedonism and indulgence sparked debates about censorship and morality. Some critics argue that the song promotes a culture of sexual objectification and contributes to the normalization of predatory behavior.
“She Blinded Me with Science” by Thomas Dolby (1982)
Thomas Dolby’s “She Blinded Me with Science” is a synth-pop gem that became a staple of ’80s music. However, its portrayal of women as enigmatic and mysterious figures has been criticized for perpetuating gender stereotypes. By framing women as objects of fascination and intrigue rather than individuals with agency and autonomy, the song reinforces outdated notions of gender roles and relationships.
“Turning Japanese” by The Vapors (1980)
“Turning Japanese” by The Vapors is often remembered for its catchy melody and infectious energy. However, the song’s lyrics have sparked debate and controversy over their potentially racist and offensive implications. Some interpret the phrase “turning Japanese” as a derogatory euphemism for masturbation, while others argue that it perpetuates harmful stereotypes about Japanese culture and people.
“Mickey” by Toni Basil (1982)
“Mickey” by Toni Basil is problematic because it portrays stalking. The lyrics focus on an obsessive infatuation, with the singer repeatedly fixating on Mickey’s appearance and feeling heartbroken by his lack of interest. It romanticizes unhealthy behavior and minimizes the creepiness of unwanted attention.
“Every Breath You Take” by The Police (1983)
“The Police’s” hit song “Every Breath You Take” is often celebrated for its haunting melody and emotional intensity. However, its lyrics, which depict possessive and obsessive behavior in relationships, have been criticized for romanticizing unhealthy dynamics.
“Material Girl” by Madonna (1985)
This song can be seen as promoting shallowness. The lyrics celebrate money and possessions over emotional connection. They reinforce the stereotype that women are materialistic and equate happiness with material wealth. While Madonna may have intended it ironically, it can be interpreted literally.
“My Sharona” by The Knack (1979)
The Knack’s “My Sharona” was a chart-topping hit in the late ’70s and remained popular in the early ’80s. However, its lyrics have been criticized for their objectification and sexualization of young women. By portraying the titular character as an object of desire and fixation, the song perpetuates predatory attitudes toward women and girls.
“China Girl” by David Bowie (1983)
David Bowie’s “China Girl” is a haunting ballad that explores themes of love and longing. However, its portrayal of Asian women has been criticized for perpetuating harmful stereotypes and exoticizing the “other.” By reducing the female subject to a fetishized object of desire, the song reinforces colonialist attitudes towards race and ethnicity.
“Papa Don’t Preach” by Madonna (1986)
Madonna’s “Papa Don’t Preach” is often hailed as a feminist anthem that celebrates female autonomy and agency. However, its lyrics have been criticized for reinforcing traditional patriarchal attitudes towards women’s bodies and sexuality. By framing the protagonist’s decision to keep her pregnancy as a plea for paternal approval, the song overlooks the broader societal implications of reproductive choice.
“You Can Call Me Al” by Paul Simon (1986)
“You Can Call Me Al” by Paul Simon is a whimsical and upbeat song about identity and self-discovery. However, its portrayal of Africa and its people has been criticized for perpetuating stereotypes and exoticizing the continent. The song overlooks the continent’s rich diversity and complexity by reducing Africa to a backdrop for the protagonist’s personal journey.
“Pretty in Pink” by The Psychedelic Furs (1981)
The Psychedelic Furs’ “Pretty in Pink” is a new-wave classic that captures the angst and longing of adolescence. However, its lyrics have been criticized for reinforcing harmful gender stereotypes and expectations. By framing the female subject as an object of desire and idealizing traditional femininity, the song perpetuates narrow and restrictive notions of beauty and worth.
“Centerfold” by The J. Geils Band (1981)
“Centerfold” by The J. Geils Band was a chart-topping hit in the ’80s that celebrated the allure of the quintessential “girl next door.” However, its lyrics have been criticized for objectifying women and reducing them to interchangeable objects of desire. By framing the female subject solely in terms of physical appearance and sexual availability, the song perpetuates toxic attitudes towards women and reinforces gender stereotypes.
“Maneater” by Hall & Oates (1982)
“Maneater” by Hall & Oates is a catchy pop-rock anthem that explores themes of desire and temptation. However, its lyrics have been interpreted as perpetuating harmful stereotypes about women as predatory and manipulative. By framing the female subject as a dangerous seductress, the song reinforces traditional gender roles and expectations.
“Like a Virgin” by Madonna (1984)
Madonna’s “Like a Virgin” is a provocative and controversial song that explores themes of love and sexuality. However, its lyrics have been criticized for perpetuating unrealistic and damaging ideals of purity and female sexuality. By framing the protagonist’s sexual experience as a symbolic rebirth, the song overlooks the complexities of female desire and agency.
“Hot for Teacher” by Van Halen (1984)
This Van Halen song sexualizes a student-teacher relationship. This is a power imbalance, and teachers hold a position of authority over students. A student’s attraction can be flattering, but the song ignores the potential for abuse and exploitation. It treats a serious issue as a fantasy.
“Used to Love Her” by Guns N’Roses (1988)
This song glorifies violence against women. The lyrics talk about killing a woman and burying her “six feet under” because she “complained too much.” It makes light of murder and trivializes the seriousness of domestic violence. While it describes a violent and obsessive relationship, it also glamorizes stalking and controlling behavior.
