It’s not a very popular opinion but I believe that Nik’s 1983–1986 singles run was impeccable. The key line: “You want more money of course I don’t mind to buy nuclear textbooks for atomic crimes” Nik Kershaw, “I Won’t Let The Sun Go Down On Me” (1983) Enough rage to make this song debut (!) at the top domestically, an extremely rare feat at the time. They dressed sharply but there was a rage in their music that often rivaled The Clash. When they were nearing their break-up, they were in a position that scoring number two on the singles charts was quite literally a bitter pill to swallow for them.
Enola gay song stranger things mod#
Whether they’ve seen them as punk, post-punk or mod revival, the early ’80s Britons loved The Jam. The key line: “This kiss you give, it’s never ever gonna fade away” The Jam, “Going Underground” (1980)
I was in primary school back then and I really didn’t know better. Not entirely surprisingly, the song’s title became a template for juvenile wordplay on these shores when remixed by German trance producer SASH! in 1998.
Soothing but danceable melody and Andy McCluskey’s dorky vest were enough for them to fall in love. It’s highly probable that the state-sanctioned newspapers were mentioning the OG Enola Gay in their pieces on non-proliferation, but they were mostly ignored by our pop afficionados. Maybe that’s because almost no one in Poland knew what the lyrics meant. The key line: “A nuclear era, but I have no fear” Orchestral Manoeuvres In The Dark, “Enola Gay” (1980)įew people in Poland know and like “If You Leave,” but “Enola Gay” is legendary for us (as well as “Maid of Orleans” and “Sailing on the Seven Seas”). harbored traumas similar to Roger Waters. Forty years have passed and nothing changed for the better-as we know from experience and from another accusatory British song: Faithless’ “Mass Destruction.” The title comes from the World War II BBC radio signal.
The title track of this 1979 punk rock landmark has been written as a mockery of contemporary media and their exploitation of the human fear of death. The key line: “Oh-oh, atomic” (not much of a choice here) The Clash, “London Calling” (1979) According to the group it’s just a dance workout with a striking title but the post-nuclear apocalypse tones of the video seem to disagree. It was already their third number one in the UK. No better way to start the party but with the band that ruled the Earth in that era. Two 1979 hits are included because no serious examination of this trope would be complete without them. Some of those more or less veiled protest songs are classics in the Anglo-Saxon world, some are perennials in my country.
A lot of this legitimate anger and fear seeped into the best pop and rock music of the time. The Westerners were probably angrier than the Easterners, because their information wasn’t filtered through censorship. People on both sides of Atlantic Ocean thought: “our politicians are crazy!” but they were thinking of different power brokers. I’m aware that the Northern American attitude towards the nuclear arms race was the same as in Poland, yet different. Furthermore, they had another threat hanging over their heads: the danger of nuclear annihilation. Just think about Palestinian nationalists or IRA in Northern Ireland. The line went more or less like this: You people think that terrorism is a modern phenomenon but people in the ’80s were as scared of it as much we are. There was a good point in the analysis of the lyrics of the Polish 1983 rock song “Zamki na piasku” (Castles in the Sand) published by the monthly Teraz Rock in the early aughts.