CLOSE

The Best and Worst Political Campaign Songs (But Mostly the Worst)

With the campaign for the Republican nomination in full swing, candidates are beginning to rally their bases, retool their talking points and (cue the intro music, please!) select their campaign songs—those upbeat little ditties that play at rallies, speeches and pretty much whenever a candidate walks on stage.

The Art of Choosing the Right Campaign Song is not as straightforward as it may seem. For hundreds of years now, U.S. presidential candidates, world leaders, and even a few dictators have found themselves flummoxed, mocked and, more often than you’d think, sued for selecting the wrong tune.

Here’s a list of a few of the most notable, scandalous, ridiculous, or downright brilliant campaign songs ever used.

Saddam Hussein Will Always Love You

© INA/Handout/Reuters/Corbis

Iraqi dictator Saddam Hussein’s selection of Whitney Houston’s "I Will Always Love You" for his sham campaign in 2002 is perhaps the most wonderful, if nonsensical, choice of a campaign song in political history. Syrian pop star Mayyada Bselees’ Arabic cover of the soaring love ballad (written and originally performed by Dolly Parton) was broadcast on dawn-to-dusk radio spots from Baghdad to Basra endorsing the mustachioed autocrat—just before the U.S.-led bombing campaign began in 2003.

The Gipper and The Boss

When Ronald Reagan chose Bruce Springsteen’s “Born in the U.S.A.” as his campaign song in 1984, a collective gasp echoed across the nation. Anyone who has actually listened to the lyrics knows it’s a seething anti-war anthem, delineating, among other things, U.S. military failures in Vietnam: “I had a buddy at Khe Sahn/Fighting off the Viet Cong/They’re still there, he’s all gone.”

Hillary Clinton's Greatest Hits

Hillary Rodham Clinton hasn’t had much better luck choosing her campaign ditties. In 2000, she used Billy Joel’s “Captain Jack” at a rally—a song her opponent, Rudy Giuliani, gleefully pointed out is about things like getting high and masturbating.

Eight years later, during the Democratic presidential primary, Clinton let her fans go online and vote on her campaign song—a nice, democratic idea that turned into a bit of a debacle when pundits began offering their own suggestions. David Brooks of the New York Times offered Hall & Oates’ “Maneater.” Jon Sanders of Townhall.com suggested R.E.M.’s “It’s the End of the World as We Know It,” and Rush Limbaugh struck below the belt with Sir Mix-a-Lot’s booty-lovin’ “Baby Got Back.”

Clinton ended up going with Celine Dion’s travel-themed love song, “You and I," and (almost) announced the choice in this Sopranos spoof:

Thank Goodness for Silvio

For nearly a decade, Italy’s playboy-president, Silvio Berlusconi, has been campaigning to an original tune, the title of which loosely translates to “Thank Goodness for Silvio.” Anyone familiar with Berlusconi’s Bunga Bunga debacle won’t be surprised to find out that “Thank Goodness for Silvio” comes with a series of campaign music videos, which have played regularly over the years on Italian television, and feature beautiful women hanging out in beauty salons, walking on treadmills and performing water aerobics, while singing longingly into the camera about how great Il Cavalere really is.

Vote for John Quincy Adams or You'll Get Stabbed

George Washington also went with an original tune, “God Save Great Washington,“ a rather thinly veiled knock-off of “God Save the Queen”—an interesting choice for the Red Coat-vanquishing general. But Washington’s vaguely pro-royalist jam is nothing compared to John Quincy Adams’ campaign song a few decades later, which unlike most campaign songs that try for a more positive approach, actively threatened voters if they didn’t vote for him: "Fire's a-comin', swords a-comin'/pistols, guns and knives are comin'/...if John Quincy not be comin'," the singer crooned. Despite the threats, Adams lost the 1828 race to Andrew Jackson.

FDR Ushers in Happy Days

It wasn’t until 1932, during Franklin Delano Roosevelt’s presidential campaign, that a pre-existing campaign song was used—and it happened rather by accident. At a campaign rally one day, the man charged with introducing Roosevelt did such a terrible job, the soon-to-be president’s advisors wanted to play something—anything—to get the bad taste out of the audience’s mouth before FDR took the stage. The chirpy ditty, “Happy Days Are Here Again,” from the 1930 musical, Chasing Rainbows, just happened to be lying around. The jangly tune was such a hit, Democratic candidates used it for the next few decades, forever associating it with the party.

Right Now Maybe We Should Pay Attention to the Lyrics

For a few years, beginning in 2006, Van Halen’s rousing jam “Right Now” became the unofficial theme song of the Republican party, with George W. Bush, Sarah Palin, and John McCain all rocking out to the hit that was MTV's 1992 Video of the Year. That is, until someone pointed out that the song comes from an album entitled For Unlawful Carnal Knowledge, which refers to criminal sodomy, and features a not-so-family-values acronym. The video laments, "Right Now Oil Companies and Old Men Are in Control."

© BRIAN SNYDER/Reuters/Corbis

The Van Halen kerfuffle was just one of many problems Republican candidates in the U.S. have faced in recent years. In 2008, for instance, John Mellencamp, Boston, Foo Fighters, Jackson Browne, Heart, and a composer named Christopher Lennertz all asked the McCain/Palin campaign to stop grooving to their tunes. In this election cycle's Republican primary, Tom Petty has already asked the Tea Party’s Michele Bachmann to quit blasting “American Girl.” (He also balked when George W. Bush co-opted his defiant anthem, “I Won’t Back Down” in 2004.)

Um, Angie?

German chancellor Angela Merkel ran into similar trouble in her reelection campaign in 2005, when she chose the Rolling Stones’ break-up song, “Angie,” as her theme song—without the band’s permission, and apparently without actually listening to the lyrics, which aren’t ideal for an incumbent: “With no loving in our souls, and no money in our coats/You can’t say we’re satisfied…/All the dreams we held so close seemed to all go up in smoke/…Ain’t it time we said goodbye?”

He's a Dole Man

In 1996, Republican presidential hopeful Bob Dole also went with the name-related theme, changing the lyrics to the classic 1960s classic “I’m a Soul Man” to “I’m a Dole Man.” A representative for the song, which was originally written by Isaac Hayes and David Porter, performed by Sam & Dave, and topped charts in 1967, originally demanded that the Dole campaign pay $100,000 in damages for every time the song was played on the campaign trail. A settlement was later reached—and Dole never played that song again.

Nope

When Barack Obama's campaign used Sam & Dave's "Hold On, I'm Comin'" in 2008, the Sam half of the R&B duo (Sam Moore) told them to stop because he had not endorsed the candidate. As the Washington Post reported at the time, Moore had other problems with the use of the tune: "When the song was first recorded by Dave and myself, it was pulled off the market because it had such sexual orientations. I don't want to get graphic with this, but how do you take a song about getting girls and turn it into a political thing? Somebody's really desperate!"

A Song for Hillary

The melodramatic president of Venezuela, Hugo Chavez, didn’t have a campaign song, exactly, but he did interrupt one of his own speeches last year, to sing a little ditty to Hillary Clinton. “I’m not much loved by Hillary Clinton,” he crooned. “And I don’t love her either, lada da da!” The song was short, but it was a crowd-pleaser—the assembled students cheered him on for several minutes afterward.

nextArticle.image_alt|e
Lionsgate Home Entertainment
arrow
entertainment
13 Great Facts About Bad Lieutenant
Lionsgate Home Entertainment
Lionsgate Home Entertainment

Bad Lieutenant can be accused of many things, but one charge you can't level against it is false advertising. Harvey Keitel's title character, whose name is never given, is indeed a bad, bad lieutenant: corrupt, sleazy, drug-addled, irresponsible, and lascivious, all while he's on the job. (Imagine what his weekends must be like!)

Abel Ferrara's nightmarish character study was controversial when it was released 25 years ago today, and rated NC-17 for its graphic nudity (including a famous glimpse at Lil’ Harvey), unsettling sexual violence, and frank depiction of drug use. The film packs a wallop, no doubt. Here's some behind-the-scenes info to help you cope with it.

1. THE PLACID WOMAN WHO HELPS THE LIEUTENANT FREEBASE HEROIN WROTE THE MOVIE.

That's Zoë Tamerlis Lund, who starred in Abel Ferrara's revenge-exploitation thriller Ms. 45 (1981) more than a decade earlier, when she was 17 years old. She and Ferrara are credited together for writing Bad Lieutenant, though she always insisted that wasn't the case. "I wrote this alone," she said. "Abel is a wonderful director, but he's not a screenwriter. She said elsewhere that she "wrote every word of that screenplay," though everyone agrees the finished movie included a lot of improvisation. Lund was a fascinating, tragic character herself—a musical prodigy who became an enthusiastic and unapologetic user of heroin before switching to cocaine in the mid-1990s. She died of heart failure in 1999 at age 37.

2. CHRISTOPHER WALKEN WAS SUPPOSED TO STAR IN IT.

Christopher Walken had starred in Ferrara's previous film, King of New York (1990), and was set to play the lead in Bad Lieutenant before pulling out at almost the last minute. Ferrara was shocked. "[Walken] says, 'You know, I don't think I'm right for it.' Which is, you know, a fine thing to say, unless it's three weeks from when you're supposed to start shooting," Ferrara said. "It definitely caught me by surprise. It put me in terminal shock, actually." Harvey Keitel replaced him (though not without difficulty; see below), and the film's editor, Anthony Redman, thought Keitel was a better choice anyway. "Chris is too elegant for the part," he said. "Harvey is not elegant." 

3. HARVEY KEITEL'S INITIAL REACTION TO THE SCRIPT WAS NOT PROMISING.

"When we gave [Keitel] the script the first time, he read about five pages and threw it in the garbage," Ferrara said. Keitel's recollection was a little more diplomatic. As he told Roger Ebert, "I read a certain amount of pages and I put it down. I said, 'There's no way I'm gonna make this movie.' And then I asked myself, 'How often am I a lead in a movie? Read it, maybe I can salvage something from it …' When I read the part about the nun, I understood why Abel wanted to make it."

4. IT WAS ORIGINALLY SUPPOSED TO BE FUNNY.


Lionsgate Home Entertainment

"It was always, in my mind, a comedy," Ferrara said. He cited the scene where the Lieutenant pulls the teenage girls over as a specific example of how Christopher Walken would have played it, and how Harvey Keitel changed it. "The lieutenant was going to end up dancing in the streets with the girls as the sun came up. They'd be wearing his gun belt and hat, and they'd have the radio on, you know what I mean? But oh my God, Harvey, he turned it into this whole other thing." Boy, did he. 

5. THAT SCENE WITH THE TEENAGE GIRLS HAD A REAL-LIFE ELEMENT THAT MADE IT EVEN CREEPIER.

One of the young women was Keitel's nanny. Ferrara: "I said, 'You sure you want to do this with your babysitter?' He says, 'Yeah, I want to try something.'"

6. MUCH OF IT WAS FILMED GUERRILLA-STYLE.

Like many indie-minded directors of low-budget films, Ferrara didn't bother with permits most of the time. "We weren't permitted on any of this stuff," editor Anthony Redman admitted. "We just walked on and started shooting." For the scene where a strung-out Lieutenant walks through a bumpin' nightclub, they sent Keitel through an actual, functioning club during peak operating hours.

7. A GREAT DEAL OF THE DIALOGUE AND ACTION WERE MADE UP ON THE FLY.

The script was only about 65 pages at first, which would have made for about a 65-minute movie. "It left a lot of room for improvisation," producer Randy Sabusawa said, "but the ideas were pretty distilled. They were there."

Script supervisor Karen Kelsall said supervising the script was a challenge. "Abel didn't stick to a script," she said. "Abel used a script as a way to get the money to make a movie, and then the script was kind of—we called it the daily news. It changed every day. It changed in the middle of scenes." Ferrara was unapologetic about the script's brevity. "The idea of wanting 90 pages ... is ridiculous."

8. AND THERE WERE EVEN MORE IDEAS THAT THEY DIDN'T USE.

Ferrara said a scene that epitomized the movie for him—even though he never got around to filming it—was one where the Lieutenant robs an electronics store, leaves, then gets a call about a robbery at the electronics store. He responds in an official capacity (they don't recognize him), takes a statement, walks out, and throws the statement in the garbage. "And that to me is the Bad Lieutenant, you know?" Ferrara said. 

9. THE BASEBALL PLAYOFF SERIES IS FICTIONAL.

The Mets have battled the Dodgers for the National League championship once, in 1988. (The Dodgers beat 'em and went on to win the World Series.) For the narrative Ferrara wanted—the Mets coming back from a 3-0 deficit to win the pennant—he had to make it up. He used footage from real Mets-Dodgers games (including Darryl Strawberry's three-run homer from a game in July 1991) and added fictional play-by-play. But the statistics were accurate: no team had ever been down by three in a best-of-seven series and then come back to win. (It's happened once since then, when the 2004 Red Sox did it.)

10. THEY HAD HELP FROM THE COP WHO SOLVED A SIMILAR CASE.

The disgusting crime at the center of the film (we won't dwell on it) was inspired by a real-life incident from 1981, which mayor Ed Koch called "the most heinous crime in the history of New York City." The street cop who solved it, Bo Dietl, advised Ferrara on the film and had an on-screen role as one of the detectives in our Lieutenant's circle of friends.

11. THEY DESECRATED THE CHURCH AS RESPECTFULLY AS THEY COULD.

Production designer Charles Lagola had his team cover the church’s altar and other surfaces with plastic wrap, then painted the graffiti and other defacements on the plastic.

12. IT WAS RATED NC-17 IN THEATERS, WITH AN R-RATED VERSION FOR HOME VIDEO.

Blockbuster and some of the other retail chains wouldn't carry NC-17 or unrated films, so sometimes studios would produce edited versions. (See also: Requiem for a Dream.) The tamer version of Bad Lieutenant was five minutes and 19 seconds shorter, with parts of the rape scene, the drug-injecting scene, and much of the car interrogation scene excised.

13. THE "SEQUEL" HAD NOTHING TO DO WITH IT, NOR DID FERRARA APPROVE OF IT.


First Look International

Movie buffs were baffled in 2009, when Werner Herzog directed Bad Lieutenant: Port of Call New Orleans, starring Nicolas Cage. It sounds like a sequel (or a remake), but in fact had no connection at all to the earlier film except that both were produced by Edward R. Pressman. Herzog said he'd never seen Ferrara's movie and wanted to change the title (Pressman wouldn't let him); Ferrara, outspoken as always, initially wished fiery death on everyone involved. Ferrara and Herzog finally met at the 2013 Locarno Film Festival in Switzerland, where Herzog initiated a conversation about the whole affair and Ferrara expressed his frustration cordially. 

Additional sources:
DVD interviews with Abel Ferrara, Anthony Redman, Randy Sabusawa, and Karen Kelsall.

nextArticle.image_alt|e
Getty Images
arrow
Big Questions
How Are Balloons Chosen for the Macy's Thanksgiving Day Parade?
Getty Images
Getty Images

The balloons for this year's Macy’s Thanksgiving Day Parade range from the classics like Charlie Brown to more modern characters who have debuted in the past few years, including The Elf On The Shelf. New to the parade this year are Olaf from Disney's Frozen and Chase from Paw Patrol. does the retail giant choose which characters will appear in the lineup?

Balloon characters are chosen in different ways. For example, in 2011, Macy’s requested B. Boy after parade organizers saw the Tim Burton retrospective at the Museum of Modern Art. (The company had been adding a series of art balloons to the parade lineup since 2005, which it called the Blue Sky Gallery.) When it comes to commercial balloons, though, it appears to be all about the Benjamins.

First-time balloons cost at least $190,000—this covers admission into the parade and the cost of balloon construction. After the initial year, companies can expect to pay Macy’s about $90,000 to get a character into the parade lineup. If you consider that the balloons are out for only an hour or so, that’s about $1500 a minute.

Have you got a Big Question you'd like us to answer? If so, let us know by emailing us at bigquestions@mentalfloss.com.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios