That because they can't understand the clown's lyrics when he screeches into the microphone. Like most rock, it's just the noise people like. Lyrics don't mean diddly squat.
Born down in a dead mans town
The first kick I took was when I hit the ground
You end up like a dog thats been beat too much
Till you spend half your life just covering up
Born in the u.s.a.,
I was born in the u.s.a.
I was born in the u.s.a.,
born in the u.s.a.
Got in a little hometown jam
So they put a rifle in my hand
Sent me off to a foreign land
To go and kill the yellow man
Born in the u.s..a....
Come back home to the refinery
Hiring man said son if it was up to me
Went down to see my v.a. man
He said son, dont you understand
I had a brother at khe sahn
Fighting off the viet cong
Theyre still there, hes all gone
He had a woman he loved in saigon
I got a picture of him in her arms now
Down in the shadow of the penitentiary
Out by the gas fires of the refinery
Im ten years burning down the road
Nowhere to run aint got nowhere to go
Born in the u.s.a.,
I was born in the u.s.a.
Born in the u.s.a.,
Im a long gone daddy in the u.s.a.
Born in the u.s.a.,
born in the u.s.a.
Born in the u.s.a.,
Im a cool rocking daddy in the u.s.a.
At lest with that old commie SOB, Pete Seeger, you could understand his lyrics.
True, that rock lyrics are generally difficult to make out, but the following, which is heard loud and clear in the song, should have alerted most thinking Americans that something was up with that song...
"Born in the USA, I was born in the USA,
I was born in the USA, born in the USA.
Got in a little hometown jam
So they put a rifle in my hand
Sent me off to a foreign land
To go and kill the yellow man."
From the article I posted in #65...
RE: Born In The USA
Juxtaposed with the bleak lyrical narrative of tragedy and indifference, the song’s seemingly celebratory chorus becomes a parody of patriotism, implying the foolishness of the benighted blue-collar victim of the system, naive enough to think that it’s really a good thing to be an American—or, God forbid, that America might be worth fighting for.
It’s tempting to dismiss the politicization of popular music as of limited consequence. But as the Popular Front keenly grasped, culture matters—and music matters perhaps most of all. Allan Bloom, glossing Plato, wrote that “to take the spiritual temperature of an individual or society, one must ‘mark the music.’ ” In America, popular music provides a soundtrack for growing up. And the lyrics of that music too often deliver the message that our leaders are “idiots,” that our politics are corrupt, that bourgeois life is purposeless, that this country is no freer than any other—and probably less so. How can we find ourselves surprised, then, by the cool indifference that typifies many kids raised in times of affluence, freedom, and peace?
http://www.city-journal.org/html/15_3_urbanities-communist.html