True true true. My dad had to hear little me singing to some pretty raunchy lyrics that I didn’t fully understand too.
I should have clarified a point I made above as well.
“Production Teams” for those not familiar, are teams of writers/lyricists, musicians, a virtual band in themselves, either hired by the record company and sometimes the artist themselves, to write guaranteed hits. Two of the most successful today are called “The Martix” and “Stargate”. They appear in the credits of most top 40 hits you hear today. Sometimes they work with the artist on that artist’s own material to make it more ‘radio friendly’ and other times they simply do the song wholesale and the artist sings it. This is High dollar stuff.
An indy act probably cannot swing them financially. A record co uses them on new unproven acts to ensure they make enough sales to profit. If the artist cant write a hit tune, the production team will - period. If the artist’s songs don’t chart, then you can bet there will be no sophomore effort on that particular label. But the money the RecComp spends on the band WILL be recouped on the Production team hits.
I say this because thats where most of the agendas come in. Sure, you have “Rage Against the Machine” bands out to change the world through their lyrical ideas, but most often the social engineering ideas come in at the production team stage. They take big issues from the day/MSM/Movies/The Dem party and put them to song in an effort to make those ideas ‘cool’. Witness the laws/regs and money going to/from/between the entertainment industry and the Libs/Dems/Soros types.
In all likelihood, Foster was out for $$$ and to make a name for himself - he took a controversial idea and wildly succeeded.
Now take a look at Katy Perry’s kissed a girl song that had Production team assistance, or Hummingbird Heart, or Peacock.
I’m not picking on Perry, she’s just a current example. Riahnna Brittany Spears...the list is endless. All top 40 and a total studio creation...with all that infers.