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* BadHumorTruck: The highly controversial "I Blew Up The Clinic Real Good" is about an ice cream truck driver who bombs abortion clinics because "if we run out of youngsters, I'll be out of a job." Contrary to some misunderstandings, Taylor does ''not'' support this point of view, and was intending to mock and vilify it ("Ain't nothing wrong with this country that a few plastic explosives won't cure!")
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* BadHumorTruck: The highly controversial "I Blew Up The Clinic Real Good" is about an ice cream truck driver who bombs abortion clinics clinics, albeit because "if "[[ItsAllAboutMe if we run out of youngsters, I'll be out of a job." job]]" rather than necessarily being opposed to abortion. Contrary to some misunderstandings, Taylor does ''not'' support this point of view, and was intending to mock and vilify it ("Ain't nothing wrong with this country that a few plastic explosives won't cure!")
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* ItsAllAboutMe: The viewpoint character in "I Blew Up the Clinic Real Good", [[BadHumorTruck an ice cream man who blows up an abortion clinic]], makes it clear that he did what he did not because he finds abortion immoral, but because he believes his job would be on the line if there were fewer children to buy his ice cream. The fact that he doesn't consider that adults might want to buy ice cream as well is one indication that he's completely deranged and that we're not supposed to take his side.
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Long Title has been disambiguated
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* LongTitle: Very much a staple of his work, but especially "The Lament Of Desmond R.G. Underwood-Frederick IV" which is often shortened to "The Lament" in conversation.
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* CelebrityElegy: "Jim Morrison's Grave" naturally. Unlike in many songs of this type, however, Taylor does not romanticize the dead, but finds (and mourns) emptiness in the way he lived and died.
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* CelebrityElegy: "Jim Morrison's Grave" Grave", naturally. Unlike in many songs of this type, however, Taylor does not romanticize the dead, but finds (and mourns) emptiness in the way he lived and died.
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* CelebrityElegy: "Jim Morrison's Grave" naturally. Unlike in many songs of this type, however, Taylor does not romanticize the dead, but finds (and mourns) emptiness with which he lived and died.
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* CelebrityElegy: "Jim Morrison's Grave" naturally. Unlike in many songs of this type, however, Taylor does not romanticize the dead, but finds (and mourns) emptiness with which in the way he lived and died.
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* CelebrityElegy: "Jim Morrison's Grave" naturally. Unlike in many songs of this type, however, Taylor does not romanticize the dead, but finds (and mourns) emptiness with which he lived and died.
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* ArmorPiercingQuestion: At the end of "I Manipulate", his TakeThat against Bill Gothard's teachings fetishizing fathers' role as absolute authority figures in the home, the Gothard figure is flummoxed into silence by a question about the father in the parable of the Prodigal Son: ''if he loved him, why'd he let him go?''
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* ArmorPiercingQuestion: At the end of "I Manipulate", his TakeThat song against Bill Gothard's teachings fetishizing fathers' role as absolute authority figures in the home, the Gothard figure is flummoxed into silence by a question about the father in the parable of the Prodigal Son: ''if he loved him, why'd he let him go?''
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* ArmorPiercingQuestion: At the end of "I Manipulate", his TakeThat against Bill Gothard's teachings fetishizing fathers' role as absolute authority figures in the home, the Gothard figure is flummoxed into silence by a question about the father in the parable of the Prodigal Son: ''if he loved him, why'd he let him go?''
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* ArtistAndTheBand: He initially recorded with Some Band, a frequently changing group of backing musicians. The live album ''Limelight'' is the only one where they're outright billed as "Steve Taylor and Some Band". For the 2014 comeback album ''Goliath'', his new all-star lineup was billed as Steve Taylor and the Perfect Foil. This morphed again into Steve Taylor and the Danielson Foil when they recorded a collaboration with [[Music/{{Danielson}} Daniel Smith]].
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* MohsScaleOfRockAndMetalHardness: Covers a very broad range of the spectrum, although generally sticks to the lower end. Goes as low as 1 with something like "Easy Listening" and ramps it all the way up to 7 with "The Moshing Floor." The albums before ''Squint'' rarely break 5, and the vast majority of his oeuvre is in the 2-3 range, however. ''Goliath'', like ''Squint'' before it, is much harder than his previous works, due in no small part to guitarist Jimmy Abegg, whose style calls to mind [[{{Music/KingCrimson}} Robert Fripp.]]
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->"Are you sturdy enough to move to the front?\\
Is it nods of approval or the truth that you want?"
Is it nods of approval or the truth that you want?"
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Is it nods of approval or the truth that you
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* OneWomanWail: "Harder to Believe Than Not To" borrows the haunting "Vocalise" by [[Music/SergeiRachmaninoff Rachmaninoff]] for its opener.
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-->We've gathered here to ask the Lord's blessing
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* ScatterbrainedSenior: The Chagall Guevara track "The Wrong George" features a wrong-number call (captured by bandmate David Perkins's answering machine) from an elderly woman who struggles to understand that she's reached the wrong person.
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* LazyBum: "Happy Go Lazy" is from the perspective of someone who has consciously embraced this lifestyle.
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* LazyBum: "Happy Go Lazy" is from the perspective of someone who has consciously embraced this lifestyle.lifestyle and just wants his significant other to leave him be.
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* LazyBum: "Happy Go Lazy" is from the perspective of someone who has consciously embraced this lifestyle.
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* GratuitousMariachiBand: His recording of "Winter Wonderland" uses one as a backup band.
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* WavingSignsAround: "Bannerman" celebrates the guy who displays the JOHN 3:16 banner at football games.
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-->And a widow's peak like [[Series/TheMunsters Eddie Munster]].
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-->And a widow's peak like [[Series/TheMunsters Eddie Munster]].Munster]]
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* BoDiddleyBeat: Forms the backbone of the call-and-response portions of "We Don't Need No Colour Code".
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* BoDiddleyBeat: Forms the backbone of the call-and-response portions of "We Don't Need No Colour Code". "Guilty By Association" also makes use of a Bo Diddley beat.
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* SillyRabbitIdealismIsForKids: The ethics professor in "Since I Gave Up Hope I Feel A Lot Better" promotes this outlook to his students, gleefully transforming young idealists into cynical hustlers who "live for the shortcut, like a citizen should".
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* BigRedDevil: The devil in "Drive, He Said" fits the stereotype to a T.
-->Scratch! Dressed in red
-->Pointy tail and a horn-rimmed head
-->And a widow's peak like [[Series/TheMunsters Eddie Munster]].
-->Scratch! Dressed in red
-->Pointy tail and a horn-rimmed head
-->And a widow's peak like [[Series/TheMunsters Eddie Munster]].
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* OutgrownSuchSillySuperstitions: Inverted in "Easy Listening", in which the America of 2044 is undergoing a religious revival, much to the [[FanOfThePast chagrin]] of the singer.
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* OutgrownSuchSillySuperstitions: Inverted [[InvertedTrope Inverted]] in "Easy Listening", in which the America of 2044 is undergoing a religious revival, much to the [[FanOfThePast chagrin]] of the singer.
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* RockMeAsmodeus: In "Drive, He Said", the Devil materializes in the back seat of Steve's car to [[DealWithTheDevil talk business]]. Steve escapes by slamming on the brakes, causing the Devil's horns to become lodged in one of the front seats, and abandoning the car.
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* RockMeAsmodeus: In [[DefiedTrope Defied]] in "Drive, He Said", the Said". The Devil materializes in the back seat of Steve's car to [[DealWithTheDevil talk business]]. business]] regarding his musical career. Steve escapes by slamming on the brakes, causing brakes (causing the Devil's horns to become lodged in one of the front seats, seats) and abandoning the car.
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* OutgrownSuchSillySuperstitions: Inverted in "Easy Listening", in which the America of 2044 is undergoing a religious revival, much to the [[FanOfThePast chagrin]] of the singer.
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* RockMeAsmodeus: In "Drive, He Said", the Devil materializes in the back seat of Steve's car to [[DealWithTheDevil talk business]]. Steve escapes by slamming on the brakes, causing the Devil's horns to become lodged in one of the front seats.
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* RockMeAsmodeus: In "Drive, He Said", the Devil materializes in the back seat of Steve's car to [[DealWithTheDevil talk business]]. Steve escapes by slamming on the brakes, causing the Devil's horns to become lodged in one of the front seats. seats, and abandoning the car.
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* RockMeAsmodeus: In "Drive, He Said", the Devil materializes in the back seat of Steve's car to [[DealWithTheDevil talk business]]. Steve escapes by slamming on the brakes, causing the Devil's horns to become lodged in one of the front seats.
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Added "Bo Diddley Beat" and did some cleanup on "Audience Participation Song".
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%%* AudienceParticipationSong: Both "We Don't Need No Color Code," which is best experienced live, and "Lifeboat."
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* BoDiddleyBeat: Forms the backbone of the call-and-response portions of "We Don't Need No Colour Code".
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Added Verbal Backspace, tried to clean up Uncommon Time, and fixed a couple of "Fredricksons" to "Fredericks".
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* ''Squint'' (1993) "The Lament Of Desmond R.G. Underwood-Fredrickson IV" "Smug" "Jesus Is For Losers" "The Finish Line" "Cash Cow (A Rock Opera In Three Small Acts)"
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* ''Squint'' (1993) "The Lament Of Desmond R.G. Underwood-Fredrickson Underwood-Frederick IV" "Smug" "Jesus Is For Losers" "The Finish Line" "Cash Cow (A Rock Opera In Three Small Acts)"
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* LongTitle: Very much a staple of his work, but especially "The Lament Of Desmond R.G. Underwood-Fredrickson IV" which is often shortened to "The Lament" in conversation.
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* LongTitle: Very much a staple of his work, but especially "The Lament Of Desmond R.G. Underwood-Fredrickson Underwood-Frederick IV" which is often shortened to "The Lament" in conversation.
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%%* UncommonTime: The verses of "Double Negative," and many more examples from various songs on ''Goliath.''
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* VerbalBackspace: In "Sock Heaven":
-->We've gathered here to ask the Lord's blessing
-->Maybe not His blessing
-->Maybe we're not asking at all
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Commented out zces
%% Administrivia/ZeroContextExample entries are not allowed on wiki pages. All such entries have been commented out. Add context to the entries before uncommenting them.
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* AudienceParticipationSong: Both "We Don't Need No Color Code," which is best experienced live, and "Lifeboat."
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** "Sympathy Vote" seems to be from the perspective of one.
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* DisappearedDad: Discussed in "Curses".
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* MoralityBallad: Averted to a surprising degree for a Christian artist, but "Jenny" is an example. At least it's a very catchy song.
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* TeenageDeathSongs: "Jenny" is of the MoralityBallad variety.
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* UncommonTime: The verses of "Double Negative," and many more examples from various songs on ''Goliath.''
* WhileRomeBurns: Invoked in the chorus of "Smug"
* WhileRomeBurns: Invoked in the chorus of "Smug"
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----
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This trope is In-Universe Examples Only.
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* {{Mondegreen}}: Due to the complex lyrical nature of songs like "Jung And The Restless" it's kind of inevitable.
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The Jester has been disambiged, and this has no context worth keeping.
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* TheJester: The protagonist of "Comedian" is one of these.
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* ''Wow to the Deadness EP'' (2016) (With The Music/{{Danielson}} Foil)
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* BaitAndSwitchComparison: An unusually-worded example, but in "Cash Cow", he describes the Cash Cow as having "a face just like Robert Tilton, but without the horns." (After 2015, when performing the song live, Steve instead compares the Cow to Donald Trump.)
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* LongestSongGoesLast:
** ''Squint'' ends with "Cash Cow (A Rock Opera in Three Small Acts)" (5:38).
** ''Goliath'' ends with "Comedian" (6:27).
** ''Squint'' ends with "Cash Cow (A Rock Opera in Three Small Acts)" (5:38).
** ''Goliath'' ends with "Comedian" (6:27).