A lot of Heavy Metal and Hard Rock and Shock Rock and Visual Kei and similar, in that the high drama and desire to shock and offend to make a point often runs counter to the mainstream societies it originates within. There's too many examples, but they go both ways with this trope: from Visual Kei bands using being out about bisexuality to make a point about sexual freedom and equality that was way beyond Fair for Its Day and bands singing passionate anti-war and anti-violence songs (even if they gained a Misaimed Fandom because Truffaut Was Right) all the way to the other side of the spectrum - bands and songs irresponsibly glorifying rape and murder and pedophilia and whatever else solely for shock value or for being edgy.
Finnish military march Sotilaspoika (Soldier Boy). Originally a poem by J.L. Runeberg, the lyrics are about a boy of perhaps ten or eleven, whose father was drafted in the army when he was 15. The boy himself can't wait till his fiftteenth birthday and is eligible to get drafted like his father, grandfather and great-grandfather. While in 19th century the lyrics implied patriotic fervour, in 21st century they are easily interpreted as gung-ho mlitarism and use of child soldiers.
Not even KISS is immune to this. Listen to "Deuce." Just a wee bit sexist, isn't it? Plus, "Domino" and "Christine Sixteen" might be seen badly in today's Pædo Hunt world (especially "Domino," which never gives the girl's age but it can easily be taken as less teenager and more Lolicon). In fact, a lot of Kiss songs fall into this. Seeing as some Kiss albums contain nothing but songs about sex (Gene Simmons has claimed to had sex with over a thousand women; and for crying out loud, this is the band that has a song called "Let's Put The X In Sex"), the chance for sexism pops up quite often.
If you think that's bad, check Love/Hate's song "Rock Queen" - "met a little girl, just thirteen, she's a knock-down blue-eyed slut psycho-virgin tease. Rock queen, thirteen, buxom blonde, bad dream, let me touch your cookies - let me eat your cookies - now" 
The song "Same Old Lang Syne" by Dan Fogelberg (not the same as Auld Lang Syne, a Robert Burns song) is about a chance meeting between former lovers who have since gone their separate ways. They talk with each other about their life, buy a six-pack of beer at a liquor store after failing to find an open bar, split it, reminisce, and drive away to go on living their lives as they had been doing. The offhand reference to driving after drinking alcohol introduces an element of Squick into what is otherwise a heartfelt romantic ballad. The song was written in 1981, which was before all the "Don't drink and drive" Public Service Announcements began to appear. Values Dissonance can be Newer Than They Think.
In Mozart's opera Don Giovanni, Zerlina wins back her fiancé's good graces by singing him an aria inviting him to beat her. However, if you listen to the music, it is obvious that she's actually suggesting something much more pleasant for both of them.
Mungo Jerry's 1970 hit "In the Summertime", which reached #1 in the UK and Canada and #3 in the US, says, "Have a drink, have a drive, go out and see what you can find" — where "what you can find" refers implicitly to sexual conquest. Even the edgiest rock today doesn't advocate drinking and driving, especially if you go on a drunken sex hunt from behind the wheel.
It was presumably for this reason that the song was used in a famous PIF for the British advertising campaign Drinking and Driving Wrecks Lives—wherein it begins with many people enjoying themselves at a pub garden and drinking; 2 of those people drive off in a car, and the song slows down to a disturbing stop before we cut to the car inevitably wrecked and bloodied.
Not to mention the part where they say "If her daddy's rich, take her out for a meal/if her daddy's poor, just do what you feel"- which could be interpreted as either using her for sex, or even worse, just raping her.
The music video for the They Might Be Giants song "The Statue Got Me High" featured a couple brief scenes depicting fire, one of which had band member John Linnell covered in flames. The scene aired on US music video stations without complaints, but an edited version was made for air in the UK, showing the same scenes but without the fire. According to John Flansburgh, this was done because fire and ninjas are not allowed on British television.
Actually, they indicate in the commentary for the video that the Brits objected to fire because it may result in imitative behavior, which led to the joke to the effect that "It's like how you can't say the word 'ninja' or kids will want to go become ninjas."
Since British kids saw a cartoon titled "Teenage Mutant Hero Turtles," it may not have been a joke.
To be fair, when you think about what genuine ninja were infamous for, it's not that odd that a title meaning "Teenage Mutant Assassin Turtles" would be subject to this trope.
The music video for Mel Brooks' "To Be Or Not To Be (The Hitler Rap)" was shocking to many Europeans, since it was not widely known that Brooks is Jewish.
"Judy's Turn to Cry", the sequel to "It's My Party (and I'll Cry if I Want To)" by Lesley Gore. Our heroine, jilted by her boyfriend, kisses another guy — whereupon the jealous Johnny hits this interloper and takes her back. This is presented as a triumph over rival Judy. Lesson learned, girls — don't expect your boyfriend to be faithful to you, but you had sure better be faithful to him.
Arguably, another popular Gore hit, "Maybe I Know", has its own dissonance, with a chorus like, "Maybe I know that he's been a cheat/Maybe I know that he's been untrue/But what can I do?" In more enlightened times, as All Music Guidepointed out in its contemporary review of the song, maybe the girl would think to confront his boyfriend over the matter, or find someone more faithful to her. It may be no wonder that she took to "You Don't Own Me" later, with its more defiant, independent lyrics.
The original version of Kentucky's state song, "My Old Kentucky Home," written in 1853, featured lines that referred to black people as "darkies." In 1986, after the term was deemed offensive, the word was replaced with "people."
Many Sixties songs were written and/or sung while high. But back then, drugs were used for "expanding your mind" rather than trying to be cool. (I'm lookin' at you, Jerry Garcia!) These days, though, singers who do drugs get a lot of flak from fans and bandmates, or at least more than sixties singers would.
Garcia, The Beatles, The Rolling Stones, etc. most certainly were criticized and served time in jail for their substance abuse and rock excesses in The '60s as well; Mick Jagger and Keith Richards' drug bust in 1967 was very controversial.
It really depends on the singer. Marilyn Manson (and for that matter, his band) have been joked to have been single-handedly funding the cocaine industry throughout the 90s.
Some older rock songs, such as The Beatles' "Run for Your Life" and The Rolling Stones' "Under My Thumb", can be a little problematic for post-feminist ears.
Neil Diamond's "Cracklin' Rosie" is not about a woman named Rosie; it's about a group of First Nations men in Ontario getting drunk on red wine (the "Rosie") because all the women are gone. This may seem benign, perhaps, to an American, but it's unimaginably horrifically racist in Western Canada, not just because of the awful "drunken Indian" stereotype but also because of the actual plight of the women, who were being sexually exploited and murdered. The equivalent would be a fluffy pop song about lynching.
Not even Schoolhouse Rock is immune. It's a lot more mild than most of the examples on these pages, to be sure, but their song "The Great American Melting Pot" doesn't exactly fit with today's era of multiculturalism. Another one of their songs from the America Rock compilation, "Elbow Room", is either this or Politically Correct History.
The Crystals' "He Hit Me (and It Felt Like a Kiss)" is more likely to raise hackles now than it was back in the '60s. What's interesting is that contemporary reactions may be more in line with songwriter intent. Goffin and King wrote the song in shocked reaction to learning that Little Eva was getting beaten up by her boyfriend and didn't object. More details on Wikipedia.
The Christmas classic "I Saw Mommy Kissing Santa Claus" gets this reaction from more than a few people who actually bother to focus on the lyrics. Sure, the underlying message is that the father is dressed as Santa, which the mother finds cute enough to kiss him over, and the child just so happens to catch them in the act and find it comical. However, the song leaves a number of things open to interpretation, such as infidelity, and a Broken Home situation.
Similarly, "Baby It's Cold Outside" is not well-liked in feminist circles, because it depicts a man pressuring a woman into sex. In a world with date rape drugs, the woman's line "what's in this drink?" is much harsher than it would have been in the Forties. It is worth noting, however, that the male character is named the "Wolf" in the sheet music, so the skeezyness depicted in the lyrics may or may not have been intended.
This trope is probably the reason why many modern covers make it clear the woman wants to stay and that she is putting up a token protest.
People assuming that "what's in this drink" means "did you slip me a mickey" and not simply "how did you make this, anyway?" may in itself be an indication of the times they are a-changing.
"Kung Fu Fighting" was a big hit for Carl Douglas in 1974, but it's been banned from airplay in Canada and a man was arrested for "racial harassment" in 2011 for covering it with his band in the UK.
Like the "I Saw Mommy Kissing Santa Claus" example above, this also seems to depend on how close you're paying attention to the lyrics. While some of it can be interpreted as racist by today's standards, and "Chinamen" is no longer the preferred nomenclature, it's pretty obvious that the song is a reference to Wuxia movies, rather than Chinese people in and of themselves.
10cc's hit single "Dreadlock Holiday" passed without comment in the 1970's. It was based on a real life incident in which Graham Gouldman was mugged for his (minimal) bling in the West Indies - the mugger made it look like an agreed, if not unforced, sale by deliberately paying Gouldman a dollar for jewellery worth many times that. The song has since been criticised for its implication that all dreadlocked Jamaicans are violent robbers and all Jamaican women are hookers. The "dark voices" in the song have also been described as stereotypical, and the fact it was done to a (quite good) reggae beat has also been criticised as reinforcing the "all blacks are criminals" message perceived by some in the song. The Jamaican Tourist Board wasn't exactly inclined to use it in adverts, either.note Come to sunny Jamaica and be mugged! It was alleged that two white British Jews (Goldman and Creme) were mis-using West Indian culture (reggae) to reinforce prejudice.
However, many reggae stars had actually spoken of the violence in Jamaica (a notable example being "Johnny Too Bad" by The Slickers), which was (and continues to be) very real. A lot of dreads were poor and had the choice of becoming reggae musicians or resorting to crime (sometimes both). It appears that the criticism of "Dreadlock Holiday" has more to do with the appropriation of black music and accents for white musicians. The senseless gun deaths of Peter Tosh, Carlton Barrett and Junior Braithwaite proved that the famous continued to be a target for criminals in Jamaica years after "Dreadlock Holiday" was released.
Similarly, the remake of seventies feelgood summer hit "I'm Going To Barbados" by long-forgotten band Typically Tropical, when it was reworked in the early 2000's as "I'm Going To Ibiza," omitted the introduction by the pilot, spoken in a thick West Indian accent, and the cod-West Indian singing voice used for the song....
Ladies and gentlemen, this is Captain Tobias Willcock, welcoming you aboard Coconut Airways Flight three-seven-two to Bridgetown, Barbados. We will be flying at an 'eight of 32.000 feet and at an air speed of approximately 600 miles per hour. Refreshments will be served after take-off. Kindly fasten your safety belts and refrain from smoking until de aircraft is airborne.
The song "That Doggie in the Window" by Patti Page was just a light-hearted song in its day but in recent times brings to mind puppy mills. Shelters and animal welfare organizations have been satirically used the song in promotions. Patti was well-aware of this and prior to her death revamped the song as "That Doggie in the Shelter".
The music video for *NSYNC's "I Drive Myself Crazy" was seen as a rather silly and literal interpretation of Love Makes You Crazy when it was released in 1999. If it aired today, it would have been extremely controversial, as the video implies that mental illness is a choice, an opinion that is considered extremely offensive in regards to mental illness today.
From Panic! at the Disco's I Write Sins Not Tragedies (2006) contained the lyrics "And, yes, but what a shame, what a shame the poor groom's bride is a whore." Considering how much more controversial Slut-Shaming has grown over time, calling a woman a "whore" in a song does just not happen nowadays. That was the point of the song, however.
Dancehall reggae has this problem. Most dancehall artists are from the Caribbean (most commonly Jamaica or Trinidad and Tobago), where extreme homophobia is widespread and this is reflected in the music. For example, Buju Banton's 1992 song "Boom Bye Bye" is about how wrong gay men (or "batty bwoy" in Jamaican patois) are and how they all deserve to be shot. This has led to problems in Buju Banton's career in the U.S. and gay rights organizations have campaigned against his American performances.
What is socially acceptable to say in Spanish might not be in other languages. For example Celia Cruz's "La Negra Tiene Tumbao" is a popular song however referring to someone casually by their skintone like that in English would be considered offensive or even racist.
Jimmy Soul's 1963 single "If You Wanna Be Happy," which hit number one on the Billboard Hot 100, proudly extolls the virtues of getting an "ugly woman" to marry you. Try playing this song today post-fourth-wave feminism and see what happens.
Also the late-'80s Filipino rap song based on it, "Humanap Ka ng Pangit" (translation — "Look for Someone Ugly") by Andrew E.
Doris Day's "A Guy Is A Guy" is about a strange man following the narrator home and into her house, and it's played like a cute puppy-love story, rather than, say, an obsessed stalker. The innocence of the 50s, indeed.