Intimidating song titles
"Tribute to Troy" was composed in 1965 by Ronald Broadwell, the director of USC's Spirit of Troy marching band.Variously described as "an incessant stanza of pounding drums and blaring horns," and "reminiscent of rallying the citizenry to guard the perimeter of the ancient Troy city-state," it is traditionally performed at USC Trojan football games following each USC defensive stop.Bowie used to play a drum'n'bass version of the song during his 1997 Earthling tour, and a live version recorded at Paradiso, Holland 10 June 1997 was released as a single under the name Tao Jones Index, a very limited edition only available on 12" vinyl.Bowie played as Tao Jones Index during his performance in a dance tent at Phoenix Festival in 1997.
Tao, a Chinese character pronounced "dao," not only stands for the Chinese equivalent to Bowie's first initial, "D", but also has heavy religious implications through its correlation to Taoism, therefore contributing to the religious overtones of "Pallas Athena." The Chinese character 道 means "the way" (the path, the route).
There's no denying this music also helps to get the blood-pumping with some of music's most adrenaline-fueled songs.
The punchiness of roaring distortion, cement-cracking bass, powerful lyrics and forceful drumming can serve as an much-needed jolt of energy and excitement when UFC's best step out across the arena and into the steel cage of the Octagon.
He briefly checks in on America’s condition (The whole world goin' mad / Bodies is adding up, market's about to crash / Niggas is fake rich, bitches is fake bad / Blacks that act white, Whites that do the dab / Donald Trump is a chump, know how we feel, punk”) finding it in even worse shape than how he painted it on He doesn’t call people out as directly as on the infamous ‘Control’ but it’s very reminiscent of the track, and Kendrick is keen to establish that he’s not just back on the scene, he’s returned to reign over it.
The hip-hop community will always get distracted with supposed specific disses (the most likely targets here being Drake and Big Sean), but really he’s admonishing anyone taking a market-orientated approach to their music, spitting: “Look at the crowd, they - (nah, I don’t like that)”, the line being accompanied by the sound of paper being balled up.