#theeightiesband

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The song was a combination of political satire and sexual humour, using nursery rhyme-style lyrics. The protagonist, John Wayne, is having sexual intercourse with a Native American female. When Wayne's bandolier restricts their intimacy, she suggests he remove it. He refuses and suggests he sodomize her instead. This surreal image is intended as a comment on the treatment of Indigenous people during the European colonization and was written after Jeremy Healy read Bury My Heart at Wounded Knee by historian Dee Brown. Wayne represents the European colonists, while his partner is the Native American people. Unusually for a song with explicit sexual content in the 1980s, the song escaped being banned from broadcast by the BBC, was playlisted on BBC Radio 1, and the band performed the song twice on Top of the Pops and on Saturday morning children's television. The song, with its "Shotgun, gimme gimme lowdown fun, boy! Okay, yeah, showdown!" intro, was taken to be a nonsensical novelty song about cowboys.

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The song has a strong anti-war message, focusing on the United States' involvement in the Vietnam War and the effect it had on the soldiers who served. The track was notable for its early use of sampled and processed speech, in particular, a synthesized stutter effect used on the words "nineteen" and "destruction". It also includes various non-speech, re-dubbed sampling, such as crowd noise and a military bugle call.

"19" features sampled narration, out-of-context interview dialogue and news reports from Vietnam Requiem the ABC television documentary about the post-traumatic stress disorder suffered by Vietnam veterans.

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"Self Control" is a song by Italian singer Raf, released in 1984. The track topped the charts in Italy and Switzerland and started the explosion and dominance of Italo disco-style recordings in continental European charts during the 1980s.

That same year, "Self Control" was covered by American singer Laura Branigan, whose version reached No. 1 in countries such as Austria, Canada, Germany and Switzerland. Both versions of the song were commercially successful across Europe during much of the summer of 1984 (at one point even swapping with one another at #1 in the Swiss charts), with Branigan's rendition becoming the most successful single of the year in Germany and Switzerland.