Abstract
In this article, I would like to focus on covers that reveal their strongly transgressive function, forcing the recipient to rethink and reinterpret the canon of popular music. Covers that I analyze in terms of music, text, image, etc., although they formally “reverse” only one specific song, become an opportunity to polemicize with the output of a given artist, the entire genre or style, or finally with the attitude and worldview represented by the original. Transgression on the aesthetic level is also accompanied by transgression on the level of sexual, class or racial identity. For the purposes of the article, the material will be limited to the covers from the 1970s (Ramblin’ Rose by Jerry Lee Lewis / MC5, Love Is Strange by Mickey & Sylvia / Trash by New York Dolls, Helter Skelter by The Beatles / Siouxsie and the Banshees), because in this period (on the basis of punk and post-punk music) similar practices were the most intense.
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