The songs listed below cannot be bought and these three new songs are played when an invalid request is made to K.K. In the games' files, these are called Hazure01, Hazure02, and Hazure03 (Hazure meaning "miss" in Japanese). Hazure01 is a cover of the Title Theme from Wild World and City Folk.

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A protest song is a song that is associated with a movement for protest and social change and hence part of the broader category of topical songs (or songs connected to current events). It may be folk, classical, or commercial in genre.

Among social movements that have an associated body of songs are the abolition movement, prohibition, women's suffrage, the labour movement, the human rights movement, civil rights, the Native American rights movement, the Jewish rights movement, disability rights, the anti-war movement and 1960s counterculture, art repatriation, opposition towards blood diamonds, abortion rights, the feminist movement, the sexual revolution, the LGBT rights movement, animal rights movement, vegetarianism and veganism, gun rights, legalization of marijuana and environmentalism.

Protest songs are often situational, having been associated with a social movement through context. "Goodnight Irene", for example, acquired the aura of a protest song because it was written by Lead Belly, a black convict and social outcast, although on its face it is a love song. Or they may be abstract, expressing, in more general terms, opposition to injustice and support for peace, or free thought, but audiences usually know what is being referred to. Ludwig van Beethoven's "Ode to Joy", a song in support of universal brotherhood, is a song of this kind. It is a setting of a poem by Friedrich Schiller celebrating the continuum of living beings (who are united in their capacity for feeling pain and pleasure and hence for empathy), to which Beethoven himself added the lines that all men are brothers. Songs which support the status quo do not qualify as protest songs.[1]

Protest song texts may have significant specific content. The labour movement musical Pins and Needles articulated a definition of a protest song in a number called "Sing Me a Song of Social Significance". Phil Ochs once explained, "A protest song is a song that's so specific that you cannot mistake it for BS."[2] Some researchers have argued that protest songs must express opposition or, at the very least, offer some alternative solutions if they are limited to drawing attention to social issues.[3] A broad definition, which does not exclude any upcoming form of creativity, defines a protest song as one performed by protesters.[4]

The sociologist R. Serge Denisoff saw protest songs rather narrowly in terms of their function, as forms of persuasion or propaganda.[6] Denisoff saw the protest song tradition as originating in the "psalms" or songs of grassroots Protestant religious revival movements, terming these hymns "protest-propaganda", as well.

Ron Eyerman and Andrew Jamison, in Music and Social Movements: Mobilizing Tradition in the Twentieth Century (1998), take issue with what they consider Denisoff's reductive approach to the history and function of song (and particularly traditional song) in social movements. They point out that Denisoff had paid little attention to the song tunes of protest music, considered them strictly subordinate to the texts, a means to the message. It is true that in the highly text-oriented western European song tradition, tunes can be subordinate, interchangeable, and even limited in number (as in Portuguese fado, which only has 64 tunes), nevertheless, Eyerman and Jamison point out that some of the most effective protest songs gain power through their appropriation of tunes that are bearers of strong cultural traditions.[8] They also note that:

Music played a key role in mobilizing the 2011 protests at Tahrir Square against President Hosni Mubarak which led to the Egyptian revolution.[15] "Ezzay," meaning "How come?" by Egyptian singer and actor Mohamed Mounir is considered one of the most popular songs associated with the protests.[16] "Irhal," meaning "Leave", by Ramy Essam became an internet hit,[17] and was subsequently described in the media as having become an anthem for the revolution.[18][19]

Two Afrikaans compilation albums of predominantly protest music were released recently: Genoeg is genoeg [Enough is enough] (2007) and Vaderland [Fatherland] (2008), and Koos Kombuis also released a CD called Bloedrivier [Blood River] (2008), which is primarily a protest album. One track, "Waar is Mandela" [Where is Mandela] asks, "Where is Mandela when the shadows descend ... Where is the rainbow, where is the glory?" and another, "Die fokkol song" [The fuck all song], tells tourists who visit South Africa for the 2010 Football World Cup that there is nothing in South Africa; no jobs, no petrol, no electric power, not even jokes. However, these compilations only represent the tip of the iceberg, as many prominent musicians have included protest songs on recent albums, including Bok van Blerk, Fokofpolisiekar, and KOBUS!.

Much of the protest by Afrikaans musicians concerns the legacy of apartheid: In "Blameer dit op apartheid" [Blame it on apartheid] Koos Kombuis sings how "the whole country is evil," yet the situation is blamed on apartheid. Klopjag, in "Ek sal nie langer" [I will no longer] sings that they will no longer apologize for apartheid, a theme echoed by many others, including Koos Kombuis in "Hoe lank moet ons nog sorry s" [For how long do we still have to say sorry]. Piet Paraat sings in "Toema Jacob Zuma" [Never mind Jacob Zuma]: "My whole life I'm punished for the sins of my father." There is also a distinct feeling that the Afrikaner is being marginalized by the ANC government: Fokofpolisiekar sings in "Antibiotika" [Antibiotics], "I'm just a tourist in the country of my birth," Bok van Blerk sings in "Die kleur van my vel" [The colour of my skin] that the country does not want him despite his willingness to work, because he is white, even though white South Africans have the lowest rate of unemployment, [22] and in "Bloekomboom" Rian Malan uses the metaphor of a blue gum tree (an alien species) to plead that Afrikaners should not be regarded as settlers, but as part of the nation. Steve Hofmeyr has incorrectly[23] expressed concern about the statistically high murders of Afrikaner farmers, and has also appealed in several speeches to remember Afrikaner heritage. His songs "Ons Sal Dit Oorleef" (We will survive this) and "My Kreed" (My Cry) also echoes many Afrikaners' fears of losing their culture and rights. The appeals by these musicians, and several others, to be included follows a sense of exclusion manifested in the political, linguistic and economic realms, an exclusion depicted particularly vividly by Bok van Blerk's "Kaplyn" [Cut line], a song that laments that fallen South African soldiers have been omitted in one of the country's show-case memorials, the Freedom Park Memorial, despite official claims of it being a memorial for all who had fought for the country.

Emel Mathlouthi composed songs since a young age which called for freedom and dignity in a Tunisia ruled by the dictator Zine El Abidine Ben Ali, earning her scrutiny from internal security forces and forcing her to retreat to Paris. Banned from the official airwaves, her protest songs found listeners on social media. In late 2010 and early 2011, Tunisian protesters referred to her song Kelmti Horra (my word is free) as an anthem of the Tunisian Revolution.

Chinese singer Li Zhi made references to the Tiananmen Square massacre in his songs and were subsequently banned from China in 2019. Three years later, during the anti-lockdown protests in China, this was used as a protest song across YouTube.[citation needed]

Cultural activism in India has always been considered one of the most effective tools to mobilise people into making a social change since pre-independence times.[26] India provided many examples of protest songs throughout its struggle for freedom from Britain.[27]

Indian rapper Raftaar's "Mantoiyat" lashes out at corrupt politicians and police and brings to light injustices that plague the country. In the song he talks about deep rooted issues and brings light to the hypocrisy of the people and the government.[28] Artists such as Poojan Sahil, Seedhe Maut, Vishkyun, Prabh Deep, Rapper Shaz, Sumit Roy & Ahmer usually talk about social issues in their songs.[29][30] The rock fusion band Indian Ocean's song "Chitu" was one of their first and prominent songs, a tribal anthem that Ram had come across over the course of being involved in the Narmada Movement.[31]

Since it is illegal to criticize the government and social issues in Iran after the 1979 Iranian Revolution, most of the Iranian artists who make protest songs live abroad. Protest songs in Iran have a long history due to the long history of Human rights violations by the Islamic Republic of Iran.[37]

One of the most important protest songs of Iran is Hichkas's "A Good Day Will Come" which is often considered as the most influential Iranian protest song. "A Good Day Will Come" was released a year after the 2009 Iranian presidential election protests, one of the most violent protests in Iran.[38][39]

Many artists have been arrested in Iran after releasing protest songs following the 2022 Mahsa Amini protests includes Shervin Hajipour, Mona Borzouei (Lyricist of Mehdi Yarrahi's "Woman's Anthem") and Toomaj Salehi. Salehi was arrested on October 30, 2022, for his social awareness activities on his social media and releasing the two protest songs "Battleground" and "Omen" during the Mahsa Amini protests. On November 27, 2022, Iranian media revealed that Salehi was charged with "corruption on Earth", an offense which could carry the death penalty.[48][49] 0852c4b9a8

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