The f-bomb still reigns as king of the parental-advisory jungle. Used as a magical extension, f%#* negatively characterizes anything that can be discharged, dismissed, disdained, defiled, degutted or destroyed. Some big “D.” A word of this originality you’d think would be overused and burnt out, but f%#* reinvents itself. George Carlin recognized the multi-purpose application’s impact and suggested that adding it into daily vocabulary “will identify the quality of your character immediately.” Wikipedia notes it can be used as a verb, adverb, adjective, command, interjection, noun, and can sensibly be used as practically any word in a sentence (e.g., “F the f-ing f-ers”), and it is one of the few words in the English language which could be applied as an infix. That’s a-f%#*ing-mazing. And according to N.W.A, “f%#* the police.”
The f-word grammar phenomenon has found steady employment in modern music. In hip-hop, f%#* replaces punctuation. Mike Kinsella, a.k.a. Chicago-indie rocker Owen, uses f%#* as literary references to Ernest Hemingway and Oscar Wilde while describing his pals in “Good Friends, Bad Habits.” Ryan Adams has f%#*ed the tears into heartache with usage in ballads like “Come Pick Me Up”. Ben Folds turned the flexible, all-American term up to 11 in “Rockin’ the Suburbs,” by chirping “It gets me real pissed off / and it makes me wanna say f%#*******(!!!)”, explaining an unjustifiable experience during a trip to the store, “for some Preparation H.” It’s safe to say Mr. Mackey had it all wrong.