By the 1970s, the East German anthem's call for a "united fatherland" became politically awkward as German division solidified. Rather than rewrite the song, the government simply discouraged citizens from singing the words, leading to official ceremonies where only the music was played.

Unlike many revolutionary anthems that are violent and aggressive, 'Nkosi Sikelel' iAfrika' ('God Bless Africa') is a peaceful hymn. Its non-militant nature made it a powerful symbol of martyrdom and ultimately easier to adopt in a post-apartheid, unified nation.

Mandela recognized rugby's deep significance to the white Afrikaner population. Instead of banning its symbols, he embraced them, using the 1995 World Cup to foster a shared national identity and win over his former enemies.

Instead of replacing the Weimar Republic's anthem, the Nazis reinterpreted its first verse for their ideology and elevated their own party song, the "Horst-Wessel-Lied," to co-anthem status. This created a dual-anthem system blending traditional nationalism with specific Nazi party veneration.

The concept of a national anthem as an "audible national symbol" was pioneered by Britain. After the Napoleonic Wars, the tune of "God Save the King" was so influential that around 20 other countries, from Prussia to Hawaii, adopted its melody for their own anthems.

The loud, crowded environment of football matches offered a sanctuary for anti-apartheid activists. While the government banned political gatherings, the chaos of the games allowed activists to meet, converse, and organize, undermining the state's surveillance and censorship efforts.

During the Napoleonic Wars, Britain responded to France's secular "Marseillaise" by terming "God Save the King" a national "anthem." This deliberately Christianized the song, positioning it as an ideological counterpoint to what they saw as France's militant atheism.

The lyrics of East Germany's anthem, "Auferstanden aus Ruinen," deliberately avoided communist jargon like 'socialism' or 'class struggle.' Instead, it called for a "united fatherland," positioning the GDR as the true successor state for all Germans, not just a communist one.

The melody for "Het Wilhelmus," anthem of the Protestant Dutch Revolt, was appropriated from a song celebrating a Catholic victory over a Protestant siege. This co-opting of enemy culture is a recurring theme in the creation of national symbols and wartime propaganda.