Mock-academic essays...what do I do with them?

I've been working on some essays on pop music that are meant to be satirical, though they could very easily be taken straight. They're not so much a satire of the music as the critical apparatus around it. Of course, I realize I risk being called condescending in my treatment of the music. (Though I primarily write fiction, so I don't really see it as "me." This is a voice.) Anyway, here's a sampling of one. Let me know what you think and if you have any ideas about publication venues for it and its ilk:

The Revelation Will Not Be Televised:
Marxist Undertones in Loverboy’s “Working for the Weekend”

Loverboy forward an aggressively Marxist agenda through the figurative Trojan Horse of their song “Working for the Weekend.” They successfully co-opt the aesthetic and sentiments of the ruling class, with which to undermine those values all the better. The song is a call-to-arms, facilitated equally by its proactive didactic as well as its driving rhythm and tense, near-dissonant synthesizer riff. We shall look primarily at the linguistic transformations and appropriations employed in the band’s critique.

Each verse begins with the word “everyone,” connoting solidarity among the band’s audience. However, Loverboy invite their audience to remain vigilant of themselves, so ensure that this new majority doesn’t replicate the faults of the old power structure. The word “everyone” undergoes a remarkably subtle, but unmistakable, shift over the course of the first verse. It begins, “Everyone’s watching to see what you will do /Everyone’s looking at you.” This clearly evokes the image of an Orwellian police-state, under which all citizens are subject to scrutiny and thus a loss of privacy. But then we find, “Everyone’s wondering will you come out tonight /Everyone’s trying to get it right.” The sense of scrutiny lingers in the third line, though with a palpably different tone. Rather than purposely looking for transgressions, the watcher is hopeful that the subject will act, will “come out tonight.” This reading is confirmed by the last line, in which the decision to “come out tonight” is plainly associated with “get[ting] it right.” Just as Loverboy appropriate the idiom of officially sanctioned rebellion – the mainstream rock “party song” – so too they reclaim the paranoia instilled by an oppressive regime in its citizens. This paranoia, they recognize, cannot be so easily squelched. But it can be redirected toward a different and more egalitarian end.

The song’s characterization of the weekend is worth closer examination. Mentioning “the weekend” situates the song firmly within a capitalist framework. However, if “[e]verybody’s working for the weekend,” then the work that comprises the week must be unfulfilling. Here and throughout the song, Loverboy elicit their audience’s sympathy in order to redirect its energy toward a higher aim; they speak to the audience’s present situation in order to contrast it against the band’s utopian revolutionary vision. None, presumably, would argue that he does not look forward to the weekend, as his work is unsatisfying. Yet, in the context of the song, the weekend comes to stand for a socialist ideal, a state in which the unfulfilling drudgery of capitalism has been eradicated. This is an ideal toward which “everybody” can strive, not just the elite.

Further, the band puns on the word “weekend,” almost showing their hand when they say, “Everybody’s working for the weak end.” The workers do not realize that they are the ones with the true power in a capitalist economy; thus the bosses are the “weak end” of the system of production. Loverboy once again state the more obvious fact – that’s everybody’s working for the “weak end” – in order to direct their audience toward the loftier goal of working for the “weekend” – the end of meaningless work. They intend to remind the workers that they, finally, are the strong, and that they must come together for the “weak’s” “week” to “end.”