Recorded in her apartment over six months with professional musicians, the album combines rap, punk, and dance music, marked by a campy, amateur vocal style.

She had the chance to collaborate with Wandachowicz in 2003, when Masłowska guest-performed on the songs "Słyszałeś" ("You Heard") and "Świat wylazł z foremki" ("The World Came Out of the Mold") from the album Cool Kids of Death.

[3][7] The works presented there (also by Honorata Martin [pl], Dominika Olszowy, and Maria Toboła) concerned the "confrontation with Polish society and Poland in general".

[11] Additionally, the album was promoted with music videos for eight songs: "Chleb" ("Bread", 2014), "Hajs" ("Cash", 2014), "Prezydent" ("President", 2014), "Czarna żorżeta" ("Black Georgette", 2014), "Ryszard" (2014), "Społeczeństwo jest niemiłe" ("The Society Is Mean", 2015), "Zapach Boga" ("The Scent of God", 2015), and "Żona piłkarza" ("Wife of a Footballer", 2016).

[14] The album cover introduces a new, hip-hop persona for Masłowska – an eye-catching car, a fur coat, and large dogs (American Staffordshire Terriers).

[24] According to Sierzputowski's interpretation, the image of the album forms a broader picture of Poland in the 21st century, particularly the influence of capitalism – a country of great dreams and small possibilities, which leads to aggression and frustration directed toward other Poles, but especially symbolic Others.

[28] The track omits Kalisz's figure, instead focusing on the woman who has to face her lack of agency and objectification by her partner and friends,[27] who try to dissuade her from the relationship by labeling him as a "commie/fat old man".

[28] The music video, directed by Aneta Grzeszykowska, features a naked woman painted white[27] (imitating an ancient statue)[29] lying on a red floor.

Her goal is not only to satisfy the material needs typical of the stereotypical Polish person (vacations in Egypt or the Canary Islands, referencing the pseudo-documentary Pamiętniki z wakacji [pl])[32] and the "dresiarz" subculture ("an Audi yoked to hungry Amstaffs"), but also to provoke envy within her peer group[33] – expressed in the song through "sandwiches with cash", symbolizing a higher social status than students eating regular sandwiches with sausage and butter.

[34] Masłowska (styled as a schoolgirl, rapper with jewelry, woman in a provocative swimsuit, and basketball player) dances against a green screen, rides in a golden Fiat 126 pulled by Amstaffs, and flies on a carpet shaped like a tiger's skin.

Kinga Rusin, a media personality and co-owner of a cosmetics brand, symbolizes the pervasive authority wielded by celebrities who often offer uninformed opinions on topics they are not experts in.

[61] The music video by Milena Korolczuk is simple in form, beginning with an image of a box of chocolates resembling a Gothic church, which then smoothly transitions into a stained-glass window created from M&M's candy wrappers.

The song depicts the grotesque celebration of a family ritual,[62] filled with alcohol, food, lecherous uncles, and references to the 1990s, such as the FSO Polonez car and FA deodorant.

[63] The high-budget, old-film-styled music video directed by Marcin Nowak shares a narrative alignment with the song's lyrics[63] and shows clear inspiration from the series Noce i dnie.

[67] In interviews, Masłowska clarified that the critique in "Córka" is aimed primarily at the environment symbolized by Warsaw's Saviour Square, which, much like the right-wing, rejects anything that doesn't fit its worldview.

[33] The music video, directed by Karolina Jacewicz and Maciej Thiem,[68] shows a lonely, sad woman preparing typical Polish kotlet schabowy, emphasizing the everyday monotony and emotional isolation described in the song.

[33] Robert Sankowski describes the album's sound as an "authentic, homemade mix of rap, punk, and dance music" with lyrics that resemble a psychotic collage of popular press stories, expressed through the Polish language and its typical way of reasoning.

[73] Critics pointed out the irony, absurd humor, pastiche, original comparisons, and a deliberate, literary babbling reminiscent of online comments and famous people's quotes.

The controversy surrounding the ostentatious lack of professionalism, such as Masłowska singing with braces, mirrored the confusion that followed the release of her debut novel Wojna polsko-ruska pod flagą biało-czerwoną (Polish-Russian War Under the White-and-Red Flag).

[82] On the other hand, her style and perceptiveness were positively received by some,[78] as was her ridicule of arrogance, pretentiousness, and rusticity, the traditional division of gender roles[83] (starting with her pseudonym),[84] and her musical sensibility[85] paired with an excellent ear for everyday language and wordplay.

However, due to its ironic tone, self-irony, and themes like nostalgia and the transgression of social roles, the album can be viewed as a postmodern parody and placed within the camp aesthetic.

[95][96] Alena Aniskiewicz pointed out that Masłowska challenges the gender dynamics of the genre, using humor similar to Missy Elliott to carve out her place in a music scene that, in Poland as elsewhere, is dominated by men.

The everyday reality she presents stems from disgust and social exclusion of those who do not meet the prescribed norms, such as the relationship between two people with a significant age difference ("Ryszard").

[84] Some characters, like those in "Hajs" and "Chleb", resemble those from Wojna polsko-ruska pod flagą biało-czerwoną, the aspiring youth with low social status trying to break into the world of celebrities.

[17] It critiques Poland's culture of complaining and the grayness of everyday life for ordinary citizens, referencing the series of Rainbow burnings on Savior Square[108] and the dangers of associating God and patriotism with hatred.

[110] Alena Aniskiewicz pointed out that Masłowska left little room for interpretative doubt in this song, which serves as a negative judgment of the brutal nationalism of traditional Polish identity, which fuels hatred.

[111] The music video, directed by Maciej Szupica [pl] (Monsieur Zupika) and Krzysztof Kiziewicz (Kee Zee), features Masłowska and Michał Piróg.

[108] In the video, Masłowska plays a character who expresses disapproval of the mere presence of the rainbow, illustrating what she believes Poland should look like – gray and devoid of color (i.e., diversity).

[17] Dorota Masłowska performed songs from her album Społeczeństwo jest niemiłe live with a band consisting of Marcin Macuk, Jakub Wandachowicz, Magda Staroszczyk, and Piotr Gwadera.

[118] In June 2015, Masłowska announced her decision to pause her music career, stating her desire to return to writing and humorously noting that during a concert in Elbląg, she managed to recite almost every line correctly, which she took as a sign that "something is ending".