Party & Bullshit (In The USA) on FuckAdvocacy.com
Below is a copy of a blog post from Cyle Gage at FuckAdvocacy.com, wherein he explains eloquently not just why mashups are awesome, but why Hathbanger's Bootie hit, Party & Bullshit (In The USA) is particularly awesome.
What’s Wrong, And How To Do It Right
by Cyle Cage
Listen to the motherfucking awesome song. Party & Bullshit (In the USA) (Notorious B.I.G. vs Miley Cyrus) For those fools who are unfamiliar, this is from Best of Bootie 2009, an annual album comprised entirely of amazing bootleg mashups. Why is it especially awesome? Because through their music, they transform culture. Really, they take normally earsplitting mainstream shit, smash it together like they do in the goddamn LHC, and transmute it into danceable, art-worthy brilliance.
But I’m singling out “Party & Bullshit (In the USA)” for a reason. The reason is simple and fairly obvious, but I want to explain it for those who don’t pick up on it immediately. This song is taking something that’s doing it wrong and making it right. I like to complain about what’s wrong, but some things deserve a break to be commended. Especially if it’s transformative. So what’s wrong? Miley Fucking Cyrus, that’s what. Honestly, I had never listened (or known that I was listening) to a Miley Cyrus song before this one, mostly because I figured she’d sound just like those other girls. I was wrong. She’s worse.
What I love about this mashup is the contrast, and it’s that satire which makes the music work so well. The song opens with big’s amazingly harsh, thick rap, which I love for its rough honesty. But there’s a nice, light dance beat (like most bootie songs). Talking about smoking blunts at 13 and getting shot at. Then from nowhere, some autotuned 12-year-old’s grating high-pitched voice slices the song up with some bullshit about a Jay-Z song? Putting your hands up? Butterflies? Moving your hips? Aren’t you illegal in most countries, little girl? Party in the USA? This is fucking bullshit, I can’t think of worse lyrics. (And I lived through Staind, Nickleback, and Evanescence.)
And then more of big’s fucking killer lyrics. You read this shit? Compared to modern music, this is Hemingway. NWA might as well be Longfellow, Thoreau, and Emerson. I’m not the biggest fan of rap in the world, but I have a lot of respect for a guy who can stick to a rhyming scheme like it’s nothing. (Yes, biggie rhymes “out” with itself, but Dylan Thomas did that too sometimes.) I have a great deal more respect for motherfuckers like Snoop and Ice-T who rhyme about killing people than anybody who writes a pop love ballad. Poetic conventions in such violent situations? Brilliant. Scare kids into thinking poetry is cool, it works.
The killer, and my favorite part of the song, is big’s swaying jive in the background of Miley’s chorus. Turn it up and listen to it. Party… and bullshit. Party… and bullshit. Fuck Miley Cyrus and her fucking voice. She is what’s wrong. But biggie, even though he’s fucking dead, is making it right.