Neglecting the notion that stupidity is at the forefront of our most popular outlets is the most enraging part of it all.
The injustice spreading rapidly across the American mainstream musical spectrum is truly heart wrenching, like hearing about a massive genocide overseas that you don’t personally have any means of solving.
The problem is out of our hands as more and more generations are exposed to the norm of popular music being utterly worthless and unsubstantial, accepting its mediocrity as a standard and not caring to better it simply because that is all they know it as.
Last summer, it was impossible to avoid “Party Rock Anthem” blaring from too many speakers in the nation. It proclaimed that “Party rock is in the house tonight” and “everybody’s gonna have a good time” before busting out into the signature “party rock shuffle” dance for everyone to endure. High-top laced-up shorty-shorting LMFAO were atop the charts for the first time in their careers with a song that celebrated their entrance into the club. And the rest was history.
Like most pop songs on the charts, “Party Rock Anthem” only caught the least conscious part of the mind with its hook, and the rest was crap.
Its first few seconds featured a cascading electronic melody that continued throughout the song, between features of women who come in to reiterate the point of the song plus plenty of words explaining how to “party rock.” Much of the song as a whole is a repeated set of words like “Get up, get up, get up” and “every day I’m shufflin’, shufflin’, shufflin’.” Gauging more than 430 million hits on YouTube, the single’s music video is currently ranked at the seventh most popular YouTube video of all time.
It’s safe to say that LMFAO can’t be taken seriously simply because they don’t take themselves seriously, no matter how famous they continue to get. Not to say that they’ve been given a proper chance. Sorry For Party Rocking, the capsule that featured the two revolutionary singles, didn’t get a proper listen from the Pop ‘stache team. We assumed it had no redeeming qualities.
Let’s take a look at the splendor that is, or was, “Sexy And I Know It.” What brought chart-topping success to the feel-good flimsy hit? Was it the lyrical content, drenched in pure narcissism? Was it the video, clad with D-listers like Roseanne Barr and Wilmer Valderama alike? Or was it the heavily intoxicating beat, which is high-pitched and nearly too fast to comprehend?
So it’s cool to own what you have. Flaunt it, strut it, work it, whatever. But this went about three steps too far if it wished to promote self-empowerment. Needless to say, it’s hard to see what the world sees in LMFAO. Their songs are about nothing, their branding is ridiculous and their rapping ability is sup-bar. The words are barbaric at times, singing “When I walk in the spot, yeah this is what I see/ everybody stops and they staring at me/I got passion in my pants and I ain’t afraid to show it/ show, it, show it, show it” before delivering the timeless words “I’m sexy and I know it.”
Even the group’s name can’t be taken seriously given what it stands for. It’s almost like they’re asking to be made fun of or picked on, which is exactly what they’re getting.
You know there’s a serious problem with popular culture when the Queen of Pop is invited to perform a medley of her most acclaimed hits at one of the most publicized spectacles of the year, and proceeds to invite a young electro pop group to sing “Sexy And I Know It” between her songs. This is a disgrace to music as we know it. She could’ve mesmerized with “Material Girl” or “Crazy For You,” but instead retreated to a shameful jersey-laden duo to, most likely, appeal to a younger audience.
Still, Madonna’s performance wasn’t highly regarded. LMFAO was brought in to save the show and failed. Younger audiences were bound to view Madonna as an old hag regardless if they were reeled in by their favorite electro pop duo, whereas long standing Madonna fans were certain to ask, “who the hell are these losers?”
A lot of it comes down to a “who the hell?” type of question. Who the hell digs this and who the hell are LMFAO? Who the hell cares, and why can’t they shut the hell up (or take a cue from their ancestors)? The world may never know.