For a video with so much resentment, its paradoxically display proved some-what worthy. The female vocals on the track were supplied by singer Shahin Bader, and the harmony and lyrics were based on ‘Nana (The Dreaming)’, released in 1992 by Sheila Chandra. The video itself was inspired by the opening sequence of Oscar-winning director Kathryn Bigelow’s 1995 film Strange Days. It questions the ostracisation of an amoral nihilism, calling on ‘gender-switchers’ taking the protagonist’s identity, motivation, and background and mixing it through the inducement of vices in the act of gestures, movement, and lyrical inclination. The unedited version of the video, which is available online, includes scenes of partaking in needle candy, an old-fashioned drunk-hit-and-run, fights with men (and women), and girl-on-girl sex Depicting a night out in London, the video is filmed from a first-person perspective graphically introducing to viewers the protagonist’s heavy drinking, cocaine snorting, violent in fuelling, vomit ensuing and of course, the final hoorah of the night, sex with a stripper. The music video can be seen as either a misogynistic rant, a feminist satire, or a combination of both.
The track’s heavy breakbeats and synthesiser-generated loops and patterns, combined with a distorted voice, burning into the moral experience of gender role attitudes. That said, the line ‘ Change my pitch up, smack my bitch up’ was sampled from Ultramagnetic MCs’ ‘Give the Drummer Some’, which was tainted with transparently misogynistic lyrics: ‘Smack my bitch up, like a pimp’. Feminist groups were outraged by the ‘violent’ track and participated in a collective hallucination of misogyny, forgoing the song’s refrain’s ‘cultural competence’. This turns on the moralisation switch, eroding gender reversals and proclaiming the very definition of the human predicament. ‘Smack My Bitch Up’ employs a sense of enigma that uses feminist scorn that stretches between narrative and aesthetic interaction. In particular, a woman whose ‘fabrication organ’ can also be officious, harebrained, and callous can be replaced by the quirks of false feminism. Little did we know, that track was going to inject its listeners with the hypodermic needle theory from a very early age by a group of musicians already condemned by Hilary Clinton.
A song consisting of only eight words repeated over a layer of acid-like synth, which was cut, distorted, and re-pitched (and repeated), would gradually explain through a non-diegetic model that the gendered self can create illusions. Released in 1997, ‘Smack My Bitch Up’ was the third and final single off the band’s album The Fat of the Land, produced by Liam Howlett.
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