Album: Across America 2000 single/Bring It On Soundtrack
In “Bring It On,” Missy’s brother Cliff comes to the cheerleader’s car wash to tease his sister but mostly to hit on her friend, Torrance.
Missy: Hey perv, hand over your fifteen bucks or get out of here.
Cliff: What are you doing?
Missy: Making money from guys oogling my goodies
Cliff: Ahhh I didn’t need to hear that. That was an overshare.
Since then, the word overshare has entered my vocabulary. It’s one of those movies that whenever when it’s on, I watch and one of the few, I can actually quote even I haven’t seen it in the months. At the end of the movie, outtakes are shown to the music of B*Witched’s cover of “Mickey.” Members of the cast also dance around and lip sync to the song.
Record scratching replaces the drums found in the beginning while the members of B*Witched chant “Hey Mickey.” However, they had add ‘hey, hey’ after each ‘hey mickey’ in the beginning. Some unusual sound effects like people laughing and a baby crying can be heard in the background.
With the exception of the beginning, everything is almost the same. Lead singer Keavy Lynch imitates Toni Basil’s phrasing. But she comes across as domineering and smug instead of mischievous. Mickey can’t go anywhere without granting her permission first. (“You’ve been around all night, and that’s a little long/You think you’ve got the right- but I think you’ve got it wrong…”). She mopes he hasn’t followed through on his promises of spending the night with her yet. (“Cause when you say you will, it always means you won’t…Every night you still leave me alone Mickey”).
The harmonies in the chorus give the single a sweet, warm tone which doesn’t mesh well the verses. However, Lynch accuses Mickey (“it’s guys like you, Mickey”) and patronizes him for not doing what she wants (“Oh Mickey, you’re so pretty, can’t you understand”).
Lynch is buisnesslike as she tries to seduce him (“Now when you take me by the hooves, who’s ever gonna know/And every time you move I let a little more show/There’s something you can use, so don’t say no Mickey…”). After the chorus, the single goes techno for a moment. The vocals are repeated and fade as the record scratches.
Aside from the harmonies and Lynch’s clear enuciation of the lyrics, the humorless cover takes the song seriously. Without the tongue-in-cheek aspect, the song isn’t as enjoyable as it should be.