Lyrics by Atticus of the Democratic Underground and Freedom Toast
Produced by The Freedom Toast - Video Concept and edit by Cinebot Video
Chris Ortiz, vocals - Joel Morris, drums - Arranged by Mac Frampton
Executive Producers for Parody Project: Don Caron and Jerry Pender
SUPPORT
Visit parodyproject.com/supportus
CONTRIBUTE to the PROJECT
BTC: 33W8cvkCKupG77ChtTFXeAFmEBCaLcjsBJ
ETH: 0x1f36edE7A4F06830D0e3d675776607790a2ce636
SHOP
Parody Project Store: parodyproject.com/shop
PATRONAGE
To become a Patron of Parody Project please visit our Patreon Page
/ parodyproject
MAILING LIST (Never Shared)
parodyproject.com/subscribe/
LYRICS
by The Freedom Toast & Atticus
They skipped the Constitution
And befouled the marble floor
TV coverage made me sick
The crowd called out for more
The mob was pressing harder
The police were held at bay
When the Capitol cried out "Help us!"
The White House turned away
chorus:
And so it was that later
Stephen Miller told his tale
And Trump's face, at first just pasty,
Turned a whiter shade of fail.
He said, “T’is not the season,
“To be coming after me”
But the evidence was obvious
We couldn’t let it be.
One of sixteen prosecutions
Whose verdicts will leave him toast
And though cases are still open
They might as well be closed
Chorus:
And so we’re hoping that later
When he’s rotting in his jail
His face without access to makeup
Turns a whiter shade of fail
They had abandoned reason
And truth and decency
So they wandered through the hallowed halls
Of our democracy
Not Patriots but traitors
They'd hoped to hang Mike Pence
Puppets all, they could not see
The Big Lie made no sense
Chorus:
And so it was that later
As he grifted to raise bail
Trump's face at first just pasty
Turned a whiter shade of fail
ABOUT THE SOURCE MUSIC
"A Whiter Shade of Pale" is a song by the English rock band Procol Harum that was issued as their debut record on 12 May 1967. The single reached number 1 in the UK Singles Chart on 8 June and stayed there for six weeks. Without much promotion, it reached number 5 on the US Billboard Hot 100. One of the anthems of the 1967 Summer of Love, it is one of the most commercially successful singles in history, having sold more than 10 million copies worldwide. In the years since, "A Whiter Shade of Pale" has become an enduring classic, with more than 1,000 known cover versions by other artists.
With its Bach-derived instrumental melody, soulful vocals, and unusual lyrics, the music of "A Whiter Shade of Pale" was composed by Gary Brooker and Matthew Fisher, while the lyrics were written by Keith Reid. Originally, the writing credits only listed Brooker and Reid. In 2009, Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords.
In 1977, the song was named joint winner (along with Queen's "Bohemian Rhapsody") of "The Best British Pop Single 1952-1977" at the Brit Awards. In 1998, the song was inducted into the Grammy Hall of Fame.[ In 2004, the performing rights group Phonographic Performance Limited recognized it as the most-played record by British broadcasting of the past 70 years and Rolling Stone placed it 57th on its list of "The 500 Greatest Songs of All Time". In 2009, it was reported as the most played song in the last 75 years in public places in the UK.
Keith Reid got the title and starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale", and the phrase stuck in his mind. The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom the fourth. Claes Johansen, in his book Procol Harum: Beyond the Pale, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act". This is supported in Lives of the Great Songs by Tim de Lisle, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.
Contrary to the above interpretations, Reid was quoted in the February 2008 issue of Uncut magazine as saying:
I was trying to conjure a mood as much as tell a straightforward, girl-leaves-boy story. With the ceiling flying away and room humming harder, I wanted to paint an image of a scene. I wasn’t trying to be mysterious with those images, I was trying to be evocative. I suppose it seems like a decadent scene I’m describing. But I was too young to have experienced any decadence, then. I might have been smoking when I conceived it, but not when I wrote. It was influenced by books, not drugs.