WHITER SHADE OF FAIL - A Parody | Freedom Toast - Cinebot Video - Atticus

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 CONTRIBUTE to the PROJECT BTC:              33W8cvkCKupG77ChtTFXeAFmEBCaLcjsBJ ETH:    0x1f36edE7A4F06830D0e3d675776607790a2ce636  SHOP Parody Project Store: PATRONAGE To become a Patron of Parody Project please visit our Patreon Page MAILING LIST (Never Shared) 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.