I like to call this a fantasy parody. Its content is rooted in fantasy, not observation of actual events. But the facts indicate that the outcomes described herein could not only be possible but also be quite likely. In this fun parody we “take down names and kick some ass.” Executive Producers Don Caron & Jerry Pender
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by Don Caron
He’s a shark, babe knows the truth, dear
and that knowledge will be his bite
But what’s known by that old Jack Smith, babe
he keeps it out of sight.
You know when he decides to use those teeth, babe
fear and caution will quickly spread
It’s a trick by
that old Jack Smith, babe
to uncover everything that was said
‘Cause he is willing, uh-huh, huh to take the action, uh-huh
against those fakers that take the fifth
Already someone has started talking
Yeah, they’ve been chatting it up with old Jack Smith
So he subpoenaed that Michael Pence guy, don’cha know
who’s oh so crafty with his retort
But all that changes when under oath, dear
Those gears start shifting when it hits the court
Now did you hear of Eastman?
how he bragged to Ari
about drawing out his plan for a coup
Corrupt intent goes with every crime, babe
You will see before Jack Smith is through
There’s Louie Gomertoh, Lauren Boebert
Madison Cawthorn, and old Mo Brooks
Oh, the line forms on the right, babe
in that kitchen full of crooks
Ah, don’t forget Scott Perry and Jim Jordan
Paul Gosar and Andy Biggs were both around
Bad news Matt Gaetz MTG and others
Now, that Jack Smith is in town.
ABOUT THE ORIGINAL SONG – Mac the Knife
“Mack the Knife” or “The Ballad of Mack the Knife” (German: “Die Moritat von Mackie Messer”) is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their 1928 music drama The Threepenny Opera (German: Die Dreigroschenoper). The song sings about a knife-wielding criminal of the London underworld from the musical named Macheath, the “Mack the Knife” of the title.
It was Louis Armstrong who first introduced the vocal version of “Mack the Knife” to the United States hit parade. George Avakian, a producer at Columbia Records, whose wife Anahid Ajemian gave a recital of Weill’s Violin Concerto in 1954, became interested in Weill’s music, in particular the song from the off-Broadway production of Three Penny Opera that he had seen. He spent a few months trying to interest various jazz artists from his label to record “Mack the Knife”.
The most popular version of the song was by Bobby Darin in 1959, whose recording became a number one hit in the US and UK and earned him two Grammys. Ella Fitzgerald also received a Grammy for her performance of the song in 1961.
A Moritat is a medieval version of the murder ballad performed by strolling minstrels. In The Threepenny Opera, the Moritat singer with his street organ introduces and closes the drama with the tale of the deadly Mackie Messer, or Mack the Knife, a character based on the dashing highwayman Macheath in John Gay’s The Beggar’s Opera (who was in turn based on the historical thief Jack Sheppard). The Brecht-Weill version of the character was far more cruel and sinister whose crimes included rape and murder, and transforming him into a modern antihero.
The song was a last-minute addition that was inserted before its premiere in 1928 because Harald Paulsen, the actor who played Macheath, demanded that Brecht and Weill add another number that would more effectively introduce his character. However, Weill and Brecht decided the song should not be sung by Macheath himself, opting instead to write the song for a street singer in keeping with the Moritat tradition. At the premiere, the song was sung by Kurt Gerron, who played Police Chief Brown. Weill intended the Moritat to be accompanied by a barrel organ, which was to be played by the singer. At the premiere, though, the barrel organ failed, and the pit orchestra (a jazz band) had to quickly provide the accompaniment for the street singer.
The song was introduced to American audiences in 1933 in the first English-language production of The Threepenny Opera. The English lyrics were by Gifford Cochran and Jerrold Krimsky. That production, however, was not successful, closing after a run of only ten days. In the best-known English translation, from the Marc Blitzstein 1954 version of The Threepenny Opera, which played Off-Broadway for over six years, the opening stanza reads:
Oh, the shark has pretty teeth, dear,
And he shows them pearly white
Just a jack-knife has Macheath, dear
And he keeps it out of sight
AND WE HAVE SOME FUN STUFF IN THE PARODY PROJECT STORE
One of your best ever. I do hope this all turns out just the way you’re singing it.