Congresswoman Lauren Boebert’s characteristically un-leaderly public behavior spilled over into the local news when she attended a performance of Beetlejuice at a theater in downtown Denver. At first she denied it all but then it turned out there were security cameras catching every detail from every angle. So why not create a soundtrack for it? We did.
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LYRICS for Bum at the Play
Sittin’ havin’ too much fun
She was vapin’ when the show begun
Hearin’ complaints roll in
She just huffed and puffed away again, yeah
She’s sittin’ on her bum at the play
Not listenin’ to a thing they say, ooh
Just sittin’ on her bum at the play
She left her home with a “new beau”
Headed for the Denver play
Sportin’ some store-bought cleavage
Puttin’ everything she’s got on display
So, she’s just a sittin’ on her bum at the play
People wishin’ that she’d go away, ooh
Sittin’ on her bum at the play
Looks like nothing’s gonna change
Everything she does seems inane
She’ll never do what civil people try to do
So I guess she’ll remain the same,
Gropin’ with her hand in his zone
As her “new beau” won’t leave her alone
They didn’t really have to roam
Just to act like they’re at home
Now, they’re asking her to please leave the play
While she’s hitchin’ up her dress to stay, ooh yeah
Flippin’ them off on the way
ABOUT THE ORIGINAL SONG
“(Sittin’ On) The Dock of the Bay” is a song co-written by soul singer Otis Redding and guitarist Steve Cropper. Redding recorded it twice in 1967, including just three days before his death in a plane crash on December 10, 1967. It was released on Stax Records’ Volt label in 1968, becoming the first posthumous #1 single in the US. It reached #3 on the UK Singles Chart.
While on tour with the Bar-Kays in August 1967, Redding had grown in popularity and was inundated with fans at his hotel in San Francisco. Rock concert impresario Bill Graham offered him a respite, staying at his houseboat at Waldo Point Harbor in Sausalito, California. It was there where Redding started writing the lines, “Sittin’ in the morning sun, I’ll be sittin’ when the evening comes” and the song’s first verse, under the abbreviated title “Dock of the Bay”.
He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with vocalist Carla Thomas) and Live in Europe, he continued writing lines for the song on napkins and hotel paper. That November, he joined Cropper at the Stax recording studio in Memphis, Tennessee, where they completed and recorded it.
In a September 1990 interview on NPR’s Fresh Air, Cropper said:
“Otis was one of those [guys] who had 100 ideas. […] He had been in San Francisco doing The Fillmore. And the story that I got, he was renting boathouse, or stayed at a boathouse or something, and that’s where he got the idea of the ships coming in the bay there. And that’s about all he had: “I watch the ships come in and I watch them roll away again.” I just took that… and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. […] Otis didn’t really write about himself but I did. Songs like “Mr. Pitiful,” “Fa-Fa-Fa-Fa-Fa (Sad Song)”; they were about Otis and Otis’ life. “Dock of the Bay” was exactly that: “I left my home in Georgia, headed for the Frisco Bay” was all about him going out to San Francisco to perform.
The song features a whistled melody heard before it fades out; it is unclear who performed it. Some sources claim Sam Taylor, a guitarist/bandleader for Redding during the 1960s, overdubbed Redding’s original, weaker whistle. Cropper, however, insists that Redding’s original whistle was used.
Redding continued touring after the sessions. On December 10, his chartered plane crashed into Lake Monona outside Madison, Wisconsin, killing him and six others. After Redding’s death, Cropper mixed “Dock of the Bay” at Stax Studios. He added the sound of seagulls and crashing waves, as Redding had requested, recalling the sounds he had heard staying on the houseboat.
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