The best satire targets right now are the ones where reality already feels one step away from parody. The world is now rich with contradictions, ego, hypocrisy, and absurd systems—not to mention the weirdness of high-ranking individuals.
Executive Producers Don Caron and Jerry Pender
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LYRICS by Don Caron
replaced with A-I
A-I writes the email
that tells them goodbye
And they think to themselves
What a crazy-ass world
AI will then fire
that same CEO
Now that will most certainly
come as a blow
And he’ll think to himself
What a crazy-ass world
her journey to health
Her recovery from burnout
now bringing her wealth
by posting at least
19 hours each day
to teach you how to
keep burnout at bay [verse 2] TikTok introduces
a useful new tool
Raw Authenticity Filter,
But what does it do?
You will think to yourself
What a crazy-ass world
Try it free you can see
how that makes you feel
It’s designed to make you
authentic and real
And you’ll think to yourself
What a crazy-ass world
scaling down as he says,
“We all need to tighten
our belts for the Prez”
“So I will commit to fly
only on coach
On all trips that last
10 minutes at most” [Verse 3] The president’s spending
Two billion each day
On a war. We’ll never
be able to pay
And we think to ourselves
What a crazy-ass world
He just laughs and says,
“I’ve a ballroom to build.”
Like nothing you’ve seen.
I have statues to gild
And we think to ourselves
What a crazy-ass world
And we think to ourselves
What a crazy-ass world
ABOUT THE SOURCE MUSIC
“What a Wonderful World” is a song written by Bob Thiele (as “George Douglas”) and George David Weiss. It was first recorded by Louis Armstrong on August 16, 1967. In April 1968, it topped the pop chart in the United Kingdom, but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.
After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100. Armstrong’s recording was inducted into the Grammy Hall of Fame in 1999.
Composition and production
Thiele, using the pseudonym George Douglas, co-wrote the song with George Weiss. Thiele’s real name has been used for the composer credits from 1988 onward. Thiele said the following regarding his inspiration for the song: “[I]n the mid-1960s during the deepening national traumas of the Kennedy assassination, Vietnam, racial strife, and turmoil everywhere, my co-writer George David Weiss and I had an idea to write a ‘different’ song specifically for Louis Armstrong that would be called ‘What a Wonderful World.'” Thiele also produced the original recording of the song, using his real name for the production credit. In Graham Nash’s book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong’s ability to bring together people of different races.
Armstrong was gigging at the Tropicana Hotel in Las Vegas, so he chose to record the song nearby at Bill Porter’s United Recording studio. The session was scheduled to follow Armstrong’s midnight show, and by 2 a.m. the musicians were settled and tape was rolling. Arranger Artie Butler was there with songwriters Weiss and Thiele, and Armstrong was in the studio singing with the orchestra. Armstrong had recently signed to ABC Records, and ABC president Larry Newton showed up to photograph Armstrong. Newton wanted a swingy pop song like “Hello, Dolly!”, a big hit for Armstrong when he was with Kapp Records, so when Newton heard the slow pace of “What a Wonderful World”, he tried to stop the session. Newton was physically removed and locked out of the studio for his disruption, which resulted in Newton later refusing to promote the song.
A second problem arose with the taping session when nearby freight train horns interrupted the music twice, forcing the orchestra to start over. Armstrong shook his head and laughed off the distractions, keeping his composure. The session ended around 6 a.m., going longer than expected. To be sure the orchestra members were paid extra for their overtime, Armstrong accepted only $250, musicians’ union scale, for his work.