LAZIN' ON A COVID AFTERNOON | a Parody by The Freedom Toast | Guest Post

SUBSCRIBE TO BE NOTIFIED WHEN WE RELEASE A NEW VIDEO - Be sure to click the little bell to activate the notification. To help keep Parody Project alive and functioning, please visit https://parodyproject.com/supportus Parody Project Store: https://parodyproject.com/shop To become a Patron of Parody Project please visit our Patreon Page: https://www.patreon.com/bePatron?u=8527316 LYRICS for LAZIN' ON A COVID AFTERNOON By The Freedom Toast - Music by Ray Davies Trump now stars in his own show Full of stuff he doesn’t t know Then there’s that coronavirus, too. And he can’t sail his yacht Pretends to be what he is not He might have coronavirus, too Save me, save me, save me from his sleaze You know, I don’t drink Lysol Don’t inject it, please Gotta make the Donald go away Live to see another day Hope I do not get corona, too In the summertime, In the summertime In the summertime The virus will not go ta-ta Trump stays in his tanning spa Recommending Clorox and club soda He show up with Birx Lots of plans but nothing works Look out, he might have corona, too. Help me help me, helped find a cure Don is pushing snake oil I’m not reassured ‘Cause he touts those drugs that his friends make They do nothing, they are fake No help if I get corona, too In the summertime, In the summertime In the summertime Save me, save me, save me from his sleaze No hydroxychloroquine-ine for me, please Now, I love my mediocrity I feel fine must being me Do not want to get corona, too In the summertime, In the summertime In the summertime ABOUT THE SOURCE MUSIC "Sunny Afternoon" is a song by the Kinks, written by chief songwriter Ray Davies. The track later featured on the Face to Face album as well as being the title track for their 1967 compilation album. Like its contemporary, "Taxman" by The Beatles, the song references the high levels of progressive tax taken by the British Labour government of Harold Wilson. Its strong music hall flavor and lyrical focus was part of a stylistic departure for the band (begun with 1965's "A Well Respected Man"), which had risen to fame in 1964–65 with a series of hard-driving, power-chord rock hits. Sunny Afternoon" was first written in Ray Davies' house when he was sick. He said, "I'd bought a white upright piano. I hadn't written for a time. I'd been ill. I was living in a very 1960s-decorated house. It had orange walls and green furniture. My one-year-old daughter was crawling on the floor and I wrote the opening riff. I remember it vividly. I was wearing a polo-neck sweater." Davies said of the song as well as its recording: "Sunny Afternoon was made very quickly, in the morning, it was one of our most atmospheric sessions. I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it's superstitious, but I believe if I had done things differently—if I had walked around the studio or gone out—it wouldn't have turned out that way. The bass player went off and started playing funny little classical things on the bass, more like a lead guitar: and Nicky Hopkins, who was playing piano on that session, was playing "Liza"—we always used to play that song—little things like that helped us get into the feeling of the song. At the time I wrote Sunny Afternoon I couldn't listen to anything. I was only playing The Greatest Hits of Frank Sinatra and Dylan's Maggie's Farm—I just liked its whole presence, I was playing the Bringing It All Back Home LP along with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I thought they all helped one another, they went into the chromatic part that's in the back of the song. I once made a drawing of my voice on Sunny Afternoon. It was a leaf with a very thick outline—a big blob in the background—the leaf just cutting through it.