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the fine art of PARODY...

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The Magnificent Goldberg Newbie

The Magnificent Goldberg

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I also like Stan Freberg. Here's a send up of Les Paul & Mary Ford's "The world is waiting for the sunrise"

http://uk.youtube.com/watch?v=Bo-nOFyHDow

And "The old payola roll blues". Freberg really HATED Rock & Roll. My friend and I used to mime to this as our party piece back in 1960. I was Clyde Ankle, he was Freberg.

http://uk.youtube.com/watch?v=JOY6-fttd3Y

MG

Larry Kart Proficient

Larry Kart

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Joe Goldberg's parodies of various jazz critics (especially Whitney Balliett) in a Jazz Review piece was right on target and damn funny. Thought I'd posted it here once but can't find by searching and don't feel like typing it all in again.

Ken Dryden Experienced

Ken Dryden

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Go to National Banana dot com and view the parody of the Cialis television commercial, starring Cuba Gooding.

They also have Senator Larry Craig in a claymation music video and a terrorist soap opera called Sands of Passion.

paul secor Newbie

paul secor

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Joe Goldberg's parodies of various jazz critics (especially Whitney Balliett) in a Jazz Review piece was right on target and damn funny. Thought I'd posted it here once but can't find by searching and don't feel like typing it all in again.

Here it is:

This may have come up here before, but one of the funniest and most accurate parodies I've ever read is Joe Goldberg's of Whitney in a piece Goldberg wrote for The Jazz Review back '59 or '60, reprinted in the book "Jazz Panorama." The setup is that two previously unknown musicians (read Ornette and Don Cherry) have just cropped in NYC, trumpeter Ansel Jones and pianist Porter Smith. The Jones-Smith Duo, get it?

"Much of Ansel's life in music," Goldberg writes,"is explained by his instrument, a strange, ungainly copper trumpet. All his life, Ansel had wanted to become a serious composer, and had saved his pennies so some day he might attend to Juilliard School of Music. The day after his application to Juilliard had been refused, Ansel walked calmly into the metal working shop at high school, carrying the pennies he had been saving. Without a word, he tossed them into one of the huge cauldrons there. By night he had melted them down and had forged from the molten copper a trumpet.

"He and pianist Porter Smith form the entire group. Naturally, their exclusion of the conventional rhythm section raised several questions, and for the answer to those, we turned to Porter Smith, who can be more articulate about his music than can Ansel. 'We don't need no rhythm,' he said."

There follows imaginary responses to the duo's music on the part on such critics as Ralph J. Gleason (it begins: "I like this group, and anybody who doesn't had just better not ever talk to me again, that's all"), Gene Lees ("I'm not as friendly with Ansel Jones as I am with Quincy and some of the other guys..."), Martin Williams ("It is impossible to write about the music of Ansel Jones without using the word 'artist'....), etc. Here is the Balliett parody in full:

"Ansel Jones, a thin, diffident young man who resembles a twelve-stringed lute placed on its end at an angle of seventy-three degrees, is getting music from his self-smelted horn that may radically change the shape of jazz. In a typical solo, he will start with a sort of agonized laziness, as if he were awakening from a dream caused by eating too much welsh rarebit the night before, and then, in the third chorus, he will, in a series of short, splatting notes that give the effect of a catsup bottle hit once too often on its end, abruptly switch into a fast tempo that belies the furry bumbling that preceded it. All this time, his pianist, Porter Smith, lays down a firm, inky foundation that anticipates the leader's meanderings with the precision of a seeing eye dog weaving its way through a Coney Island beach crowd on the Fourth of July. In one composition, 'Duplicity,' the two men hit the same note simultaneously midway through the second bridge, and it had the shattering emotional impact of two old friends meeting by chance after years of aimless wandering."

danasgoodstuff Community Regular

danasgoodstuff

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How 'bout this 'un from Ira Gitler's notes to Lee Morgan's The Rajah:

Next up is The Rajah by Morgan, some eastern funk in the manner of the Silverstan where the Horajah rules. Mobley levitates above the swaying-elephant beat --one foot in the howdah, so to speak; Morgan, as the head mahout, prods, punches and trills out his earthy lyricism; and Walton shows he has bathed in the holy, blues waters. Then Lee and Hank trade chorueses that will heat up the inside of your turban and send it spinning around on your head.

Intentional self-parody? I sure hope so...

BillF Mentor

BillF

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How 'bout this 'un from Ira Gitler's notes to Lee Morgan's The Rajah:

Next up is The Rajah by Morgan, some eastern funk in the manner of the Silverstan where the Horajah rules. Mobley levitates above the swaying-elephant beat --one foot in the howdah, so to speak; Morgan, as the head mahout, prods, punches and trills out his earthy lyricism; and Walton shows he has bathed in the holy, blues waters. Then Lee and Hank trade chorueses that will heat up the inside of your turban and send it spinning around on your head.

Intentional self-parody? I sure hope so...

Very Gitler indeed! He always was fond of "Horace mines a vein of Silver", etc! :lol:

kinuta Newbie

kinuta

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Got to mention The Rutles.

The quality of music is quite something. They really captured the essence of you know who.

http://jp.youtube.com/watch?v=297zDxqzUJo

This song, "Cheese and Onions," sounds so much like the real thing that it apparently even fooled some Beatles fans and wound up on bootlegs.

Cheese and Onions

Indeed. Listen to this take of 'Cheese & Onions'. Quite remarkable.

http://jp.youtube.com/watch?v=l6HWOSyaTJI&...feature=related

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