A blog about societal, cultural, and civilizational collapse, and how to stave it off or survive it. Named after the legendary character "Crazy Eddie" in Larry Niven and Jerry Pournelle's "The Mote in God's Eye." Expect news and views about culture, politics, economics, technology, and science fiction.
This song treats the Trump shenanigans in recent days as he has escalated a trade war with Canada and – when faced with defiance and the threat of counter tariffs – indulged in petty statements and pathetic acts such as sanctimoniously renaming Lake Ontario as ‘Lake America’. We have been inundated with requests from Canadian followers for something on this topic (including plenty of suggested lyrics and songs) – but we’ve stuck to our own model and selection, which we nearly always do. We wanted to use an iconic Canadian musician for the parody, and opted for the cutting tongue and clean spiky sound of Alanis Morissette – whose show Danielle loved seeing live in London recently. "Jagged Little Pill" was one of our favourite albums - coming out in 1995 when we first met at uni - and "Ironic" (co-written and produced by Glen Ballard) topped the Canadian chart for six weeks when released, thanks in part to a memorable music video that showcased different characters/versions of her.
After President Trump took offense to an advertisement featuring Ronald Reagan, he threatened Canada with major tariffs. Here now is Canada’s official response.
Karoline Leavitt is leaving her role as White House Press Secretary and spokesperson for Donald Trump at the end of this week. So we didn't want to let the moment pass without marking it. We used for our parody the emotional and uplifting ABBA ballad farewell song "Thank You For The Music" - originally released in 1978 and penned by the inimitable Benny Andersson and Björn Ulvaeus.
I'd say good riddance except that I'm sure her replacement will be worse. They almost always are in Donald "Pervert Hoover" Trump's White House.
‘Down in the Valley’ – sometimes also known as ‘Birmingham Jail’ – is a traditional American folk song that was circulating in earnest in the 1920s. Versions have been recorded by a huge set of music icons, with our favourites including those of Pete Seeger, Tex Ritter, the Blue Ridge Mountain Boys, Solomon Burke, and a Glen Campbell version which encouraged us to include modulations up a perfect fourth cos they’re very uplifting.
The song comes from a deep heritage mixing English, Irish, Scottish, Appalachian, and Ozark influences, with its distinctive mournful (perhaps jailhouse) waltz. For our version we’ve stepped away from a love ballad, but there is a lament in the arrangement and it hopefully feels resonant of US pioneer history. It contemplates how some of the more progressive ideas that were kindled by early generations of Silicon Valley entrepreneurs have been flamboyantly cast aside by the latest cohort, as they move aggressively to embrace a different set of values – scrabbling for an ever-more concentrated and destructive matrix of resources and power, while backfilling flimsy self-oriented rationales. Not that US tech or Silicon Valley didn’t always have its fair share of corporate greed, competition, and self-promotion, but there was often at least a veneer of social conscience, environmental mindfulness, techno-altruism, and a kind of confidence and coolness that the current crop of tech bros have lost, as they suck at whatever teat will fit with their fantasies of deregulation, accumulation, and self-glorification.
The lyrics referencing The Lord of the Rings remind me of Vox asking 'What would J.R.R. Tolkien think of Palantir?' "[C]yberpunk villain ideas straight out of SnowCrash" and "bad readings of classic fantasy." Also, William Shockley serves as a cautionary tale that Silicon Valley has seen brilliant people go bad in similar ways before.
As for the techbros resembling Bond villains, I've said that before, writing "Musk thinks he's Tony Stark (the "real-life Iron Man"), but he's really a Bond villain, specifically a cooler version of Hugo Drax." I also reacted to a video that is no longer available by referring to a parody of a 007 villain.
Ready to protect nature’s top jungle predators? On this episode of National Day Spotlight (https://nationaldaycalendar.com/), Marlo Anderson (https://marloanderson.com/) and co-host Alice Anderson are looking to conservation efforts for International Tiger Day... They’ll focus on vanishing wild habitats and the global efforts underway to ensure a safe future for these animals of majestic stripes. Tune in for an inspiring look at wilderness protection!
I'm not done with environmental holidays, as tomorrow is Earth Overshoot Day for 2026. I'll mention it, but I think it will play second fiddle to the Emmy Awards. Americans are quite clear about our screwed-up priorities, and I'm an American. Stay tuned.
Wishing a very happy #4thJuly to our many friends and supporters in the USA. To mark the 250th anniversary today, we've re-adapted the British popular 18th-century song "The Anacreontic Song" which became the US national anthem the #StarSpangledBanner after Francis Scott Key wrote powerful and moving words to describe the survival of a fort under bombardment during the War of 1812 (against the British).
We've taken as our topic for the re-adaptation the current state of the United States in 2026 as seen against its majestic history, using the metaphor of a ship sailing. Lyrics below, with nods to some of the great speeches and moments in American history, and with hopes that the current distortion of its values and direction will not endure, but be another storm to pass through.
I never thought I'd enjoy the national anthem in a minor key, but I did.
That's a wrap for today's musical post. This year's Primetime and Creative Arts Emmy Awards nominees will be announced later today, so stay tuned as I begin my examination of them as early as tomorrow.
"Patches" with its soaring vocals and soulful energy, and its sad and empathetic storyline about a farmboy from Alabama being given a mission by his dying father, has always been a favourite for us. Sung by the late Clarence Carter - who sadly died just last month, aged 90 - it was written by lead singer of "Chairmen of the Board" General Johnson along with Ron Dunbar in 1970, before Carter turned it in to a blues hit.
We are using it for a much more mundane topic than the affliction of southern rural poverty on a family, which is to reflect on Trump's disastrous ($14m and counting) renovation attempts of the Lincoln Memorial Reflecting Pool in Washington DC, which will now not be complete in time for the anniversary celebrations. The story has travelled around the world and prompted lots of hilarious online memes and commentaries, being such an accessible and colourful microcosm of his presidency and its impact.
One of my favorite versions of "Kodachrome" is from Simon and Garfunkle concert in Central Park, where they mashed it up with "Maybellene". This song parody turns it into "Algae Foam" to continue making fun of Donald Trump's Reflecting Pool debacle.
The Reflecting Pool hasn't made Patrick Fitzgerald forget about the EpsteinFiles.
That's a wrap for today's musical parody post. Stay tuned for InternationalAsteroidDay, the younger but paradoxically more established version of Apophis Day, to close June, and Canada Day to begin July.
“Lyin’ Eyes” was written by Don Henley and Glenn Frey, released by California’s rock legends The Eagles in 1975. It was apparently inspired by their visions of many beautiful younger women with older husbands in Los Angeles, who they imagined leading double lives and lying and cheating. So it’s a story about moral reprobates, hypocrisy, double standards, and virtual self-prostitution, which made it perfect to adapt to address J.D. Vance’s latest foray into European politics.
Plenty of muck-stirrers had already sought to whip up anger and outrage in the wake of the tragic murder of Henry Nowak, and the horrendous footage and troubling backstory. These included Nigel Farage, Tommy Robinson, Rupert Lowe, and Elon Musk. But Vance – who had met several of the more disturbing UK ‘politicians’ last summer – in his inimitable style took things to a new level.
Vance showed wanton disregard for the grieving Nowak family’s own stated request: “We do not want his death to be used to create further division, hatred, or tension.” He shared footage of the eighteen-year-old’s ghastly final moments, let down by mistakes by British police officers under huge stress, and crassly linked it to fears about migration, civilisational collapse, hatred, invasion and anger. It was a sick message that has been amplified on Twitter/X and, at point of writing, has over 10m views.
We didn’t even have time to get into the hypocrisy of casting stones across the Atlantic by this administration or this chameleon. But the song’s intended to express that the behaviours, ideologies and values that Vance and his ilk embody, particularly in this tragic moment, are anathema to most in the UK, and we suspect most Europeans. They are like a cancerous cell in the tissue of what we understand being ‘civilised’ means, and they are threatening to metastasise.
Happy Throwback Thursday! Before I look back at last year's top posts, I'm returning to current events, namely the royal visit of King Charles III and Queen Camilla. Take it away, Seth!
Seth takes a closer look at Trump getting roasted by King Charles III over his $400 million golden ballroom, which Republicans are now insisting should be funded by taxpayers.
King Charles visits Congress for open mic night, and Trump tries to out-tyrant His Majesty with another indictment of former FBI Director James Comey, this time for the "crime" of posting a photo of seashells spelling out "8647." Josh Johnson breaks down MAGA world's feverish accusations against Comey, and Grace Kuhlenschmidt decodes other treasonous hidden messages at the beach.
I'm old enough to retire and in all my years I don't think I've ever written that the King is funny, but he is, and not unintentionally like Joseph II, the Austrian Emperor in Amadeus. Oh, we're getting a remake of that, too.
On the other hand, the second indictment of Comey is both serious and ridiculous. The Daily Show managed to get the right level of comedy out of this personal vendetta disguised as an official act.
King Charles and Queen Camilla spent the day in New York, last night they were honored with a lavish dinner at the White House, Charles is here trying to mend the fractured relationship between the U.S. and everyone else, he gave Trump a big shiny golden bell, his MAGA-sty offered some remarks about the royal mess he’s made in Iran, he posted a truly unhinged picture of himself this morning holding an assault rifle, the State Department is planning a limited edition passport with Trump’s face on it, Donald welcomed the astronaunts from Artemis II to the White House, he has an absolutely pigeon-brained vendetta against former FBI Director Jim Comey, and with everything going on it’s very clear that Trump isn’t well, but help is a TrumpRX prescription away!
I need a new passport, but I'm definitely not going to Washington D.C. to get one with Hoover Harding Cleveland's face on it. Yuck!
King Charles arrived just a few hours ago on a diplomatic mission that has been ludicrously overegged, given the track record of the man he is visiting. So here's our adaptation of a classic British Army marching song (that developed in the seventeenth century and became a staple in the eighteenth - including in the colonies and the Revolutionary War that saw the USA declare its independence). The British Grenadiers is a rousing tune - for many still a regimental quick march - and often a feature of the Trooping the Colour ceremony. Before people wring their hands at adapting it, it's been a recurring theme throughout its history - including notoriously by Joseph Warren (his was called "Free America") in 1774, just before the War of Independence began. We kept to some archaic language to give it the right feel, and had a stab at our own arrangement for who had instruments at home - though a hasty one, on a school night. There are references in there to scrofula, a recent UK ambassador and we removed powwow but kept kowtow after checking about usage and implications - but apologies if any offence caused. We're thinking about recording a few like this in the run-up to the 250th anniversary, so this is a kind of test case :)
Hah! Make more like this!
Follow over the jump for a retrospective of the top posts featuring late-night talk-show hosts during the 15th year of Crazy Eddie's Motie News.
The issue of Christian nationalism and claims to righteousness for US military action has surfaced in a few stories this week, so we decided to merge them together in one song. We had to pick something from the Pulp Fiction soundtrack (1994), because that’s the movie script that’s been in the media spotlight since being bizarrely parroted in a prayer service at the Pentagon led by the US Secretary of Defence, Pete Hegseth. Although we were sorely torn by “Son of a Preacher Man” (a better song), in the end we plumped for the iconic twist track that features the smooth moves of Uma Thurman and John Travolta in a café running a dance contest, and is titled “You Never Can Tell” (though often referred to as “C’est La Vie”). The track was written by Chuck Berry while he was in federal prison and finally released in 1964.
The verses gave us the chance to poke some fun at three circling stories: Pete Hegseth’s language and attempt to render a Samuel L. Jackson monologue, amidst his hawkish attitude and celebration of violence and vengeance in the Iran war; Donald Trump’s posting on his Truth Social account of a ridiculous picture of him in a Christ-like pose, before backtracking and claiming he thought he was a doctor; and the deepening chasm between the White House’s discourse and policies and the Christian ethos explained by the Pope.
That's a wrap for today's brief entertaining entry. Stay tuned for the next episode of my series on the News & Doc Emmy Awards with the nominees for Outstanding Nature Documentary on Wayback Wednesday, which falls on Earth Day.
There are obviously lots of angles to this story, and it’s dangerous to wade into things without knowing how they will play out. So we waited to see if anything positive might emerge after the initial assassination of the despicable Khamenei (whose name was in an early draft of a chorus), and what the Trump administration/regime’s purported rationale was … and over subsequent days as we watched the grotesque media performances by Hegseth, the missiles killing children not just tyrants, and the escalation of damage and casualties without any sign of a coherent policy or endgame, we made the song about how it’s dangerous to wade into things without knowing how they’re going to play out.
If we’d known undead Tony Blair was going to remerge from the media crypt with some pearls of wisdom on Sunday, we would have probably made space to take the piss out of that ... but it would have been counterproductive to just parachute in (a bit like in 2003).
The original track “Eve of Destruction” was only reluctantly laid down at the end of a recording session by a gravelly-voiced Barry McGuire, and the demo leaked to a radio station where it was an instant hit in a country torn apart and increasingly divided over foreign wars and domestic protests in late 1965. Phil Sloan wrote the song months earlier, after the Gulf of Tonkin incident that was central to LBJ’s justification for US escalation in Vietnam. We had it on our radar for a future conflict, but want to give a shoutout to Kevin Ellis for urging us to use it to address this conflict.
If you want to hear a properly mixed folk-pop song of ours about the heroic protest movement in Iran, then you can find “Zan Zendegi Azadi” on our forthcoming album.
With luck, this might not be worth sharing in April, because by then the conflict might be over. High oil prices are bad for the economy and worse for Donald "Hoover Harding Cleveland" Trump and the Republicans running for Congress. He might just declare victory and quit bombing. All of us should be so lucky.
Here’s a weeknight speedy turnaround musical parody (missing Tess and Alfie cos unavailable) on the UK fallout linked to the Epstein files, and specifically the former US Ambassador and British Lord, Peter Mandelson’s friendship with Epstein, and the bigger implications of his omissions and appointment rippling through Westminster. Naturally we picked a song from a movie about proteges, covert relationships, virtues and vices, which is another toe-tapping Paul Simon favourite, “Mrs Robinson” – recorded with Art Garfunkel in 1968. The song became the duo’s second number one, and the first rock song to win the Grammy award for Record of the Year. Apparently when the melody was first written there was no name in it, so it could be suited to any three syllable name – which helps explain why Mandelson seemed to fit so well.
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A “SPAD” is a special adviser to UK politicians (usually a high-level civil servant) – and two resigned in the last day or so who were central to Starmer’s government operation.
The British government seems to be facing consequences faster than the American government. I wonder why that is?
That's a wrap for today. Stay tuned as I plan on examining horror movie nominees for Friday the 13th. Frankenstein!
My planned "brief entry worth sharing next month" grew yesterday with two major artists releasing protest songs along with my original choice, the Marsh Family. The biggest artist and most popular song is Bruce Springsteen - Streets Of Minneapolis (Official Audio).
Lyrics:
Through the winter’s ice and cold
Down Nicollet Avenue
A city aflame fought fire and ice
‘Neath an occupier’s boots
King Trump’s private army from the DHS
Guns belted to their coats
Came to Minneapolis to enforce the law
Or so their story goes
Against smoke and rubber bullets
By the dawn’s early light
Citizens stood for justice
Their voices ringing through the night
And there were bloody footprints
Where mercy should have stood
And two dead left to die on snow-filled streets
Alex Pretti and Renee Good
Oh our Minneapolis, I hear your voice
Singing through the bloody mist
We’ll take our stand for this land
And the stranger in our midst
Here in our home they killed and roamed
In the winter of ’26
We’ll remember the names of those who died
On the streets of Minneapolis
Trump’s federal thugs beat up on
His face and his chest
Then we heard the gunshots
And Alex Pretti lay in the snow, dead
Their claim was self defense, sir
Just don’t believe your eyes
It’s our blood and bones
And these whistles and phones
Against Miller and Noem’s dirty lies
Oh our Minneapolis, I hear your voice
Crying through the bloody mist
We’ll remember the names of those who died
On the streets of Minneapolis
Now they say they’re here to uphold the law
But they trample on our rights
If your skin is black or brown my friend
You can be questioned or deported on sight
In chants of ICE out now
Our city’s heart and soul persists
Through broken glass and bloody tears
On the streets of Minneapolis
Oh our Minneapolis, I hear your voice
Singing through the bloody mist
Here in our home they killed and roamed
In the winter of ’26
We’ll take our stand for this land
And the stranger in our midst
We’ll remember the names of those who died
On the streets of Minneapolis
We’ll remember the names of those who died
On the streets of Minneapolis
We hope the good people of San Francisco won’t mind us adapting this iconic track (about their city in the sixties, in the midst of protests and the counterculture movement) to treat the tragedies in recent days and weeks in Minneapolis. The original song was written by John Phillips (of "The Mamas & the Papas") and first released (sung by Scott McKenzie) in 1967, reaching number one in the UK, Germany, Ireland, and New Zealand charts, though only fourth in the US. We chose it because of its link to protest, its soaring refrains, its simplicity, its earnestness, and its celebration of love and solidarity. In our arrangement we haven’t double tracked the vocals but have added harmonies and mandolin/violin lines.
We hope it serves its aim, which is to express solidarity with the courageous and valiant protesters in Minnesota (and beyond), and to memorialise Renée Good and Alex Pretti, and sing their names across the ocean: two innocent American citizens executed on the streets in appalling scenes that so obviously echo waypoints in the historical march of fascism. Taking on the guns, masks, fear, and falsehoods requires more than flowers and songs. But they are powerful nonetheless, especially if they remind folk of previous generations that navigated trauma, and that you are not alone, and others are being inspired your courage and actions in the face of the winter of our times.
Tragedy and outrage are inspiring great music, which I'll let speak for itself.
“Islands in the Stream” was written by the Bee Gees, named after an Ernest Hemingway novel, and first intended for Diana Ross … but it found its most famous home in the epic country rendition released by Kenny Rogers and Dolly Parton in 1983 which was Dolly’s second number one hit – knocking Bonnie Tyler’s “Total Eclipse of the Heart” off the top spot!
We had planned to do a cover of it to mark Dolly’s 80th birthday earlier this week. But with the bizarre episodes engineered by Donald Trump and some of his despicable false claims about NATO and track records dominating headlines this week, we determined to create a parody reflecting on his increasingly rambling, drivelling, narcissistic, and palpably untrue speeches – including notably the one he gave at Davos as he climbed down (for now) from his bullying of Greenland (not Iceland, as in the clip).
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*Update 12 hours after upload: thanks for helpful people adding to our fact checking, and reminding that although Trump “taunted men who served as soldiers” there were also many female service people and sadly casualties in the Afghanistan operation.
I feel you, Marsh Family, and so do many other Americans.
Stay tuned for this year's unveiling of the Doomsday Clock. How many seconds to midnight are we now?
This is a hasty cover of Erma Franklin's 1967 belter, written by Jerry Ragovoy and Bert Berns, that is one of our favourite soul tracks, and only lost out to a Grammy to her younger sister Aretha in 1969 ("Chain of Fools"). It had a resurgence in Europe in the early 90s after the end of the Cold War thanks to a Levi jeans advert, and its highest chart position for the re-release was number 5 ... in Denmark.
Our treatment pays tribute to the Danes (who suffered proportionally among the highest casualties in wars supporting the USA after its triggering the collective security clauses of NATO in places like Iraq and Afghanistan), and who are being shaken down at the moment by the likes of Trump, Vance, and Miller in their bid to bully Europe to agree to the annexation of autonomous Greenlanders. You probably don't need a link to make sense of this, as it's all over the news, but in case...
There are (again) some rude words in our parody lyrics, for which apologies, as we continue to respond to stress by swearing, which can actually be very cathartic and good for you, as long as you can stop it spreading to your kids...
The “Battle Hymn of the Republic” is an iconic American song, drawing on lots of roots and precursors, but pulled into its most famous shape by abolitionist Julia Ward Howe. During the American Civil War it became a signature marching song for the Union Army, linked to patriotism and faith, and has since become part of the canon of American national music. We do not attempt or treat it lightly, but our version reflects on how the first week of 2026 has already seen Trump's troops advancing his domestic and foreign policy agendas. Every marching step is another step away from the principles and traditions embedded in the song: we have seen the transgression of international law in Venezuela, the murder of unarmed Americans in Minneapolis (and its defence by the administration), the US's withdrawal from multiple international organisations, and explicit threats issued to other sovereign powers and polities, including Greenland.
The song Billy Jean was a fictional narrative about a woman who makes false claims and goes from desirable to undesirable. Released in 1983, it was the second single from the fantastic album “Thriller” and became Jackson’s best selling solo single. Lots of his lyrics address paranoia and distrust, but it was the fit of the protagonist’s name in the chorus that really clinched an idea for us to take on this classic pop-disco track.
We’ve twisted the words around the story of Marjorie Taylor Greene, and how one of the vocal “Big Beasts” of Trump’s support base has now rancorously broken with him.
*Snork* MTG as a xenomorph. Just the same, may she be the first of many rats abandoning Hoover Harding Cleveland's sinking ship.
It’s been a while since we revisited a sea shanty – you may recall, mother doesn’t approve of these – but we’ve dug deep and repurposed “Drunken Sailor” to talk about the news this week of the BBC cocking up their edit of a speech on a Panorama programme over a year ago (making it appear more vehement than it was). As a consequence of this hitting the headlines in a targeted attack on the UK’s flagship broadcaster, which has been caught up in culture wars, post-truth, and its own self-generated problems, Donald Trump has now issued a threat of legal action. Obviously this is a model he’s used to good effect (for his purposes) in the USA, having taken on ABC, CNN, and CBS and won big settlements there and elsewhere.
The first recorded description of “Drunken Sailor” is from a Pacific Ocean whaling voyage in 1839 that departed from New London, Connecticut. So very appropriate for Trump’s latest giant lumbering trans-oceanic phishing foray.
So much has gone on since this was recorded that I'd forgotten about the story.
That's a wrap for today. Stay tuned for another brief evergreen entry tomorrow.
My friend from drum corps Kevin G. added the middle name on Bluesky. My response was "For the former record holder for dumbest U.S. president and also one of the most corrupt. Let's see how long it takes me to get used to the sound of Hoover Harding Cleveland." It took less than a week.
On September 15, Jimmy Kimmel’s late-night show opening monologue included comments about the shooting of right-wing media figure Charlie Kirk, and how the "Maga gang" was "desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them.”
Soon after, Brendan Carr, the chair of the FCC and an appointee of President Donald Trump, appeared on a conservative podcast and threatened to act against ABC and its parent company, Disney, for Kimmel’s remarks. On September 17, ABC and Disney suspended “Jimmy Kimmel Live!”
Kimmel’s suspension launched a national debate and protest around freedom of speech and satire. From celebrities like Wanda Sykes to Republicans like Sen. Ted Cruz, people from across the spectrum weighed in on the decision. The show returned days later on September 23, but the FCC’s actions left many questioning whether Kimmel’s First Amendment rights were violated.
This incident is just one of many instances of the gray areas of free speech making its way into the news cycle. In this video, we take a look at the origins of the “inalienable right” to free speech, how the Supreme Court has determined the boundaries of speech (including hate speech), and where free speech might be headed next with a six-justice majority of Republican appointees. As this issue continues to evolve, social media is one of the latest modes of communication adding new layers of complexity to this age-old debate.
So, Americans weren't just protesting government messing with their entertainment, they were protecting free speech. For once, I'm happy with our priorities.
We couldn't find any lobster costumes, and a whirling freestyle in the middle of a school week was not gonna happen. So - with some extra input from a few media sources to cover instrumental sections - this is our parody rendition of "Under the Sea", one of our old Disney favourites for its sheer joy and energy. It was composed by Alan Menken (with cracking lyrics by Howard Ashman) for the 1989 animated "The Little Mermaid" and won an Oscar. Of course, the calypso lobster's forlorn plea for an alternative path falls on deaf ears. Which brings us to free speech.
It's been a scary time in lots of ways in the US, with the temperature cranked up again by shocking murders and reckless responses, and sadly now the First Amendment (for decades a place of some bipartisan accord) seems to be creaking. As we were working on the arrangement, we learned that Jimmy Kimmel's show had been reinstated by Disney - which is great news, having loved meeting him in 2020 albeit under bizarre pandemic circumstances - though we gather that much is still unclear about how the matter is going to play out. Here's hoping that enough uproar is generated that Trump and co. think again about making their predictable/alarming move on limiting freedom of expression.
We're assuming folk will have enough pointers not to need links, but will keep an eye on comments and can fill in any details!
P.S. Please note: for anyone whose kids watch, Ben forget to put special characters in the swear word at the death of the song, so heads-up on that.
No Randy Rainbow? No problem. We have the Marsh Family!
