{"id":242393,"date":"2017-07-27T16:00:00","date_gmt":"2017-07-27T20:00:00","guid":{"rendered":"https:\/\/admin.rushlimbaugh.com\/?p=242393"},"modified":"2021-02-19T16:09:20","modified_gmt":"2021-02-19T21:09:20","slug":"how-the-eib-parodies-come-to-be","status":"publish","type":"post","link":"https:\/\/admin.rushlimbaugh.com\/daily\/2017\/07\/27\/how-the-eib-parodies-come-to-be\/","title":{"rendered":"How the EIB Parodies Come to Be"},"content":{"rendered":"

RUSH: And we go back to the phones. We have Ron on a highway.<\/p>\n

CALLER: Maha Rushie!<\/p>\n

RUSH: He\u2019s in Atlanta. Okay, great. How you doing, sir?<\/p>\n

CALLER: Doing great. Listener since about \u201992. Hey, listen, Rush. One of the things that makes your program so outstanding, obviously, besides your humble self, is the parodies that you come up with. I mean, nobody does what you do on a regular basis. And I\u2019m curious about the creative process, where do those come from? Do you think of them and say, “Hey, Mr. Paul Shanklin, make me a parody about this,” or do people send them to you? How do they happen?<\/p>\n

\"\"RUSH: Well, the parodies had kind of an interesting life span. When the program first started I was it. Every song, parody, and bit was something that I had prepped and stored up and wanted to use for a while. This inspired people to start sending things in.<\/p>\n

And some of them were usable, and I did, ignorantly. I thought they were genuine contributors, and then later on I started getting bills and people demanding that I announce who did the parody. So I stopped accepting anything that was submitted. I learned early there was a big trick behind that, not just with parodies, but any number of things.<\/p>\n

Where we currently are now, we have a satirist, the white comedian Paul Shanklin<\/a>, who lives in Tennessee. He basically scripts these. He does the impersonations. He does the voice synthetization to facilitate the impersonations. It\u2019s all a result of what happens on the program that serves as the inspiration. Sometimes I have an idea, ask him to do it. But he submits. If I like it, use it. If I want some changes, change \u2019em. But they\u2019re basically spontaneous, based on what happens in the news.<\/p>\n

BREAK TRANSCRIPT<\/p>\n

RUSH: The parodies, the satires have taken a fascinating — if I stop and think about it — road in the way they happened. You know, there are many phases. This program has gone through many phases. In the opening phase when it was brand new, nothing like it, nothing else out there like it, it was just hot as firecrackers going through the roof. I remember going to Atlanta to a football game and the whole stadium stopping and applauding. It was Busch Stadium in St. Louis. It was so brand new, there was nothing like it.<\/p>\n

It was the first national conservative show, and it wasn\u2019t just politics. We were making fun of liberals with parodies and all kinds of stuff. Then that dies down after it becomes more settled in. The program is hopefully never static. It\u2019s constantly growing and changing and adapting to all kinds of factors. The host gets older and more mature; the subject matter becomes more serious. Different power players in Washington and in the media are determining what\u2019s discussed every day. It could never get stale if you stay hip to it and so the parodies are the same way.<\/p>\n

Early on, when it was brand new… You know, success has many fathers and failure is an orphan. Couple that with robust naivete on my part. So the first two years, I mean, I\u2019ve got all kinds of little helpers out there that I don\u2019t know. People are sending me their thoughts on things, and most of it was up and up. Some of it I\u2019d say, “This is really good,” and I would share it. Sometimes I\u2019d identify it or not. In some cases, I found out that people sending stuff had their own websites, and I ended up being accused of copying and stealing from their website.<\/p>\n

It was setup. There were other times where a spouse would say, “You know, you\u2019ve used enough of this. Don\u2019t you think you should start paying us?” This kind of stuff. “Wait. I\u2019m just trying to be nice, for crying out loud, you\u2019re going through the trouble of sending it and I\u2019m trying to be nice!” So I eventually said, “To hell with it, the inclusiveness. It\u2019s just gonna be me, only me. None of this other outside stuff. Being nice doesn\u2019t work.” The parodies were the same way. There are things that were submitted over the transom.<\/p>\n

One of the most famous parodies here that was not commissioned per se was the parody of Dion and The Wanderer, The Swimmer with Ted Kennedy, and that was submitted by a couple of guys in Albany, and… (interruption) Yeah. (laughing) It\u2019s a great impression. Dion DiMucci the song was Ted Kennedy singing it. Yeah, just a little bit here just to people flavor of what we\u2019re talking about here. This was submitted over the transom from Albany. We didn\u2019t know the guy. We played it over and over again. (The Philanderer) You know, every time we\u2019d play one of these, it would inspire others.<\/p>\n

\"\"We had a group from California called The Dave Smith Band, and they alerted us to Klaus Nomi. It was the massive-growth era. But the current evolution now is that Paul Shanklin is our official satirist and parody guy. He produces them. He\u2019s the “white comedian.” He lives in, I think, Memphis or Nashville, somewhere in Tennessee. It doesn\u2019t matter where he is, and it\u2019s all derivative of what happens on the program. So it\u2019s a collaborative process, but they\u2019re not scripted in advance. A lot of it\u2019s… The singers have to be hired and all that.<\/p>\n

But the more improv it is, the better — and the sooner it gets done after an event happens, the better. Some of these things used to take three weeks to produce, and, by that time, you know, the issue is over and dead and gone with. (interruption) Oh, yeah, Born Free. That was just Andy Williams, and I just put a bunch of guns and bombs and explosions over it, tweaking the animal rights crowd. (interruption) Oh, Rush the Knife! Rush the Knife. This one… What a history!<\/p>\n

A FedEx driver or UPS in Las Vegas created Rush the Knife based on Mack the Knife by Bobby Darin, and it is just classic. It still holds up to this day. We can\u2019t play it because it\u2019s owned by the estate of whoever it was that owns The Threepenny Opera, and we\u2019re under threat (laughing) of jail if we ever play it again. So on anniversary shows we\u2019ve stuck in like 20 seconds of it, fair use, and we just roll the dice under the philosophy it\u2019s better to apologize than ask for permission. (interruption) Well, the Rush Hawkins Singers and Barbara Chenault Law.<\/p>\n

That was over the transom, the opera singer, the soloist, the soprano from Dallas. The audience got into the program. The number of people buying billboards for Dan\u2019s Bake Sale, Fort Collins, Colorado. Anyway, that\u2019s an overview of the parody situation. But his question was about the creativity of it, I think, and it all is inspired by what happens on the program and creative juices flow from that.<\/p>\n

For every parody that you hear, there are the probably two or three that are submitted that don\u2019t pass muster. We\u2019re kind of like Apple in that regard. We don\u2019t use it until we\u2019re ready to use it if it\u2019s right. Sometimes we\u2019ll test-market something we\u2019re not sure of. And all of these are on display constantly for people that call the program and are on hold. That\u2019s what we do is play the parodies, rather than elevator music, Muzak, put people to sleep.<\/p>\n

BREAK TRANSCRIPT<\/p>\n

RUSH: You can see Rush the Knife on YouTube? Who put it up there? So it\u2019s posted in violation of the copyright by Threepenny Opera. Well, hell\u2019s bells. Just the audio. Then you can see it on YouTube. The legal beagles here strongly advise you just to shut your mouth most days, but certainly don\u2019t play this parody.<\/p>\n","protected":false},"excerpt":{"rendered":"

RUSH: The parodies, the satires have taken a fascinating — if I stop and think about it — road in the way they happened. You know, there are many phases. 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