Killer and Candy

Killer and Candy (why, yes, I did give them aliases) are former Jehovah’s Witnesses (JW for short) who walked away from that cruel, isolating, and world-hating religion not too long thence. Now that they’re out, they need a little help becoming properly corrupted, although, in the JW view, they already committed a sin greater than murder and pedophilia combined simply by having the integrity to renounce that which they couldn’t in good conscience accept. Killer got his master’s when he was twenty, and will no doubt go down in JW history as yet another good boy who was lost to Satan by an education. Candy followed Killer into atheism just as Peggy followed me into all kinds of eccentric views and behaviors, yet being disowned by her family doesn’t appear to have tempted her to return to the fold.

The two of them are around thirty, which is half my age, yet their JW upbringing has left them as ignorant of decades of pop culture as I am. Still, as I said, I’m doing what I can, and they’re doing what they can, so we’re all doing what we can together; but you must not hold us to too high a standard since I’m so old that I should be dead, and they grew up thinking that a birthday party for a three year old was the work of Satan. Killer did get drunk once, but barfing while clutching a spinning toilet didn’t appeal to him. At least, he can still add it to his resume, which was kind of the point, I think. As for Candy, she emptied a bottle of wine all by herself in this very house (she purported herself admirably, I must say), so I, for one, feel that things are going as well as can be expected. After all, there is the risk of going too far too fast in which case they might be found glued, screwed, and tattooed, while shooting-up heroin in the driveway of the Kingdom Hall just as everyone is arriving for services.

I got Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan for them today, and I would have also gotten Sarah Silverman: Jesus Is Magic if I hadn’t been in a hurry. As you can see, I’m doing everything I can here to help these poor people become as lowdown and evil as my Lord Satan has made me, and I’m hoping you can help. What I want you to do is to tell me what you love about what might be called pop culture over your lifetime—or a little before. What books are unforgettable; what music is worth playing hundreds of times; and what movies stand out as the very best? Give me your genius here. Give me things that are so good that you can scarcely bear them. This isn’t to be a list of what you think you should think is cool, but of things that you love way down deep. Here are a few of my own.

Music:
Roger McGuinn Ballad of Easy Rider
John Denver Sunshine on My Shoulders
Debbie Reynolds Tammy

Inspirational People:
Tom Smothers
Medgar Evers
Malcolm X

Movies:
Easy Rider
The Sterile Cuckoo
The Tammy series

Authors:
Edward Abbey: Desert Solitaire: A Season in the Wilderness. Also, The Brave Cowboy
Loren Eiseley: All The Strange Hours: The Excavation of a Life. Also, The Night Country: Reflections of a Bone-Hunting Man
Antoine de Saint-Exupéry: The Little Prince

Cartoonists:
Berkeley Breathed: anything with Bill the Cat
Gilbert Shelton: The Fabulous Furry Freak Brothers
Gary Larson: The Far Side

Comedians:
Sacha Baron Cohen
John Cleese
Rowan Atkinson

Well, I see that most of my suggestions are older than Killer and Candy themselves, so maybe I’m not the best person to acquaint them with modern culture. Oh, well. I would like to end this post with a witticism, but what is in my heart to say is that I'm trying to believe that we all do the best we can, and that would include the Jehovah's Witnesses who have treated my two friends so abominably.

“I talk about what I see, and I’m so sorry that 99% of what I see is no good.” Manu Chao

If you're in the mood for happy music, go to my last post, but if your inclination is toward darkness, stay here.

When I started medical marijuana, I switched overnight from talk radio all day long to music radio all day long. I started with modern American pop stations because I was looking for musicians to complement my collection of artists from the sixties and seventies. Whenever a commercial came on, I would flip to another station trying to find even one artist I liked, but I never did, and it wasn’t because I was stuck in the past. Indeed, I was screaming to be carried into the 21st century music scene, but not just because I live in the 21st century. Since I liked a Colombian singer whom Peggy enjoys named Shakira, I started getting library CDs by other Latin performers, and that’s when I stumbled upon Manu.

Music is crucial to my altered vision of the world, and so I had to find at least one new artist for this new day, an artist in whom I recognized brilliance, integrity, passion, and benevolence. I didn’t want an artist who would take me out of this world, but an artist who would put me more deeply into it than the news ever had. Manu is that artist. Listening to too much news hadn’t opened my heart; it had overwhelmed it under a cloak of objectivity, and I had closed myself off in defense.

You can find Youtube footage of Manu Chao performing concerts at packed soccer stadiums in dozens of countries on several continents, but if you’re an American, you’ve probably never heard of him. Such is our isolation. The song at the top was the first I heard by him. The opening lines (“Welcome to Tijuana. 
Tekila, sexo y marihuana”) made me think that the song was either a tribute to or a spoof about a major Mexican/American border city, and I smiled. Then, Manu’s voice—and other sounds and voices—began to come in one by one with incredible sadness. So it was that my first lesson about Manu Chao was that his music never gives me what I expect. I can’t even listen to two-thirds of a song by him, and guess where he’s going with the last third.

Manu grew up in Paris, the son of Spaniards who fled Franco. He’s a leftist who sings in many languages but mostly in Spanish. A common theme in his music is wealthy countries and individuals that live on the backs of the poor. Yet, to one like myself who has to look up the translations, his music initially sounds almost upbeat, and this combination of sad words and happy music makes the sadness more profound. I hear in his music the irony between how we all, to some degree, appear on the surface versus the heartbreak that we feel within. I’m also attracted to the layering of voices and instruments and to the changes of direction that he often takes within the course of a single song. So far as I know, there’s no name for his style of music.

Below is the same song performed before a live audience in France. Part of his appeal as a live musician lies in his ability to turn the mood of tens of thousands of people back and forth instantly. This--along with seeing him on stage--makes the video phenomenal, although I find the actual music less pleasing than the studio version.