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LINK: CRAP MAN V HUBERMAN!
'This is No Dream! This is Really Happening!'
Have you seen that shite on the telly called Doctor Who? It’s about this weird Protestant who lives inside a magic box that can go into the past or the future or land on the moon and all that type of thing. Lots of people are mad about the show but I think it’s a disaster. I wish they’d show Tarzan instead. I loved the old Tarzan films when I was a boy. Tarzan was great. He lived in the jungle and spent all his time battering the shite out of creatures. He had a big knife too and he was forever ramming it into beasts. He had no time for beasts at all. He was pally with one monkey who he thought was OK and he hopped up on elephants to get around like they were jungle buses, but besides that, if you were an animal, you were looking for a beating. That was quality entertainment. That you could understand. I can’t understand this time Protestant stuff at all though. There are a few creatures in it alright but half of them don’t even exist and some of them look like kitchen appliances. The nephew tells me that they are ‘monsters’ but I told him that there are no monsters. I said that to him. I said ‘there are no monsters’. Roared it at him to be honest. He started crying and being a little geebag so his mother came running in and called me a monster. I found that a bit ironic.
I’ll tell you another thing about this time Protestant fella, he’s a vagrant. He never settles down. He goes from place to place causing trouble like some sort of space knacker. He’s like a Protestant knacker from outer space. What could be worse than that? A Protestant knacker? It’s the stuff of nightmares. Jaysus, I’ll tell you, Tarzan would’ve wasted no time sticking his dagger into the likes of that.
This time Protestant thing is blasphemous too. I’ll tell you why. I’ll give you an example: let’s say Tarzan gave the time proddy a bit of an old stab with the dagger like, well, instead of dying, the time prod would ‘regenerate’ and rise from the dead. Something he has done ten times to date according to my geebag of a nephew. Now Jesus Christ only managed it once but this fella on the telly has done it ten times. Is this an attempt to make a new type of Protestant Jesus? A proddy Jesus with extra powers? Is that what the game is? As if that wasn’t bad enough, the geebag nephew says this weird prod character was also responsible for the Big Bang. The Big Bang! The very creation of existence. So, this time prod, he’s not happy just being Jesus, he has to be God as well? Well he can fuck off. He can fuck right off out of it. We have Jesus and Tarzan in Ireland and we don’t need any of this British time prod rubbish!
I hear the blasphemous gobshite is back on the telly again this Saturday. Saturday at around six o’clock. Just when I’ll be sitting in front of the box with my dinner on my lap. Well, I’m not having it. I’m unplugging the telly and placing it face down on the floor. I don’t need to be looking at that nonsense with its bloody monsters. There are no monsters. There’s only creatures you can batter and kill. There’s no monsters. No! There’s no need to be worrying about them. The thoughts of a Protestant knacker from outer space might put the wind up me but not bleedin’ monsters. I’m not scared of monsters because there are no monsters. Got that? There are no monsters. There’s not and I’m not scared. I’m not. I swear I’m not. Why would I be scared? There are no monsters. THERE ARE NO bleedin’ MONSTERS!!!
I used never know the words to prayers. Especially the big long ones you only ever heard at mass and didn’t learn to say in school or before you went to bed at night. I used just make up my own words and mumble them along with the congregation who were often making up their own words too in the hope that it would result in one big agreeable sounding murmur. Effectively we were all making up new prayers and this is grand because prayers are just made up things anyway and not the word of God.
Most prayers are not from the Holy Bible, although they often include quotes. Instead, prayers are things that originate centuries after the New Testament and have often been changed over time to incorporate some new elements and drop some others. For example, the bit in the Hail Mary about sending ‘all the gayers to their eternal damnation’ was removed in 1987 and the bit about Mary being ‘really good at billiards’ was added in 1993.
Anyway, here’s a prayer I have invented. I’m kind of hoping this one catches on as I’m keen to pay tribute to the Lord my God and also hope to be paid royalties every time it’s said on the radio or in movies etc.
GOOD GOD MY LORD IN HEAVEN
Good God my Lord in Heaven
dissuade us from happiness
And all things wanton
and Lord bless us and save us.
And let us not stray down paths unrighteous
or accommodating of sin
Are you receiving me?
Thank you Lord for the harvest
and the beasts of the field
and all we put in the dinner
and thanks for dessert and for fizzy drinks.
Thank you Lord for letting us partake of this Bounty
and Mars and Curly Wurly and Kit Kat
If that’s quite alright with you.
Blessed be your house Lord
and all the classy stuff that dwells within it
And give us comfort in our prejudice
By the power vested in you
and that of Greyskull
I now pronounce you man and wife
and fair dues to you Lord, it must be said.
Over and out.
I think that’s a fitting tribute to the man upstairs and ask that you teach it to your kids or your nieces and nephews or whoever you can get your hands on. Let’s see if we can get this thing ‘trending’ in the Religiousphere.
I put it online and in no time at all it went viral. People the world over were weeping into their keyboards. Those who downloaded it at work were so overcome they had to be excused for the rest of the day. The work absences actually began to have a detrimental effect on the global economy but, excluding a handful of deaf economists, everyone was too busy listening to the music to notice.
I found myself performing the piece in the world’s largest arenas. Images of poverty stricken children, the war dead and washed up whales were projected onto a large screen behind me. These concerts were nothing less than orgies of emotional divestment with communal sobbing, mass wailing and group hugging. As my tune approached its climax, audiences would tumble from their seats and inconsolably writhe around on the venue floors, which would be wet and slippery with tears. When the performances concluded, the concert goers would pull themselves together. Sniffing and snuffling, they would slowly get to their feet, don their coats, and form an orderly queue for the exit. It was very odd.
The music was used in several feature films and in advertising campaigns for various products, the promotion of which required staggering poignancy. A new social phenomenon sprang up where suburban types gathered in certain houses on certain days to listen to the tune and weep together. These get-togethers were effectively car key parties only with tears as the principle bodily emission. My tune then became a much requested funeral accompaniment, which I found off-putting. What disturbed me most though were the thousands of unhappy citizens jumping under buses and from high buildings with my tune looping on their MP3s. I decided it was all becoming a bit unhealthy.
I returned home and set about writing a piece that would lift the spirit of the human race. A jaunty little thing that would pop and fizz its way along until it burst into a rousing chorus of anthemic joie de vivre. When completed, I kept this new tune under wraps as the promoters set about booking me into the world’s major venues. My C’mon, Let’s Smile tour kicked off under the stunning glass dome of the Frankfurt Festhalle. The place was packed with Teutonic misery junkies eagerly awaiting their next fix. Well I was going to ‘fix’ them alright. I was about to turn them on to a new kick. A kick called happiness.
I sat poised, the Stylophone on my lap, the immense throng hushed before me. I lowered the stylus and began to play. My new number made its merry way out into the audience, permeating the sea of heads with good vibes, growing catchier and more joyful all the while. Or so I thought. Over the sound of my melodious merriment I began to hear boos. Paper cups were thrown on stage. People started roaring up at me: ‘Play The Sad One!’ ‘Play The Sad One!’
I ignored them. I gritted my teeth. I persevered. They will be happy! They WILL! I stabbed the stylus down into the tiny machine and it began to squawk. The notes became sustained and intense. My happy tune distorted into a twisted mockery of good cheer. My frustration transformed the piece in such a way that it became a subversion of its original intention. If you can imagine a Dalek singing Jingle Bells, it was something like that. I was horrified. I tried to calm down but then I realised that the audience were cheering. The music had told them that happiness was an unsustainable sham and they agreed. In the grip of something far stronger than my conscious agenda, I had no choice but to improvise a segue and go straight into the sad tune. A huge roar of approval and then a mass outpouring of tears. I had failed. My muse had betrayed me. It was on their side.
I have played the sad tune so often now that it no longer affects me. I have been inoculated against its melancholy appeal. You might still see me weeping as I perform but it is not because I am moved by my work, it is because I am imprisoned by it. I am doomed to forever peddle the pornography of misery to an audience that never wanted to be happy in the first place.