Pop goes to war

Music and movies are vital coping mechanisms for US servicepeople in Iraq. And often, say four local troops, after they get home.
By MIKE MILIARD  |  July 25, 2007

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Next time you put on the new Spoon single to make that subway ride go by a little faster, or turn up Gnarls Barkley on your iPod to drown out the background noise at the office, consider what musical escapism means to troops in Iraq.

Think of them blasting whatever CDs they can find from a shitty disc player (whose life expectancy in that desert sand is just a couple months). Think of the soldier from Worcester nursing his ration of two Budweisers, drowning in the sound of 50 Cent and Beyoncé as strobe lights flash in some Spartan military mess hall.

Think of the scenes in Michael Tucker and Petra Epperlein’s documentary Gunner Palace, which, for showing how life is lived in this war, should be mandatory viewing. Think of gonzo Specialist Stuart Wilf — wild-eyed, lanky in an Exhumed T-shirt, leaping around with guttural death-grind screams, strumming a tinny guitar, purposefully oblivious to the RPG making impact in the distance.

Think of Specialist Richmond Shaw, using freestyle verse to exorcise the demons of those dusty Baghdad blocks, describing the theater of war as “a place where the street lights never come on/And every time you step outside it’s like hearing a sad song.” Reminding the audience at home of one inescapable truth: “For y’all it’s just a show. But we live in this movie.”

From MRES to MTV
American military personnel use music as a way to dispel stress, to steel their nerves for dangerous missions, to give voice to their fears and frustrations. They also find themselves filling the longueurs of endless, deadening downtime with awful TV, cheesy music videos from Europe and the Mideast, and whatever movies — good or bad — they can get their hands on. (One soldier I spoke with says he “watched O Brother, Where Art Thou? about 27,000 times.”)

As fascinating as it is to speak to US military personnel about the ways pop culture manifests itself in Mesopotamia, it’s doubly interesting to examine how veterans’ tastes have changed upon their return to the States. So many stories about veterans are told from political angles, or focus on financial questions, or health care. Few examine how mass media are used as coping mechanisms over there, and back here. But that’s exactly what happens.

Enlisted men and women ship off to fight and return home utterly changed. They are witness to unspeakable acts abroad that we can only barely comprehend. It can’t be easy to transition back from the land of IEDs and MREs to the land of iTunes and MTV. What does it feel like to depose a dictator then return to a country where Britney and Lindsay rule the news?

Not good, says Marine Randy Cornejo, 26. “It’s crap. When you got little things making big news, when Paris Hilton’s getting as much coverage as when the towers went down, something’s wrong.”

Some troops have become hardened back home. The music they listen to seems devoid of substance, the clubs they haunt soulless. While some use certain songs or movies to remember their wartime experiences, others are just trying to forget, and need music to calm their nerves, to fall asleep. Still others are using music and images and words to relay the essential existential experience of soldiers in Iraq — and to work through their own conflicted feelings as they do.

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