Every move that you make,
AI’ll be watching you.
Server rooms
serve the
rulers.
If we
only
had
the
rows
of racks
all gone, and
empty space there
instead. We’d all be free.
Billionaires Should Not Exist!

I: Introduction
A couple of weeks before I started writing this post, I came upon a short video posted on Twitter (I refuse to call that social media website by its moronic renaming!) on which Elon Musk was complaining about having to pay too much in taxes. Good God: who would imagine the richest man in the world, a centi-billionaire, upset about that? The super-rich would never go on campaigns to lower their taxes, would they?
Well, of course, such complaining is only to be expected of him and his ilk. But matters get worse when we encounter ordinary people defending these plutocrats, which I promptly found myself having to deal with after replying to the video by saying that people like Musk pay far too little in taxes, which of course they usually do–that’s how they became centi-billionaires in the first place.
Musk’s defender was someone who calls him- (or her-) self “chronically based” (“chronically bird-brained” is more like it). The person in question replied to my comment by saying that Musk pays “absurdly” high taxes, “in the billions.” I took a quick look at the defender’s Twitter page, which included, under the name, what probably shouldn’t be all that surprising–a Bible quote: “With man this is impossible, but with God, all things are possible” (Matthew 19:26). Right-wingers are often fond of their feel-good Christian quotes.
I responded to all of this by pointing out the oft-noticed link between Bible-thumpers and billionaire-simping right-wingers, adding that this person ought to read this quote from Matthew–25:31-46, which shows a concern for the poor, something right-wingers routinely ignore.
Well, I suppose this person got a little upset by my reply. First, he or she wanted to know if I’m any better when it comes to caring about the poor (by not defending the super-rich, I’m already better without a need to do anything else!). Then, after citing a few more debatable statistics about the tax rates of the rich vs average-income Americans, which I consider neither here nor there, he or she claimed that higher taxes would just drive the super-rich out of the country, leaving the US government to default, since average-income Americans wouldn’t be able to carry the burden of such high taxes.
Let me deal with these objections one by one. There was no point in my saying any of the following in a reply on Twitter, since I’ve no need to prove myself to this nitwit (who probably wouldn’t listen to me, anyway), and my claims of charity couldn’t be verified independently, anyway. But suffice it to say, for years, I donated money monthly to World Vision to a boy in Nicaragua named José Eliel Angulo; and as a leftist, I constantly advocate for the poor. This right-winger said nothing of helping the poor; just billionaire-simping. I’ve already done leaps and bounds more, even with my modest charity as a chronically-underemployed worker (ever since covid), than he or she.

II: Musk’s Wealth and Taxes
Next, we should look at the claim that Musk pays an “absurdly” high amount in taxes, “in the billions.” Let’s start with some context: Musk‘s net worth, as of this writing in May 2026, is $788 billion, according to Forbes; his net worth was $800 billion in February 2026. In 2021, his net worth, again, according to Forbes, was $300 billion. His total in net worth billions rose by a billion yearly, if not almost monthly, from 2024 to 2026. Since November 2025, he’s been expecting a Tesla pay package of $1 trillion, if approved, over a period of ten years, if he meets specific goals.
Note that net worth is, of course, after taxes. In 2021, he had to pay about $11 billion in taxes (while Tesla paid none), yet his net worth had been $300 billion. Given his gargantuan wealth at the time already, I think he could handle a tax on 28.27% (311/11) of his wealth–it doesn’t seem all that “absurdly” high to me. It was also just one year. He paid no federal income taxes in 2018, by the way. From 2014-2018, he paid $455 million in taxes on $1.52 billion of income.
As much of his wealth is in stock rather than salary, his tax liabilities often arise only when he sells shares, allowing him to defer taxes. In 2026, he said he’d have to pay a combined federal and state income tax rate of around 45% when selling stock. Well, don’t sell the stock, then, Elon, if you hate taxes so much.
Incidentally, Tesla paid 0% in federal income taxes, in 2025, on $5.7 billion of US income. Indeed, in spite of high profits, Tesla has utilized tax breaks, resulting in a low effective tax rate in recent years.
Furthermore, ever since Trump‘s second term, the super-rich have seen huge increases in their wealth, up roughly $1.5 trillion in 2025, about 22%, from $6.7 trillion to $8.2 trillion. Musk, Jeff Bezos, Larry Ellison, and Mark Zuckerberg made up about a quarter of the total gains. Much of these gains were, of course, because of Trump’s tax cuts to the rich. A study last year showed that, in spite of the super-rich paying an overall larger share of taxes than ordinary Americans, the former pay a lower tax rate than the latter. The super-rich are not paying their fair share.
Ultimately, though, who pays how much in taxes is neither here nor there when you consider how everyone ends up after the taxes are paid. Oligarchs like Musk, Bezos, et al are still obscenely wealthy, while millions of working-class Americans are struggling to make ends meet. We all know where far too much of that tax revenue goes–to the military, to Israel, to the US/NATO proxy war against Russia (using Ukraine as a stick with which to hit Putin), and the like, in disproportion to how much should go there…if any of it. Far too little of that money is going out to help the poor.
And the rich won’t leave the US if taxed more…they own the country! They simply won’t pay. We cannot legislate them out of their wealth. That’s why I advocate forcible expropriation (via socialist revolution), and not taxation, anyway.
A huge part of the reason that so many of the super-rich (the tech-bros in particular, like Musk et al) are supporting Trump in his second term is surely because of those delicious tax cuts his administration has given them. When Musk is in a video talking about how ‘awfully high’ taxes are in the US, what he’s really trying to say is that he simply wants to get them even lower than they currently are.
Musk currently has ambitions of being the world’s first trillionaire, as Tesla’s pay package, mentioned above, may make him. We have a word to describe such ambitions: GREED.
This leads me to take a proper look now at the psychology of the super-rich.

III: Billionaires Are Different from the Rest of Us
Yes, the title of this section is ridiculously obvious in its truth, but I need to state it in reaction to something that chronically bird-brained said in one of his or her comments Apparently, the rich are the same as the rest of us and ought to be treated the same as us.
lol wut?
It doesn’t take a genius to realize that acquiring huge amounts of wealth changes you psychologically, and in a profound way. You become more selfish, acquisitive, narcissistic, entitled, and you lose much in empathy for others. It’s easy to see why people like Musk want even lower taxes than they currently have to pay.
Several years ago, I wrote an article on how those benefitting from capitalism tend to exhibit narcissistic personality traits. Many of the super-rich are so devoid of empathy and basic decency that they can be reasonably called sociopathic.
Consider how Jeff Bezos’s company, Amazon, has pressured their workers to deliver products so quickly that, lacking time to go to the bathroom, they have to piss in bottles as they’re driving to deliver! Then there’s Musk himself, who in response to 2019’s fascist takeover of the Bolivian government (with its accompanying violence to those Bolivians opposed to the new right-wing government) and the left-wing protests against it, he said, “We will coup whoever we want. Deal with it!”
Finally, there’s that billionaire psychopath Alex Karp, CEO of Palantir, whose AI is currently used to help the IDF kill Palestinians and Lebanese, and which will also be used in data centres for mass surveillance of everybody. He’s spoken bluntly of the ‘superiority’ of Western civilization and the need to defend it, necessitating scaring our ‘enemies’ so we can “on occasion kill them.” Such notions are in Palantir’s 22-point manifesto. And Palantir co-founder/Trump supporter Peter Thiel speaks out against democracy.
We all have dark, selfish thoughts deep down: Freud‘s id, and Jung’s Shadow. What distinguishes us from the super-rich is that they can afford to fulfill their darkest desires. That’s why billionaires shouldn’t exist. This is just common sense.
Those guilty of the disgusting and highly disturbing Epstein crimes weren’t and aren’t necessarily billionaires, but they’re certainly rich enough to have partaken. They, who raped and sexually exploited underage girls, among other atrocities, clearly regard common people as mere toys to be played around with, mere meat, not as human beings.
This sort of wickedness is why people like me are opposed to the whole idea of being born into a lower class, a middle class, or an upper class. One tends to stay where one is: those at the bottom generally cannot escape poverty, those in the middle are driven to work like slaves out of a fear of falling to the bottom, and those at the top, never learning what it’s like to struggle to live, go through life entitled, thinking they should be able to have anything they want and never be held accountable for any wrongdoing.
Such an entitled attitude is easily seen in people like Trump, who’ll “grab ’em by the pussy,” and never release the Epstein files, in which his name is mentioned tens of thousands of times. Billionaires are people who can buy a home, a private plane, cars, etc. quite fast and easily, as compared with how the rest of us would struggle, scrimp, and save to afford any one of those things. One billion is a thousand millions: people need to use their imaginations and think about what one can do with that much money. If a million dollars were seconds, they would add up to a little over 11.5 days. If a billion dollars were seconds, they would add up to about 31.7 years; and if a trillion dollars (Musk’s current ambition) were seconds, they would add up to about 31,710 years. I hope these calculations help the skeptics understand why we call such amounts of money obscene levels of wealth.
No, billionaires are not the same as the rest of us. We aren’t even in the same league as they are.
Some may try to defend billionaires by referring to their acts of ‘philanthropy.’ Their ‘charitable’ acts, however, require closer scrutiny. Only a small amount of that money actually goes to helping the poor; when donations are given to schools, for example, they usually go to elite ones. A lot of the motive behind the giving is for tax breaks and an improved public image. Most importantly, this ‘charity’ only serves to justify keeping the class system as it is instead of properly addressing the real root causes of poverty–those of capitalism.
The Bill and Melinda Gates Foundation may have done a lot to reduce the problem of polio, but that was far from the biggest problem of the local people, to give one example. That foundation is also not all that noble in its agenda: among other things, Gates’s ‘giving’ allowed his net worth to go up every year since 2009 to $72 billion as of 2014. It’s currently at $102-108 billion. Some charity.
If expropriated, billionaires’ wealth could help end world hunger, build schools and hospitals in the Third World–ones that are fully equipped and with well-trained staff–it could provide affordable if not free housing for everyone, and could be used to clean up the planet. All their combined wealth is around $16 to $20 trillion: don’t tell me it couldn’t at least make huge strides at achieving, if not completely achieve, the above goals.
Instead of even trying to achieve those oh, so worthy goals, however, what kinds of things do the super-rich do with their wealth, besides hoarding it in offshore bank accounts to avoid taxes (i.e., the Panama and Paradise Papers), to pushing for even more tax breaks, lobbying for Israel, etc.? Well, in the case of Musk, Bezos, and Richard Branson of the Virgin Group, they go into private space exploration! What do we need that for, when we have NASA?
What good are fantasies about colonizing space when we won’t even solve the ecological problems of this planet? Even if we achieve the technological miracle of science fiction’s terraforming, isn’t it true that we’ll just mess up the environment out there on those planets, too, sooner or later?
The motives of these three private space explorers is obvious: it isn’t out of altruism: it’s just a glorification of their already bloated egos. No, billionaires are not the same as the rest of us. They are, in fact, monstrosities.

IV: Billionaires Buy Power and Kill Democracy
The idiotic dogma of the market fundamentalists is that with minimal-to-no government intervention in the economy, the “free market” as a ‘natural,’ ‘organic,’ and ‘self-regulating’ way of doing things will set everything right. Lower taxes, deregulate business practices, and businessmen’s “rational egoism” will motivate them to produce the best quality goods to satisfy customer demand, resulting in a healthy economy with lots of jobs for everyone. Wealth will “trickle down” to the poor, and everyone will be happy.
The last fifty-or-so years have shown that the truth is anything but the nonsense described above. When taxes are lowered and the economy is deregulated to maximize profits, far from resulting in the right-wing libertarian’s “free market” utopia, millionaires become billionaires and their private property balloons, requiring the super-rich to protect it all the more through the very state that they claim they want to minimize. Hence all the rich’s lobbying of American politicians through super PACs, resulting in legislation to benefit the rich at the expense of the poor. Hence the proliferation of militarized police. And hence, when markets dry up here and need to be developed abroad, the need to export capital to other countries, fueling imperialism and war.
As I explained here years ago, the “free market” doesn’t result in “small government”; it results in huge government (i.e., the bloated military-industrial complex). As Tupac once said, “They got money for wars, but can’t feed the poor.” When right-wing libertarians talk about “small government,” what they really mean is cutting social programs; spending absurdly high amounts on the military, though, as if there were no tomorrow, is perfectly acceptable to them. Their notions of being “frugal” and not wasteful with government money is pure hypocrisy. It’s not “small government”; it’s capitalist government.
This is why the US has a multi-trillion-dollar deficit because of such things as military spending that’s through the roof, resulting in a “need” to raise the debt ceiling, yet there are all these cuts in education and the like. Landlords have raised rents, resulting in a rise in homelessness to an epidemic level, exacerbated recently by the inflation caused by Trump’s tariffs and his needless war of aggression on Iran (spiking oil and gas prices).
Tariffs, of course, are taxes on imported goods. While Trump has lowered taxes on the super-rich, hence the backing of his reelection campaign by Musk et al, the poor are being burdened with the taxes of these tariffs, and the poor in the US are already having difficulty making ends meet as it is. All of these injustices are the result of allowing the super-rich to have too much political influence, making them get richer and richer, while the rest of us get poorer and poorer.
Real democracy means giving power to the common people, not this sham we see of voting for whoever the oligarchs allow us to vote for every four or so years, and yet the pro-rich, anti-poor policies continue unchecked. In these ways, we can see how, in buying political power, the billionaires are killing democracy.
Any candidate offering a real alternative to the system gets marginalized. Scant media attention is ever given to the Green Party, for example, and even the modest social-democrat reforms proposed by Bernie Sanders, AOC, etc., are stopped before they can even be seriously considered. Sanders can be counted on to bow down and endorse yet another corporate whore of the Democratic Party during the lead-up to any election because he is just a sheep-dog for the left. He and AOC, in spite of the lip service they pay to criticizing Israel, are Zionists: any American politician who wants to have a successful career must be firmly Zionist, as Israel has always been crucial in helping protect the interests of Western imperialism.
This is all why, outside of revolution and expropriating all of the billionaires, the poor will never have a hope of improving their lot. The super-rich will never pay their fair share in taxes, and they’ll continue to lobby for even lower taxes. They do this because they own the country. They are killing, if they haven’t yet already fully killed, democracy.
The fact that Trump recently visited China accompanied by oligarchs like Musk and Jensen Huang of Nvidia is telling. Trump is one of these oligarchs, and he serves the oligarchs, who truly rule the US. They are caving into China because they know that China, home to many of the coveted rare earth minerals and other natural resources essential to propping up American industries like AI, etc., has the upper hand.
The link between billionaires and AI leads me to my next point.

V: Billionaires Want to Surveil Us
Along with the idea that today’s US government is a big, capitalist one is the fact that this state is getting increasingly fascistic and totalitarian. As I discussed in this article, what is feared of communism is here in capitalism: attacks on freedom and democracy–touched on in the previous section, but I go into more detail in this other article; cults of personality (i.e., Trump), police brutality, concentration camps, and mass murder (again, see my article for details); and finally, surveillance, which is what I want to get into here now.
As the working class gets more and more frustrated and desperate, they will start lashing out and thinking about revolution. The super-rich, naturally, are getting nervous about that, as we can see from such things as Luigi‘s shooting of the health insurance billionaire, the burning down of warehouses, and Sam Altman’s house being hit with a Molotov cocktail.
The tech bros among the billionaires have been setting up AI data centres in places all over the US, which apart from using up needed water and energy are also being used to collect data and info on everyone. So anyone who, as the AI finds out from all of this personal information, is in any way involved in organizing resistance to the capitalist, imperialist system, who is agitating and educating (as I try to do here), and/or is planning anything of a revolutionary nature has thus made him- or herself a target. Big Business is watching you.
Note that at least one of these oligarchs, Larry Fink, billionaire CEO of BlackRock, has vocally expressed his concern about “domestic terrorism” in the event of a possible civilian use of drones to strike these data centers, an act of resistance against the growing totalitarian capitalist state. Note also that Fink was one of the oligarchs who went with Trump, Musk, Huang, et al to China. And note further that BlackRock, along with Vanguard and State Street, is one of those giant, multinational investment companies that own and control just about every business on the planet.
These billionaires are becoming truly scary people. Taxing them more doesn’t even begin to address the need to rein them in. Why do you think Musk brazenly did a Nazi salute on TV at the time of Trump’s inauguration? Was he just being foolish or ‘socially awkward’? Doing such a thing thirty years ago would have been political suicide. Now, at worst, Musk has received something of a public shaming (like most of the Epstein criminals), but there haven’t been any real harsh consequences to his life and career. He did the salute because he knew that with the ascent of Trump, fascism has arrived fully formed in the US, and Musk figures there’s nothing any of us at the bottom can do about it.
This helplessness of ours brings me to my next point.
VI: Genocide as Suppression of Resistance
The “terrorism” of Hamas and Hezbollah should be understood as resistance against the ongoing Israeli settler-colonialism, occupation, and oppression of the Palestinians. The UN has acknowledged that armed resistance against an occupying force is legitimate self-defense. To the extent that the events of October 7th, 2023 were the acts of Hamas, as opposed to the Hannibal Directive, we can see those events as part of that resistance; for as those of us who have read the history know, this conflict didn’t start on Oct. 7.
While the Zionists have made life for the Palestinians an unending hell ever since the foundation of Israel in 1948, the ethnic cleansing of those in Gaza and the West Bank has been particularly shocking to watch on live-streamed video and photos since Oct. 7. Bodies buried under the rubble of destroyed buildings all over Gaza, children having lost limbs and their bodies torn apart, traumatized survivors everywhere, people dying of starvation, a lack of housing and medical care…all because the IDF looks on the victims with a Hitler hate.
Now of course, the international reaction from ordinary people like me to all of these horrors has been one of sheer outrage, but apart from protesting and attempts to bring food and medical relief to the victims, we cannot stop the Israelis, the great majority of whom support Netanyahu and his thugs in their non-stop murder, which has now extended itself to southern Lebanon. The people in power who really could have stopped Israel–such as, first, Biden and Harris, and now, the Trump administration–have done nothing. They have all been perfectly content to allow the killing to continue. Again, as with Sanders and AOC, they may pay lip service to how awful the violence is, but they’ll do nothing of consequence to stop the violence.
Note that this support of Israel is not limited to the United States government. The former prime minister of my country, Justin Trudeau, proudly called himself a Zionist while this killing was going on; like so many others, he was more concerned with “antisemitism” (never mind that many Jews are anti-Zionists, and many non-Jews are Zionists). Similarly, you can find video of German police beating the shit out of pro-Palestine protestors, who include women.
The Middle East is geostrategically very important to the US and the rest of the Western Empire, as I went into here...all that oil! It’s extremely vital to the imperialists to have an ally–Israel–to kick ass in the region, as then-senator Biden said in a speech back in 1986 (not with my choice of words, of course, but the same idea).

Therefore, not even protests against Israeli brutality against the Palestinians–and now against Lebanese–is acceptable to the Western powers-that-be…to say nothing of a military intervention from those powers to stop the Zionist slaughter. And so the accusation of “antisemitism” is such a convenient excuse for those powerful people to use to stifle the protests (and so it’s important that we protestors not fall into the trap of generalizing about “the Jews” when we protest the evils of Zionism…such generalizing only gives those powerful people more ammunition against us).
When we consider how Israel–apart from a public shaming–is continuing their persecution of the Palestinians with impunity, we must also consider another, even scarier idea: the ongoing genocide of Gaza, the West Bank, and now southern Lebanon is clearly a template for how all resistance–anywhere in the world–will be dealt with.
Consider the current situation in Cuba. The island has already suffered an economic embargo since 1960 for committing the unforgivable sin of kicking out the capitalists on New Year’s Day, 1959, and embracing Marxism-Leninism. Now, the Trump administration has been cutting off Cuba’s acess to vital materials for its people’s survival–no fuel or oil, widespread blackouts, difficulty in securing the financing and logistics to import basic food, medicine, and agricultural inputs. There are even Cuban fears of a US military invasion. If the American government is allowed to have its way in these acts of aggression, this will mean yet another genocide.
So what’s happening in Palestine, southern Lebanon, and Cuba is adding up to a dangerous set of precedents. Genocide will be the punishment for resistance against capitalism, imperialism, and settler-colonialism. Imperialism has always been violent, cruel, and bloodthirsty, but not on such a brazen level. And who do these imperialists ultimately serve? The capitalist class, at the top of whom are the billionaires…which leads me to my next point.
VII: The Rich Fuel Imperialism
In Imperialism, the Highest Stage of Capitalism, Lenin explained how the interlacing of bank and industrial capital, creating a financial oligarchy, has financial capital generate profits from the exploitation colonialism inherent in imperialism. Note that these imperialist wars and coups d’état are not just “government stuff.” The bourgeois government merely manages the affairs of the capitalist class. In other words, it’s really the rich who fuel imperialism.

Consider again Musk’s tweet in response to protests over Áñez‘s far-right takeover in Bolivia in 2019: “We will coup whoever we want! Deal with it.” He said the quiet part out loud here: it was his coveting of Bolivian lithium (and that of other oligarchs–including those among Western carmakers and investors [including U.S. firms], and various private technology corporations) that motivated at least some of them to aid in the right-wing coup and removal of Evo Morales from power.
Then there’s the real motive behind the kidnapping of Nicolas Maduro and his wife: not that nonsense about arresting him on bogus charges of drug trafficking, but to steal Venezuelan oil, which is what Trump has been doing (making his claim that it was Venezuela that was stealing from the US pure projection). The US government and the capitalists it serves have been coveting that oil for years, since Venezuela has the largest oil reserves in the world.
On top of all of this, the Big Three asset managers–BlackRock, Vanguard, and State Street (note the extent of their influence on corporate America)–have substantial investments in the defence sector, including Lockheed-Martin, Raytheon Technologies, and Northrop Grumman. We don’t know exact numbers here, but estimates suggest the Big Three’s combined holdings could be in the hundreds of billions of dollars. These defence contractors are profiting from wars like the one in Iran.
While oligarchs like Musk, Bezos, Gates, Mark Zuckerberg, and Warren Buffet don’t hold significant direct public stock portfolios in legacy defence contractors like Lockheed-Martin or RTX, Musk’s Starlink, for example, has been used to help Ukraine in the US/NATO proxy war on Russia; Starlink has also been used to help Israel. Amazon, under Bezos, secured a massive contract (Project Nimbus) to provide cloud services for the Israeli government and military. Gates’s Microsoft has a notable cybersecurity and technology footprint in Israel. Buffett, a strong supporter of the Israeli economy, is heavily invested in Israeli businesses like Iscar. The fact that the super-wealthy have, in one way or another, been involved in imperialism and Zionism is all the more reason to be opposed to the very existence of billionaires.
VIII: Conclusion
All of the above reasons should demonstrate that there is no sound reason to regard billionaires as anything like the rest of us, or that we should treat them as we would anyone else…except that they should be reduced in wealth to that of the average citizen, at least. Billionaires need to be much more than merely taxed heavily: they should be expropriated–they should not exist as such. Reduce them to the status of multi-millionaires at the very most…and that is already being very generous to them. (I would, incidentally, extend this reduction to Chinese billionaires, too. Fair is fair.)
Another thing worthy of mention–though I won’t go into detail about it here, since I already did so in section III of this article–is the undue influence of the super-rich on the media. You can go to the link for the details.
Of course, forcible expropriation of the super-rich is easier said than done. In fact, with AI surveillance data centres keeping tabs on all of us, militarized police and ICE ready to beat the shit out of us, as well as those scary robot dogs, etc., the achievement of the needed expropriation seems bordering on impossible. Still, we can’t just sit on our hands and wail in despair. Things will continue to get worse if we let them. We have nothing to lose but our chains.
Elsewhere, there is hope in the decline of the American empire and de-dollarization. As Rosa Luxemburg once said, “Before a revolution happens, it is perceived as impossible; after it happens, it is seen as having been inevitable.” Let’s find comfort in those thoughts.
‘Just Beneath Your Boat,’ the Horror Anthology with My Short Story, ‘Scylla,’ Has Been Published!

Just Beneath Your Boat: Tales of Aquatic Terror Edited by: Thomas Folske, has been published on Amazon today, May 17th. Presented by Dark Moon Rising Publications, the anthology has my short story, ‘Scylla,’ in it.
My story is about a family going out in a yacht, but the father works in a big company that is polluting the ocean to cut costs and maximize profits. Certain supernatural forces in the ocean, however, want to take their revenge not only on him but also on his whole family, using the plastic dumped in the ocean to construct a huge…abomination…to kill them.
Other great writers in the anthology include the following:
Stephen A. Roddewig
Jeff Parsons
Lillian Csernica
Rob Tannahill
Claire Davon
LJ Jacobs
Milan Simić
Justin Carlos Alcala
Denise Landry
Blake Hoss
David McDonald
CJ Hooper
Pip Pinkerton
Dino Parenti
Don Anelli
Matthew Chabin
Kasey Hill
DJ Tyrer
Miguel Fliguer
Thomas Folske
Michael Mortimer
Margaret Eve
Also, there is artwork from:
Alhiya Hoffman
Amelia Folske
Ben Merk
Blake Hoss
Kelsey Grimmell
Michelle Hanson
Milan Simić
Olivia Davis
Sidney Shiv
Todor Gotchkov
Warren Muzak
So, go get yourself a copy of this great book! Its’ also to be published on Kobo and OverDrive libraries, possibly also even on hoopla. I mention these alternatives for those who’d like to buy the book, but who don’t want to give Jeff Bezos their money.
My Short Story, ‘Cao,’ in the ‘Beast Under Your Bed, Vol. 1’ Anthology, is Published!

Beast Under Your Bed, Vol. 1: A YA Horror Anthology, from Dark Moon Rising Publications, has my short story, ‘Cao,’ in it. The book has been published on Amazon. Because the stories are written for teens, there are no naughty words or other adult content.
My story is about Timmy, a sensitive boy who feels a mystical connection with Cao, the unifying energy field of the entire universe. It keeps telling him it is going to take him away. He’s terrified of it…but will going away really be a bad thing, given his abusive parents and the bullying he suffers at school? Will being taken away be his damnation, or his salvation? Read and find out!
There are lots of other great writers in this anthology, one of whom is Megan Guilliams, the curator of the book. All of us writers are as you can see below:

You can also see other publishers of the anthology, if you don’t want to give Jeff Bezos your money. Go get yourself a copy of this great book as soon as you can! 🙂
The Tanah: Crests–Chapter Two
[The following is the forty-fifth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, here is the twenty-eighth, here is the twenty-ninth, here is the thirtieth, here is the thirty-first, here is the thirty-second, here is the thirty-third, here is the thirty-fourth, here is the thirty-fifth, here is the thirty-sixth, here is the thirty-seventh, here is the thirty-eighth, here is the thirty-ninth, here is the fortieth, here is the forty-first, here is the forty-second, here is the forty-third, and here is the forty-fourth–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]
Translator’s Introduction
This chapter, too, seems eerily prophetic. It seems to predict not only the French Revolution and the rise and fall of Napoleon (or are our researchers letting their imaginations run wild here?), but also the end of the Commons due to enclosure, forcing English farmers to enter cities to work in factories. We’ll let you decide if our researchers’ speculations are correct.
Chapter Two
The next crest we saw in our visions would be a short one–so short as almost to seem non-existent. Indeed, this crest seemed almost to overlap with a trough, and to overlap almost fully.
Those who wore the bracelets came to hate them, suspecting rightly that it was the bracelets that were the creators of their woe. So when the time came that the bracelets would no longer stick to their skin, and the wearers were to feel compelled to pass them on to be worn by the next generation, the wearers, having finally become able to remove the bracelets from their wrists, resisted giving them to their sons and daughters. They felt a terrible headache from their resistance, but they prevailed all the same, not knowing the Crims or their divine power in the bracelets.
This unwitting disobedience to the Crims–the people’s not knowing that it was to be the Crims who decided when the wearing of the bracelets would end, and not the people to decide–would result in good and ill fortune at nearly the same time. True, the ill fortune of servitude to the lords of the land would end, the curse of wearing the bracelets, but a new ill fortune would creep up on the unsuspecting people, their punishment for rejecting and discarding the bracelets before the time the Crims deemed a fit one.
The people with naked wrists rejoiced at the cutting off of the heads of their oppressive kings and queens. They rejoiced no longer to have to work on land owned by lords who took most of the food they produced. They were delighted that a new state, with men to represent the needs of the common people, was born…almost still-born, they would soon learn.
Indeed, new evils were soon coming to replace the old ones–new evils that followed like toes of boots stepping on the heels of the feet of the old ones.
A great new leader, once thought to be a liberator of the people, would soon call himself “emperor,” and would conquer many nations–though he would be defeated soon enough.
More significantly, while those farmers who now lived off the land in relative peace, without lords to have to give most of their food to, were happy in this state for a time, new masters would come. These would buy off the land and force the farmers off of it, making them move to the cities to find work in filthy, smoky buildings, castles that blew fumes into the skies.
The people would work for a pittance, barely enough to live on, and thus would begin a new trough, the worst of them all.
Two Worlds
Gala Gala Gala Gala Gala Gala Gala Gala
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Gaza Gaza Gaza Gaza Gaza Gaza Gaza Gaza
Analysis of ‘The Soft Machine’
I: Introduction
The Soft Machine is a 1961 novel by William S Burroughs. It originally came from manuscripts from The Word Hoard, a large body of text (roughly 1,000 typewritten pages) produced between about 1954 and 1958, and used as the basis also for Naked Lunch and the Interzone collection, as well as some of Nova Express and The Ticket That Exploded. TSM is the first part of The Nova Trilogy.
An experimental novel, TSM uses the cut-up technique, an aleatory narrative that involves taking a written or typewritten text, cutting it up into pieces, and rearranging them to create a new text. The concept started with Dadaists like Tristan Tzara in the 1920s, yet writers like Burroughs in the 1950s popularized it.
Two things from Burroughs’s novel were later applied to music: its title, which became the name of a late 1960s/1970s psychedelic/jazz-fusion band from the Canterbury scene (check out an analysis I did of their third album here); and the expression “heavy metal,” used by Burroughs originally to describe a heavy, “metallic” kind of drug addiction.
I am basing this analysis on the second edition of TSM, with which most readers are familiar. Here is a link to it, and here is a link to Burroughs reciting “Uranian Willy,” which is a different version from the text I’ll be using.
II: General Remarks
As I did with my analysis of the Naked Lunch novel, I’ll only be looking at select parts of TSM, since the cut-up technique has created a chaotic incoherence that would make an analysis of everything virtually impossible, at best turning a blog article into a book. I’ll be looking at those parts that do read as a linear narrative (or approximately so), such as ‘The Mayan Caper,” among others.
Because of the cut-up technique’s causing of the story to jump back and forth instead of being linear, it would perhaps be best to read TSM more like an extended prose poem than as a novel, appreciating each piece of imagery for what it is, instead of trying mentally to put all the pieces back in order, a frustrating process that would negate Burroughs’s purpose in cutting up the text anyway.
His reason for cutting up the text and rearranging it was not some kind of avant-garde self-indulgence for its own sake. He was trying to subvert the reader’s sense of perceiving the linearity of language as a manipulative or coercive power. As with so much of Burroughs’s writing (as I observed in my analysis of NL–link above), he was preoccupied with systems of power and control, as manifested in religion, the government, drug addiction, and sexual indulgence as an attempt to escape from such control.
Burroughs may have written about drug abuse a lot, but he by no means glorified it. He knew the pain of addiction and the need to be freed of it, so notions of drug abuse are a major theme in his writing as an aspect of power structures’ way of trying to control us, as we see in NL and TSM. For Burroughs, the human body is a “soft machine,” a weak, vulnerable thing under siege by parasites, drug addiction, and totalitarian control.
One of those forms of totalitarian control is the linear use of language, so the purpose of the cut-up technique is to liberate us from the linguistic aspect of that control. One aspect of TSM is a tendency to go back and forth in time, as if in a time machine (indeed, it’s been observed that Burroughs’s title for the novel is a variation on HG Wells‘s Time Machine), so the cut-up technique can be seen as representing that moving back and forth in time, instead of experiencing it in the normal, linear way.
The idea that the cut-up technique can be a metaphor for time travel is suggested in “The Mayan Caper,” in the third paragraph of that chapter, where the narrator speaks of taking yesterday’s and today’s newspapers and rearranging their pictures to make a montage: as he does this, he’s literally moving back in time to yesterday.
Though it’s the first novel of The Nova Trilogy, TSM is also widely regarded as a sequel to and extension of NL, since both novels are taken from The Word Hoard, as mentioned above, and so TSM continues NL‘s habit of explicitly describing drug abuse and homosexual sex, these being ways of trying to escape the miseries of totalitarian control through the government and religion, yet also paradoxically keeping us in its thrall, as slaves to our own desires.
The political aspect of that control, as depicted in NL, was in the form of political parties that all (except for the sympathetic Factualists, who represented Burroughs’s libertarian socialist individualism) in their own ways stifled the individualism that Burroughs valued. The religious aspect of that control in NL was represented by the Muslim faith (i.e., “Islam Incorporated”); in TSM, it’s represented by the Mayan religion, which leads me to a discussion of…
III: The Mayan Caper
This is not only the one genuinely linear narrative in all of the novel; it’s also central to understanding the meaning behind the cut-up technique as a means of undoing the manipulative and coercive power, as Burroughs saw it, of language, especially as it passes through linear time. One upsets the established order by literally upsetting the word order of syntax and temporal order (i.e., going back in time to the Mayan era).
I already mentioned above how the narrator ‘traveled time’ by rearranging the pictures of the day’s newspaper with those of the newspaper from the day before to make a montage–analogous to the cut-up technique’s rearranging of the order of cut-out sentences on strips of paper. He will also mention how the oppressive Mayan priests will use the Mayan calendar–a record and arrangement of the order of time–to control their slavish, toiling population, who work in the fields doing slash-and-burn agriculture.
After rearranging temporal order with the newspaper pictures, the narrator goes to a film studio and rearranges the order of time by learning “to talk and think backwards on all levels…by running film and sound track backward.” An example of such retrograde motion includes going from satiety to hunger. He will also run a film first at normal speed, then in slow motion…he applies the same method to such physical practices as achieving orgasm, which I assume means either delaying it (what fun!) or reversing it.
He next goes to Mexico City and learns all he can about the Mayan language (which he finds easy to learn) and their culture. The absolute power of the Mayan priests, about two percent of the population, depended on their control of their calendar. As I explained above, control over temporal order and the concepts of language–as expressed, for example, in their calendar–is essential to manipulating and having power over the people–this is why messing up that order is so crucial to liberating the people, as Burroughs saw it.
Slash-and-burn agriculture–what the priests use to keep the population obedient, ever-toiling slaves–is a matter of precise timing, according to the narrator. It must be done at specific times; “a few days’ miscalculation and a year’s crop is lost.” We see once again how temporal order is strictly maintained for the priests to retain power over their people.
Most of the hieroglyphs from the Mayan writings refer to dates on the calendar; the other, undeciphered symbols probably refer to the ceremonial calendar. Yet again, we see how language, mixed with temporal organization, is used to manipulate and control the Mayan people.
After learning of the Mayan language and culture, the narrator has to find a “vessel,” that is, the body of a Mayan boy in whom the narrator is to be transferred–his soul moved into it for the purposes of mixing in unnoticed among the Mayan population after traveling in time back to their era. The two are to do this procedure, an illegal one, with an American doctor who has lost his certificate due to having become addicted to heavy metal [!].
What’s ironic here is how the narrator’s mission–to liberate the Mayan people from their oppressive priests and systems of language and the temporal order of their calendars–is to be facilitated with the help of a doctor also in need of liberation (i.e., the “soft machine” of his body controlled by the hardening, heavy, metallic nature of his drug addiction). Furthermore, the doctor learns, from his examination of the Mayan boy’s naked body, that his body “is riddled with parasites,” which are another major form of control dealt with in TSM. Another paradox of liberation via the aid of the non-liberated.
The narrator “would be eaten body and soul by crab parasites” if the doctor used “the barbarous method used by…[his] colleagues”, so instead he’ll use a different technique for the transfer operation. He’ll operate with molds, keeping the narrator intact in deepfreeze.
Once the transfer operation is done, the narrator goes to find a “broker” who will help him achieve time travel to the Mayan era. The method of traveling time should be of no surprise to those familiar with Burroughs’s writing: it involves nothing other than drinking a drug, made from dried mushrooms and herbs that the broker cooks in a clay pot.
The narrator feels the motion sickness of time travel, he pays the broker his fee, and he finds himself in a jungle. When he comes to a clearing, he sees a number of workers in a field planting corn. He feels “the rushing weight of evil insect control forcing [his] thoughts and feelings into prearranged molds, squeezing [his] spirit into a soft invisible vise”, and he is handed a planting stick from one of the workers. He’s gone from time machine to soft machine, the parasitic insects taking control of his body.
He comes across as “a half-witted young Indian”, which will be useful to him, since he’ll never be suspected by the priests as a threat to their power. He can thus possibly be transferred from field work to rock carving the stellae after a long apprenticeship and the priests have total confidence he’ll show no resistance to their power. He stays, therefore, for months as a field worker and keeps a low profile.
He learns of two horrible punishments for anyone who tries to challenge, or even just thinks of challenging, the priests’ authority: “Death in the Ovens,” and “Death In Centipede“, this latter one involving being strapped to a couch and eaten alive by giant centipedes–executions carried out secretly in rooms under the temple.
In order to mess with the system of controlling the people and thus liberate them, the narrator needs access to a machine the Mayans know how to use, but not how to repair were it to be broken, or how to build a new one were it to be destroyed. Since the machine uses recordings (i.e., on magnetic tape, something not invented until the 1920s), it’s clearly an anachronism that Burroughs, in his surreal imagination, has invented out of poetic licence–this anachronism is also reflective of TSM‘s theme of rearranging the temporal order of things.
To gain access to the machine, the narrator agrees, in all disgust and reluctance, to do a sexual favour for one of the priests–the latter transforming himself into a green crab from the waist up during the sex act. The narrator is able to endure all of this by reassuring himself that he’ll enjoy killing the man when the time comes. So after the narrator’s sexual ordeal, the priest transfers him to janitor work in the temple, where he witnesses executions: bodies torn into insect fragments by the ovens, and centipedes born in the ovens from those fragments. It’s time for him to act.
The narrator uses the drug he got from the doctor to take over the priest’s body, he gets into the room where the codices are kept, and he photographs the books. He dismantles the machine by mixing the order of recordings and images, a change that will be picked up by the machine and fed into it. Recorded agricultural operations–the slash and burn–are shuffled so they’ll occur at the wrong times, losing a year’s crop, and causing famine.
He sends out a new command, essentially: “Smash the control machine–Burn the books–Kill the priests–Kill! Kill! Kill!” And with this, to make a long story short, comes the toppling of the Mayan “regime,” to use the word in, of all sources with an obvious liberal agenda, the Wikipedia article. This leads to my next point.
Now, a bringing of an end to the Mayan tyranny is all fine and good…if such is an accurate representation of what their priestly authority was really like. Yet with an anachronism like their machine and its ‘recordings’ as central to the priests’ power, I’d say such accuracy is rather unlikely, to put it mildly.
Matters get more sinister when we consider how this whole “Mayan caper” (interesting choice of words in itself) has been conceived by, of all people, Americans, and for the purpose of toppling an aboriginal “regime” in what’s today Latin America. Yes, the tankie in me is coming out for commentary again.
Of course, there’s nothing inherently socialist about the Mayan “regime.” Remember also, though, that in the opinion of an anarchist–as Burroughs can reasonably be described to have been–neither were the USSR or the Soviet Bloc, nor have China, Cuba, Vietnam, North Korea, or Laos ever been ‘genuinely socialist.’ Any state is oppressive, whether right-wing, left-wing, or centrist, in the eyes of your average anarchist or ‘left-wing’ communist, especially in the eyes of individualist libertarian socialists like Burroughs…so what difference did it make to him whether or not the Mayan priests were socialists?
The point is that it has been a standard practice of US and Western imperialism to do regime change on any country out there that goes against imperialist interests. The first step of such regime change is to justify it by claimning that those “regimes” are oppressive: exactly what we are meant to understand about the Mayan priests–it’s all propaganda, meant to manufacture consent for said regime change.
The ruling class has always found anarchists useful in agreeing that state socialism isn’t ‘real socialism,’ and is therefore tyrannical. The capitalists can say of the anarchists, “See, even fellow leftists agree that the socialist states are no better than capitalist ones, so we should oppose them!” In helping imprialism crush, for example, the Soviet resistance, through their own propaganda, anarchists give the working class “the unkindest cut.”
IV: Uranian Willy
“Heavy metal,” as Burroughs used the expression, had nothing to do with music, of course. I recall seeing him on TV (back when I was still living in Canada) talking about his use of “heavy metal”; I wish I could find the video of him talking about this on YouTube so I can share it here, but my foggy memory of it will have to serve. He was talking about a “metallic” drug experience.
So Uranian Willy, “the heavy metal kid,” personifies drug addiction at its worst: where it has gone from the organic (vegetable) to the mineral (metallic). Willy thus represents the final stage of addiction, a “heavy metal” addiction to junk, sex, and power.
He may be among the “Nova Mob,” a group of parasitic entities attempting to destroy the Earth by manipulating human thought and flesh through “word and image” machines (rather like that of the Mayans, just discussed above), but also being closely associated with Will Lee (who in turn represents Burroughs), Uranian Willy also wishes to break free of his drug addiction and thus free everyone else from addiction’s thought control. Hence, he is also known as “Willy the Rat,” or “Willy the Fink,” for having turned his back on and snitched on the Nova Mob. “He wised up the marks”–that is, he got them to understand how they’re being manipulated. Recall Burroughs’s dictum from Naked Lunch: “Hustlers of the world, there is one mark you cannot beat: the mark inside.” You can fool others, but you cannot fool yourself.
Willy’s efforts to liberate others (“the marks”) from heavy metal drug addiction is compared, on one level, to a pilot in a fighter plane attacking “the Reality Studio and retak[ing] the universe”–“target[ing] Orgasm Ray Installations.” On another level, Willy’s resistance can be compared–in terms of its somewhat similar language–to the narrator of “The Mayan Caper” and his changed commands in the Mayan machine to “Burn the books–kill the priests–Kill! Kill! Kill!”
“This is war to extermination,” Willy understands of his wish to end his dependency on heavy metal. He must “wise up the marks everywhere,” and get them to understand the dangers of drug addiction and how the powers-that-be use it to control the minds of the masses. To wise them up, he must “show them the rigged wheel,” how the marks are being played by those in power. He must save the “Souls rotten from the Orgasm Drug” of heavy metal.
So in this context, we can see how passages like “Photo falling–Word falling–..Take Studio–Take Board Books…Towers, open fire” are similar to what happens when the narrator in “The Mayan Caper” messes with the Mayan machine and its words and images to overthrow the Mayan regime.
Now, members of the Nova Mob are alarmed at Willy’s having suddenly gone rogue and against them, so they try to get him to stop his attack: “Pilot K9, you are cut off–Back–Back–Back before the whole fucking shithouse goes up–Return to base immediately.”
It seems, however, that the Nova Mob have failed in their attempt to stop Uranian Willy, for “It was impossible to estimate the damage–Board Rooms destroyed–Enemy personnel decimated–…Shift linguals–Cut word lines…Photo failing–Word failing…”
Note how “Shift linguals–Cut word lines…” and “Word failing…” sounds a lot like the cut-up technique’s disruption of the natural flow of language as a way of liberating humanity from systems of control. The Nova Mob is being overthrown just as the Mayan priests were.
V: Gongs of Violence
The sexes are at war, dividing the planet right down the middle. It’s a perfect way for the ruling class, with their systems of power and control, to keep us all from resisting and fighting them: make us all fight each other instead, through idpol. [This battle of the sexes, incidentally, should not be confused with the legitimate and necessary struggle for the equality of the sexes, to allow equal opportunity for women, to end their domestic servitude, and to end their sexual degradation. Such an attainment of equality necessitates solidarity between men and women through the adoption of socialism, not the divisiveness of edgy liberal identity politics.]
The armies on both sides seem to have adopted homosexuality, for one army has “Lesbian colonels in tight green uniforms.” Those on either side are deemed “the Sex Enemy.”
Since there is no true love between the sexes in this world, there are no heterosexual marriages or families, and there’s no natural parenthood. Children, therefore, are just “property,” usually not owned by their biological parents.
Each of these “properties” has a “life script,” which sounds again like the use of a predetermined language for the purposes of control by the ruling class. Those with “a lousy grade B life script” may complain…to their mothers, whether adoptive or biological?…”Fuck my life script will you you cheap downgrade bitch!”
The idea that “time-nappers jerk the time position of a property” sounds like an example of how normal linear time is also used as an instrument of power and control by the ruling class, and so “time-nappers,” who “jerk the time position,” are engaging in acts of resistance against the powers-that-be. “The property can also be jerked forward in time and sold at any age,” which sounds as though those in power also manipulate temporal order to maintain power, through the selling of children.
With vivid descriptions of a cityscape we also have vivid descriptions of fighting and violence there, presumably manifestations or results of the battle of the sexes. “Rioters of all nations storm the city in a landslide of flame-throwers and Molotov cocktails.”
Amidst all of this fighting and surrealist description is the ongoing battle for the souls of the people: on one side, those trying to liberate us from the heavy metal addiction: “We are converting to vegetable state–Emergency measure to counter the heavy metal peril”; and on the other side, there are those trying to keep us all addicted to heavy metal: “we are converting all out to heavy metal. Cabonic plague of the Vegetable People threatens our Heavy Metal State…Do not believe the calumny that our metal fallout will turn the planet into a slag heap.”
“Gongs of violence” on the one hand sounds like explosions ringing out like the banging of gongs, and on the other hand like a pun on ‘gangs of violence,’ a male gang vs a female one in the sex war.
The world of this sex war seems to be a future dystopia, which fits in well with the sense of time travel going on throughout TSM. The destruction of cities is implied in the spelling of a number of them without the first letter of each: Ewyork, Onolulu, Aris, Ome, Oston.”
VI: Cross the Wounded Galaxies
In this final chapter, we seem to have traveled time yet again: this time, to the very beginning of human consciousness. The “muttering sickness” has come to “the ape forms,” or the first primitive man, who are able to speak. Since Burroughs regarded language, and the normal, ordered use of it, to be a form of power and control over humanity, he saw it as a “sickness.”
The sickness was brought to the narrator of this chapter “from white time caves frozen in [his] throat.” The “sick apes spitting blood laugh, sound bubbling in throats torn with the talk sickness.” The primates are learning to speak, which is a kind of forbidden fruit of the Tree of Knowledge, so to speak, that is going to lead them all to their collective ruin.
And with language, they now have names. They’ve come out of the mud and are about to enter civilization, and all the irreparable harm it causes, as Burroughs saw it. “The sickness leaped into our body…cold screaming sickness from white time…spitting ape wounds…the talking sickness had names…we had names for each other.”
The “talking sickness” sounds like a rejection of the psychoanalytic “talking cure.” Just as Burroughs didn’t trust language, he didn’t trust the Freudians as people who used therapy as a tool of control. On the other hand, the “ape forms” problematically having names for each other sounds representative of ego formation, which a later Freudian–Jacques Lacan–saw as illusory.
“White time” and “the white worm-thing inside” (this latter being a parasite as yet another instrument of control) seem to represent white supremacy. The “fear-softness in other men” would be the soft machine, or the vulnerable human body in its susceptibility to all the forms of control: time, language, parasites, and heavy metal drug addiction.
“The thing inside [him, that is, “the white worm-sickness in all our bodies”] would always find animals to feed [his] mouth meat.” The parasites inside us that control us always make us kill for food, which includes eating other humans.
There seems to be a jump ahead in time later on in the chapter, for we read of “sewers of the city, crab parasites in [their] genitals.” What was parasitic in prehistory is still parasitic now.
As we have moved from prehistory to the modern world, in Burroughs’s time machine of the rearranged words of his cut-up technique, we encounter a proliferation of the evils begun in the era of the “ape forms”: more parasites and tapeworms, people with names (“Mr. Bradley Mr. Martin”), the authoritarianism of religion (“I am Allah. I made you.”), and shattered windows (“Glass blizzards”), the result of vandalism, or war? There are even Orwellian “Think Police”.
Time travel seems to go into the future again, with presumed astronauts who “cross the wounded galaxies”: Earth seems not to be the only planet infected with parasitical forms of power and control. After all, the “heavy metal boys” are from Uranus, hence “Uranian Willy, the heavy metal kid.”
VII: Conclusion
What TSM is trying to tell us is that the most significant and dangerous forms of manipulation and control that we have to be wary of are not so much those of the government, religion, or even the capitalist class. They are those that we have all internalized: what the parasites and the heavy metal addictions are metaphors for–whatever we allow inside ourselves to have power over and harden the soft machine of the human body.
The Tanah: Crests–Chapter One
[The following is the forty-fourth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, here is the twenty-eighth, here is the twenty-ninth, here is the thirtieth, here is the thirty-first, here is the thirty-second, here is the thirty-third, here is the thirty-fourth, here is the thirty-fifth, here is the thirty-sixth, here is the thirty-seventh, here is the thirty-eighth, here is the thirty-ninth, here is the fortieth, here is the forty-first, here is the forty-second, and here is the forty-third–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]
Translator’s Introduction
The following is the first of a trilogy of writings of visions of periods of good fortune, this first one for the Luminosian tribe specifically, and the other two for the future of humanity in general, with whom the tribe would be intermarried.
The tribe’s plan for liberation–to make bracelets marked with images of the four Crims personified, and to wear them faithfully–worked gloriously for them, not only freeing them from slavery to the Zoyans, but also ushering in a long period of peace and prosperity for the tribe. The tribe is warned never to lose faith in the Crims as they continue wearing the bracelets, though, lest their fortunes should turn ill.
Such a loss of faith would come one day, though, many generations down the line, and the tribe, by now intermarried with other ethnic groups they’re living with, would then begin a descent into another trough, the “feudal” one described in “Troughs, Chapter Two.”
Chapter One
Glory be to the mighty Crims, who in response to our faithful wearing of their bracelets, will not lose faith in us, and who will soon liberate us from the oppressive Zoyans!
The drugs we extracted from the plants and herbs of Drofurb’s earthly body have given us visions of a certain future of liberation from slavery to the Zoyans. We will be free; we will prosper!
In our visions, we saw a pestilence overwhelm our Zoyan oppressors, wiping them out quickly, one by one, until none of them are left…yet the pestilence will not affect even one of us Luminosians! We will all walk out of Zoyan land unhindered and unscathed, free to find a new land to settle in.
When we find that new land, as our visions have shown, we will have the wisdom not to take the land from those who live there, as we had the Zagans, but instead to live with them peacefully and in mutual respect. We will engage in commerce with them, and we will thrive with them, growing from our poverty as wandering former slaves into a wealthy, happy people!
For many generations since that time, we will continue to live well, because we will keep faith in the Crims as we pass the bracelets from the old to the young. We will remember those four of the air–Weleb, the earth–Drofurb, the fire–Nevil, and the water–Priff, who all saved us from servitude, and we will teach the younger generations to have the same respect.
Thus will the land we live in grow in fertility and bounty, giving us plentiful food, good weather for growing crops, and a peaceful coexistence with the other peoples we mix with. We will even marry with them, adopt many of their cultural values and beliefs, and become much more than just Luminosians.
There should be nothing wrong in any of these changes, as long as we continue to keep faith with the Crims as the bracelets are passed down; but over time, as the newer and newer generations are diluted of our Luminosian values and beliefs, they will forget, if not be utterly ignorant of, the importance of believing in the Crims as they wear the bracelets.
O, the new generations will love the beauty of the bracelets! They will not, however, understand, much less appreciate, their meaning. This ignorance will be the people’s downfall, for the good luck given from the bracelets comes only from faith in the Crims. Wearing the bracelets without that faith leads only to ill fortune.
The faithless wearers of the bracelets will see that ill fortune in the beginning of a new trough.
Balls
To kill a president, it takes real balls.
Or, was the attempt
on his life a bunch of
balls, a lie to fortify
a room for balls?
Well–nuts!
Analysis of ‘Paranoid’
I: Introduction
Paranoid is the second album by Black Sabbath, released in September 1970 in the UK, and in the US in January of 1971. Several of the band’s signature songs come from this album: its title track, “War Pigs,” “Iron Man,” and “Fairies Wear Boots.” “Paranoid” is Black Sabbath’s only top 20 hit, reaching #4 in the UK, and #1 on the US Billboard Hot Hard Rock Songs in July 2025, for the first time in 55 years since its original release.
Paranoid was completed quickly, recorded in only a few days, as was the band’s debut album (recorded in a single 12-hour session). It’s regarded as one of the greatest and most influential heavy metal albums of all time, defining the genre. Rolling Stone ranked it #1 on their list of the “100 Greatest Metal Albums of All Time” in 2017, and #139 on its list of the “500 Greatest Albums of All Time” in 2020.
Here‘s a link to the full album, and here is a link to all the lyrics.
II: War Pigs
The song was originally to be called “Walpurgis,” with different lyrics, about Walpurgis Night, or as bassist/lyricist Terry “Geezer” Butler put it, “the Satanic version of Christmas.” For him, the real Satanists of the world are the warmongering politicians and bankers who make the poor fight their wars for them, so the original lyric’s talk of Devil-worshippers is just a metaphor for the rich and powerful.
Still, the nervous record company executives wanted nothing to do with a song lyric about Satanism, so it had to be changed into something more directly anti-war–hence, “Walpurgis” became “War Pigs.”
The song is in E (actually, all of the songs on Side One of the album, as well as “Electric Funeral,” opening Side Two, are in E), with a frequent power chord alternation back and forth between D and E (also happening often in the other songs just mentioned). Indeed, the intro of “War Pigs” is guitarist Tony Iommi playing E and D chords back and forth while a civil defence siren is heard in the background. Sometimes, Iommi plays E suspension 4th and E major chords.
Then we come to the iconic guitar riff of D-E, with drummer Bill Ward‘s hi-hat hit closed, then one time open, then three times closed again, before the next D-E riff. This whole cycle is heard twice, then singer Ozzy Osbourne comes in.
Vestiges of the old “Walpurgis” lyric can be heard in the comparison between “Generals…in their masses” with “witches at black masses” and “Evil minds that plot destruction/Sorcerer of death’s construction.”
Since the song was written while the Vietnam War was still going on, “the bodies burning” can be heard as a clear allusion to the effects of napalm, something also referred to in “Hand of Doom.” As we hear this song today, though, “the bodies burning” can make us think of Palestinian children caught in burning buildings and tents as a result of the IDF bombing in Gaza. These latter may not have been in fields, but the flattening of their cities may make them in a metaphorical sense like fields.
The last two lines of the first verse, about “hatred” and “brainwashed minds,” gives us an idea of the “poisoning” effect of propaganda in the corporate, bourgeois mainstream media, which is always inculcating the idea of who our ‘enemies’ are: back at the time of the writing of the song, it was those ‘dirty commie Reds,’ the Viet Cong ‘gooks’; in the 2000s, it was ‘radical Islam’; in the 2010s, it was Gaddafi, Assad, and Putin; in the 2020s, it’s been all Russians, Chinese, and the Iranian ‘regime’ (as Michael Parenti once observed, we in the West have governments; elsewhere, they have ‘regimes’ that must be overthrown and replaced with ‘freedom and democracy.’
Next comes another famous Iommi riff: first, a repeat of the power chords of D-E, then power chords in G, F♯, F♮, and E. A spooky high G-to-G♯ lead, as a blue note–follows, then all those chords again, followed by a high trill of D and E.
The scary, evil sound of riffs like these–of a sort also heard in “Electric Funeral” and “Hand of Doom”–were consciously made as such, for Sabbath were trying to make the rock-and-roll equivalent of horror movie music: this is the basic formula for what would be called ‘heavy metal.’
Originally, the band had called themselves ‘The Polka Tulk Blues Band’ and ‘Earth,’ and they were playing a kind of blues/pop music. Then one day, Geezer had noticed a lineup of people waiting to see a horror movie, and he noted that people are willing to pay a lot to see scary movies. The movie in question was a re-release of 1963’s Black Sabbath, directed by Mario Bava; so the band changed their name to that, and started focusing on writing ‘scary’ songs, such as the eponymous first track of their debut album, with the main riff featuring the evil-sounding tritone interval, known as the ‘diabolus in musica.’
To get back to ‘War Pigs,’ we come to a very important and political verse that is so memorable and even more relevant today than ever. Politicians (and the capitalists they serve, of course) may have started the wars, but it’s the poor who always have to do all the fighting and dying. In the next verse, we hear that people are treated “just like pawns in chess.”
This is all true not just of the Vietnam vets who felt screwed by the American government back in the 1970s, but also those of the Iraq war, many of whom regretted their service in killing people based on government and media lies about “WMDs.” Many Americans join the military out of sheer desperation to find work in a country that threw the working class overboard as soon as there was no longer a danger to the capitalist class of socialist revolution (i.e., the dissolution of the Soviet Union by the end of 1991).
Not only have American troops been treated “just like pawns in chess,” but so also have the troops of people in other countries. Consider young Ukrainian men being forced to fight a war that, contrary to popular belief (as a result of mainstream Western media lies), was not merely Russian aggression, but has always been a proxy war from the US and NATO that had provoked Russia for eight years, from the 2014 coup d’état that removed democratically-elected Viktor Yanukovych from power and replaced his government with one that included Neo-Nazis who attacked ethnic Russians in the Donbass until Putin, realizing that attempts to bring about a diplomatic solution weren’t working, felt he had no choice but to intervene. The US/NATO proxy war is all part of a geopolitical chess game meant to weaken Russia to ensure the continuation of US/NATO global hegemony. Hence, Ukrainian boys, the pawns in that chess game, die to satisfy the anti-Russian ambitions of the US/NATO.
…but I digress. Back to the song.
After the end of the verse with “Wait ’til their judgement day comes” (whose significance I’ll get to in a minute), we hear a repeat of the D-E, G, F♯, F♮, E chords (interrupted, of course, with Ward banging on the drums). Then Iommi goes into a solo, starting and ending it with notes highlighting the suspension 4th and major 3rd, the middle of the solo being blues licks. Next is the going back and forth heard in the intro of E to D chords, and back to the D-E and hi-hat.
In the final verse, Ozzy sings abut the war pigs finally getting their comeuppance. The thing is, though, that it comes in the form of divine retribution, rather than, say, that of the ICC, or the Nuremberg Trials. It’s assumed that justice will be achieved through the spirit, rather than through realistic, human action, as if we people are too weak to do anything about injustice.
Using religion as the final arbiter of justice is a form of philosophical idealism, which says that thoughts, ideas, the spirit, etc., come first, and that physical reality proceeds from them. Philosophical materialism, on the other hand, reverses the order, placing physical reality first, and having thoughts, ideas, etc., proceed from the physical (i.e., our thoughts and ideas proceed from a physical, biological apparatus called the brain).
Many of us today feel that this latter philosophy is far more realistic and useful for solving the problems of our world. Lamenting the wars and injustices of the world, while waiting for “God” to repair all the wrongs will probably involve a rather long wait, to put it mildly.
The idea of God judging the sinning war pigs, throwing them all in the Lake of Fire, and with “Satan laughing, spreads his wings,” sounds more like a form of ghoulish entertainment than a wish for real justice. Such a trivializing of the ethical problem of warmongering can lead to the kind of backsliding into liberalism that Ozzy did by the 2000s (under the influence of his wife, Sharon, no doubt) when he was defending Zionism, even when the IDF war pigs began murdering the people of Gaza in a particularly shocking way in recent years (as of the publication of this article).
After a refrain of the D-E, G, F♯, F♮, E chords, we come to an instrumental outro called “Luke’s Wall,” named in honour of two men in the band’s road crew, Geoff “Luke” Lucas, and Spock Wall. Sabbath also added the title to inflate the song count for the US release of Paranoid, to get higher publishing royalties.
The outro opens with Iommi playing, still in E, high notes of E-B, E-D (minor 7th above), E-B, E-D, B-D, then power chords in E, B, and D. He repeats those high notes (otherwise described as root–fifth, root-7th [2x], fifth, 7th), then power chords of E, G, and E. He plays those high notes again in E, then brings them down, with parallel intervals, to D, then to C, and he plays chords of B, C-C, B.
Then he plays a mournful lead in E, which goes into a brief solo, and he returns to those high notes of the beginning of “Luke’s Wall.” The outro ends with a speeding up of the tape.
III: Paranoid
This song was an afterthought. In fact, the album was originally supposed to be called War Pigs (The album’s cover, with a picture of a man rushing at us with a sword and shield, is supposed to be a “war pig,” not a man with delusions of persecution; but with the change of the name of the album, they never bothered to change the picture accordingly).
It was felt that the album didn’t have enough material, so this short song was thrown together very quickly to fill in about three minutes. A cursory reading of the lyric already reveals that the song is not about a man who thinks everyone is out to get him, but rather, about (Geezer’s) depression.
The song begins with an Iommi riff in E, him quickly hammering on from D to E chords (by ‘chords,’ I mean power chords, the standard rock/heavy metal practice of playing the root and fifth simultaneously, rather than full triads–i.e., no thirds, hence, I don’t bother saying if they’re major or minor chords), then he plays single notes of A-B, D-E (2x).
Most of the rest of the song musically is made up of chords in E, D (G-D), and E. On two occasions, you’ll hear E, C, D, E (2x). Iommi’s guitar solo is a dry signal on the left channel, which is patched through a ring modulator and routed to the right channel.
There really isn’t much point in going into the lyric in much detail; it’s pretty straightforward–as I said above, it’s just about Geezer being disconsolately unhappy, to the point of feeling as if he’s going crazy. This ‘feeling of going crazy’ is the closest the lyric ever gets to him being “paranoid.”
The notion of being depressed as a form of mental illness, does, however, tie in with the album’s general themes of war, drug abuse, anger, hatred, and vengefulness. Paranoid is an album about, essentially, everything that’s wrong with the world, and a sense of paranoia is surely a big part of such problems.
IV: Planet Caravan
And now, we have a mellow, psychedelic song to contrast with all of the heavy metal coming before and after it. Now, instead of power chords in E and D, we have gentle, lyrically played chords in E minor and D major. Ward plays congas, and Iommi adds some flute, overdubbed to the reversed multitrack master which was then re-forwarded and treated with stereo delay.
Tom Allom, the engineer for the album, added some piano chords towards the end of the song. Ozzy’s voice was put through a Leslie speaker to achieve the treble and vibration effects.
The lyric is about floating through the universe with one’s lover, according to Geezer. I can’t help thinking, though, that given the psychedelic nature of the song, that it’s also about enjoying a nice, mellow high after smoking some grass. Such an interpretation would tie in well with the general themes of the album, which as I mentioned above, include drug use.
As far as Geezer’s lyrics go, this is one of his particularly beautiful, poetic achievements, rich in imagery, simile, metaphor, and personification (take, for example, the line “Stars shine like eyes, the black night sighs.”). The words flow musically and gently–they’re a true delight.
After Ozzy’s singing, we hear a fittingly lyrical, even jazzy, solo by Iommi. Though his solo has been compared to those of Django Reinhardt, I don’t really hear the comparison. It is worthy to point out, all the same, that Iommi suffered an injury to two of the fingers of his fretting hand, reminding us of how Reinhardt had damaged two fingers of his fretting hand in a fire. Both guitarists managed to get around their handicaps quite admirably: in Iommi’s case (inspired by Django’s example of not giving up on the guitar), he coped by drop-tuning his guitar and playing more power chords, partly to make playing easier, but also resulting in his signature ‘heavy’ and ‘dark’ sound, so loved of metal fans.
V: Iron Man
Ward begins the song with the thumping of his bass drum, then Iommi plays a dissonant bending of a low E note against another bent E note. Ozzy, in a distorted-sounding voice that apparently was achieved by speaking behind a metal fan, says, “I am Iron Man.” Then comes in the iconic guitar riff: power chords of B, D, D-E-E, G-F♯ (3x), D, D-E-E.
As Ozzy sings the verses, in the same melody as the riff, Iommi is playing it in single tones rather than with power chords. “Iron Man,” of course, is not the Marvel Comics superhero: his actual body was turned into metal as a result of time travel “in the great magnetic field,” for the purpose of warning humanity of an apocalyptic future.
His return to the present time in his iron form has only caused people to gawk at him and wonder how he changed into such a monstrous creature. They regard him with disgust and contempt: “Why should [they] even care?” This is humanity: judging people solely by their physical appearance.
Geezer has said that he meant “Iron Man” as an allegory for Christ, who also tried to save mankind, but was treated with similar contempt and killed. Instead of saying, “Father, forgive them, for they know not what they do” (Luke 23:34), though, Iron Man wants revenge against those who rejected him, making himself the very dreaded future he meant to warn us all against.
After the first two verses, in which Ozzy has sung of the people’s contemptuous reaction to Iron Man, Iommi plays an ominous riff of single tones of B-B, D, B, B♭, A-A-A, E, A♭-A-A-B♭(3x, but without the last five notes the third time). Then we go back to the main riff with the power chords.
Ozzy sings the third verse, of how Iron Man’s body “turned to steel…when he traveled time.” After that, during the verse where Ozzy sings of nobody wanting the Iron Man, Iommi plays power chords in E, then D, then single notes of B, B, B-D-E, E-F-F♯, A-A♯-B (2x). This music is all heard twice, then back to the main riff.
The next verse is about Iron Man beginning his act of revenge. The verse after that is musically the same as, and lyrically parallel to, the one discussed in the middle and end of the previous paragraph.
Next comes an instrumental break, at double the tempo, in C♯, with Iommi playing single notes of C♯-B, G♯, G♮, G♭, E, B-B (hammered-on) C♯-C♯ (we hear this all twice). Then, Iommi plays a solo, then a repeat of the riff just described.
Then we hear a return to the single-note riff of B, B, B-D-E, E-F-F♯, A-A♯-B (4x), and a return to the main riff. In the final verse, Ozzy sings of Iron Man’s terrifying revenge, the people “running as fast as they can.”
If Iron Man is allegorical of Christ, then “Iron Man lives again” could be heard as a fusion of the Resurrection and the Second Coming, bringing on the Day of Judgement. Then we hear a return to B-B, D, B, B♭, A-A-A,…etc. Another way to see Iron Man’s revenge as relevant to today’s world is to think of how many times leftists have warned people about the consequences of embracing unbridled capitalism, or the “free market,” which has resulted not in economic prosperity, as the market fundamentalists fantasize it would, but rather the very neoliberal, totalitarian society that those right-wingers fear of communism. Ordinary people now are taking their revenge in the forms of burning down warehouses, throwing Molotov cocktails at Sam Altman‘s home, shooting insurance company billioaires, etc.
Next comes the coda: fast E notes on Geezer’s bass while Ward is thumping with him on the bass drum and playing the hi-hat, then hitting the tom-toms. Iommi repeats that dissonant bending of the low E note, then he plays a doom-laden single-note theme of E-D-E, (hammered-on) D-E-D (pulled-off), E-D-E, F♯ G F♯ G F♯ (grace note>>>) G-F♯ D (2x). He does overdubbed solos briefly, then returns to the theme (which always has Geezer backing him up with bass notes of mostly Es, Ds, C♯s, and Cs. The song ends with an emphatic E-D-E.
VI: Electric Funeral
This song is yet again in E minor, as were the previous three (“War Pigs” was an ambiguous, blue-note E major/minor). Iommi is playing the opening riff with a wah-wah pedal: E, E, B-C-B, E, F♯-G-F♯. The tempo is plodding and mournful.
When Ozzy comes in singing, he sings the same menacing melody as the backing guitar and bass riff: E, E, B…B♭…A-G… The song is about a nuclear holocaust. The first verse, with ominous imagery of the dangers coming from the sky (the dropping of an atomic bomb, of course), is comparable to the narrative I created around Krzysztof Penderecki‘s music when I wrote my analysis of his terrifying avant-garde composition, Threnody for the Victims of Hiroshima.
The first two lines of the second verse, about how people who blindly follow orders like robots, who obey without thinking, will lead us all to our deaths in a nuclear war. These lines are particularly relevant today, when people mindlessly believe Western media propaganda that insists, “Russia bad! China bad!”, yet never consider that the purpose of such agitprop is to manufacture consent for war with those two nuclear-armed countries, as against the one nuclear-armed country that has actually used nukes to kill people.
This isn’t about believing that the Russian and Chinese governments are flawless or utterly blameless. To be sure, there’s plenty of room for criticism of both where applicable and appropriate. The point is that we should not be demonizing them to the point of antagonizing them and playing dangerous games of nuclear brinksmanship. Such dangers are what “Electric Funeral” is all about. We don’t want to be “victims of man’s frustration” over the reality that the US isn’t going to be the strongest country in the world anymore, and that the BRICS nations are on the rise. In fact, if handled well, this emerging multipolarity, with its new balance of power, could lead to world peace.
After the second verse, we come to an instrumental break. With an open low E-string, Iommi plays descending pairings of notes in E-G♯, E♭-G♮, D-G♭(5x). Next, he plays a riff, at double speed, of power chords of E-D-E, then a high chord of E minor up on the twelfth fret. Geezer backs him up on the bass with E-D-E, G, G-G, G.
Ozzy sings, doubling a melody of leads Iommi plays, of the violent effects of an atomic bomb destroying a city. The horrors turn surreal with imagery like “rivers turn to wood; ice melts into blood.” When I first heard this line as a teen, I thought it absurdly sensationalistic, but a possible interpretation of the first half of it is an allusion to Revelation 8:10-11, in which a star, named Wormwood, falls on a third of the rivers, turning them bitter and killing many people. Similarly, in Revelation 8:8, “the third part of the sea became blood.”
This fast section of the song ends with Ozzy chanting “Electric funeral” in E, while Iommi bends a high D-note up to E for Ozzy’s every syllable. Then Iommi plays a lower lead of Ds and E, leading back to the original, plodding riff with the wah-wah pedal.
The final verse is, as with the ending of “War Pigs” a reference to the Final Judgement. God is “the electric eye/Supernatural king.” The evils ones of the world will go to hell, as will the war pigs.
After a repeat of the original wah-wah riff, the song ends with more of that menacing theme on the guitar and bass: E, E, B…B♭…A-G. The song fades out ominously with that, ending not with a bang, but a whimper.
VII: Hand of Doom
The song begins with an eerie bass line in D: C-C-D-D-D, D, D-D-G, G♯, A. Then Ward and Iommi join Geezer, and Ozzy begins singing.
The song is about drug addiction, specifically intravenous drug abuse, such as IV heroin, as used by traumatized veterans of the Vietnam War, in a vain attempt to escape their pain.
Once the addictive habit has been established, “time’s caught up with you,” and “you know there’s no return.” What up to now has been a soft, ominous guitar doubling of that bass line described above is now loud and terrifying. “You join the other fools [who have become addicts]”, “Now [the addiction is] killing you.”
With the second verse is a return to the soft, ominous playing of the guitar/bass theme. Ozzy sings of the traumatic source of the need for the escape through drugs: “the bomb,” and “Vietnam napalm.” It’s all so “disillusioning” that “you [need to] push the needle in.”
A return to the loud and terrifying version of the riff comes with Ozzy singing of how, with the addict, “from life, you escape/Reality’s black drape.” After this verse, Geezer plays the eerie riff alone a few times, then all is spookily silent for a second.
Then we come to a whole new riff, in C, from Iommi. He plays roots, fifths, and octaves in triplets of C-G-C (4x), then chords of B♭, B♭-suspension 4th, and B♭-major.
Ozzy sings of what a fool the addict is to be overindulging in such a dangerous habit. In the second of these two new verses, he sings of the addict “drop[ping] the acid pill.” He won’t “stop to think now.”
It seems odd (if not outright hypocritical) for Ozzy to have sung, and Geezer to have written, a lyric that judges drug users, when we all know these four guys were far from innocent of the habit. As early as “Fairies Wear Boots,” Ozzy is freely admitting to “smoking and tripping.” Then there’s “Sweet Leaf” glorifying the smoking of marijuana, with Iommi opening the song by coughing after inhaling a joint. Then there’s Ozzy chanting “cocaine!” in “Snowblind,” and saying “Smokers…get high!” in “Killing Yourself to Live.” Finally, there’s Ozzy’s claim that he and Ward did acid every day (or almost every day, or sometimes once or twice a week) for two years back in the early 1970s, leading to Ozzy having a chat with a horse.
After the first of these verses is a return to the triplets of C-G-C, etc. During the verses, Iommi is playing power chords of C, E♭, D-B♭, F, C, B♭, C. After the second of these verses, Iommi plays power chords of C, E♭, F, G (3x).
Then, for the next verse, Iommi is playing a heavy riff with power chords of Cs and C♯-C♮, over and over again. Ozzy sings more of the addict’s delight in self-destruction.
After this verse and a repeat of that riff with the triplets, etc., Iommi does a solo in the Dorian mode. Then he plays a riff of three descending power chords of C, B♭, and G (2x), then there’s a return to the original, eerie bass riff in D.
In the next verse, Ozzy sings of the addict’s “skin…turning green,” symbolic of the physical and mental sickness growing in him, as the rest of the verse is just about the addict ignoring the damage he’s doing to himself and the painful reality around him he’s trying in vain to escape.
In the final verse, we sense how the extensive damage to the addict’s health is finally taking its toll on him. He falls, his body heaves, and he’s surely going to die.
After this, we just hear the bass playing the eerie theme all alone, just as alone as the dying addict is. The bass fades out quickly, as does the addict’s life.
VIII: Rat Salad
This track is an instrumental in G. One can hear it as Black Sabbath’s equivalent to Led Zeppelin’s “Moby Dick”: an instrumental, the second last track on Side Two of the band’s second album, and most importantly, it has a drum solo. The riffs are essentially made up of blues licks, as “Moby Dick” is essentially a blues instrumental, though here Iommi plays a solo in the Dorian mode again.
The main riff is, as I said above, made up of blues licks: G, A♯, C, C♯, C-C♯ grace note)-C, A♯, G (2x), etc.
IX: Fairies Wear Boots
This song, with a lyric by Ozzy, for a change, was inspired by an altercation the band had with a group of skinheads: not the white supremacist kind, but ones nasty enough to call the band “fairies” because of their “girlish” long hair.
Ozzy decided to get back at them with this song lyric by using the homophobic slur on them instead. The song opens with an instrumental intro called “Jack the Stripper,” named after the Hammersmith nude murders of 1964 and 1965. Iommi plays an opening riff in G minor with an echo effect, then it goes up to A minor.
After that, it goes up again to B minor, with Iommi playing octaves. Then he plays power chords of E, D, (and Ward bangs solo drum licks), B, and A (more solo drumming). This trading of power chords and solo drumming is repeated, then they go up to C♯, and Iommi does a solo with blues licks. Then there’s a repeat, twice again, of the E, D, B, and A power chords trading with the solo drum licks.
Finally, we come to the song’s main riff in a bluesy G minor. First, the riff is loud and aggressive, then it softens to leave space for Ozzy’s vocals. He begins his story about the skinheads, though the setting and circumstances seem quite different from the original source of the story. Instead of what was, depending on how the story’s told, an encounter with skinheads at either a Sabbath gig or a soccer game, Ozzy presents it as if it were a drug-induced hallucination. He’s walking home late at night and sees the “fairies” in boots dancing through a window inside a house. The boots are the strong ones a skinhead would wear.
Between the repeated chorus, in which Ozzy seems hysterical that no one would believe his bizarre vision, there’s a riff by Iommi with single notes of (more or less) F-G (hammered-on, 2x), C-D (hammered-on), F, D, and F bent up to G and back down (these an octave lower). Then he solos briefly, does the riff again, and plays the “Jack the Stripper” theme again before returning to the main riff of the song.
After Ozzy’s repeat of the chorus, he sings of going to the doctor for help, only to be told that his problem is doing too many drugs. Oddly, instead of producing a fourth line to rhyme with “far,” he just sings a long “Yeah!” (Easy rhymes for “far” could have been “are,” “bar,” “car,” “jar,” “star,” etc. Off the top of my head, I could rhyme it with a fourth line of “A crazy dope fiend is all you are.”)
Iommi repeats the riff described two paragraphs above, then ends the song with a repeated, higher-pitched riff of A, A♯, G, A♮, F, G…fading out.
X: Conclusion
Paranoid is an album fusing the themes of war, mental illness, escape through drugs, alienation, revenge, nuclear war, and self-destruction through drug abuse. The song “Paranoid” may be more about depression than actual paranoia, but the title for the album seems nonetheless apt, since all the aforementioned themes have a way of fuelling paranoia in people, in one way or another.
You must be logged in to post a comment.