Author: Mawr Gorshin

I'm merging the variety of topics I've blogged about--which include literary and film analyses, anarchism, socialism, libertarian-leaning Marxism, narcissistic abuse, and psychoanalysis--into a coherent philosophy centred on dialectical materialism, dialectical monism, and object relations theory. Now, one dialectical opposition is that between the erotic and the ascetic, so accordingly, my writing encompasses the sexual as well as the philosophical; the former can be found in my publications on the Literotica website, as well as my self-published (erotic) horror writing on Amazon.

Analysis of ‘Chinatown’

Chinatown is a 1974 neo-noir vilm directed by Roman Polanski and written by Robert Towne. It stars Jack Nicholson and Faye Dunaway, with John Huston, Perry Lopez, John Hillerman, Diane Ladd, James Hong, and Burt Young.

The film is based historically on the California water wars from the early 20th century, by which LA interests secured water rights in the Owens Valley. Chinatown was also Polanski’s last American film.

It received critical acclaim, having been nominated for eleven Oscars, with Towne winning Best Original Screenplay. The AFI placed Chinatown second in its top ten mystery films of 2008, and it is often considered one of the best films of all time.

Here is a link to quotes from the film, and here is a link to Towne’s screenplay (its third draft).

One of the central themes of Chinatown is jealousy, and this theme is established right at the beginning of the film, when Curly (Young) is heartbroken at seeing photos of his wife in an affair with another man. The man responsible for getting the photos to prove her infidelity is private investigator JJ “Jake” Gittes (Nicholson). The setting is LA in 1937.

Gittes’s next job will be another investigation into a possible adultery, so more jealousy–though who the jealous one actually is will be revealed much later on. For now, though, it seems that a woman (Ladd) who calls herself Evelyn Mulwray suspects that her supposed husband, Hollis Mulwray (played by Darrell Zwerling), is seeing another woman, and she wants Gittes to get proof of this through photos, as he’s done for Curly.

Hollis is chief engineer for the Los Angeles Department of Water and Power. Gittes goes to City Hall, where the former mayor, Sam Bagby (played by Roy Roberts), is arguing the case for building a dam and reservoir for Alto Vallejo. Hollis, however, is against building the new dam, since a previously constructed one on his watch gave way and claimed the lives of over five hundred people.

This issue in the story was inspired, of course, by the California water wars as mentioned above. It also links the various strands of the story together, as we shall see. These strands include the above-mentioned theme of jealousy, the schemes of the rich to build a kind of empire based on control of the water, and the way Chinatown is a kind of modern-day adaptation of Sophocles‘ Oediups Rex, as first proposed by Wayne D. McGinnis in his article in a 1975 issue of Film Quarterly.

Indeed, the drought that the locals are suffering in is analogous to the plague that the people of Thebes are suffering in Sophocles’ tragedy. Since Oedipus Rex also inspired Freud‘s Oedipus complex, and a shocking revelation of incest comes up towards the end of Chinatown, it’s useful to know that jealousy is at the centre of a child’s Oedipal love of one parent and hatred of the other. The child narcissistically wants to hog the beloved parent all to him- or herself, and hates the other parent as a rival lover.

The rival parent is hated for having made the child feel pushed to the side, slighted, marginalized. In the child’s narcissistic state, he or she wants to remain the centre of attention, or the attention of the Oedipally-desired parent in particular. Being thus marginalized causes the child to be kicked out of his or her Oedipal Eden, and marginalization is another important theme of Chinatown, since not only is this part of LA not seen until the end of the movie, only occasionally referred to, but the Chinese-American characters, such as the Mulwrays’ butler, Kahn (Hong), are treated as mere details that hover in the background of the story.

To see how Oedipus Rex, and therefore the murderous/incestuous fulfillment of the Oedipus complex, relate to Chinatown, we need to interpret the Oedipus complex in an expanded and metaphorical, Lacanian form, since the equivalent characters of the play have their roles rearranged, if not outright reversed, in the movie. Instead of a young man unwittingly marrying and impregnating his mother, we have an old man raping and impregnating his daughter, giving birth to Katherine (played by Belinda Palmer), the Antigone of the film.

Furthermore, we seem to have two Oedipuses: a good one, Gittes, who like the Theban king is determined to uncover the truth of what’s going wrong in the city, no matter how painful that revelation will be (in accordance with Wilfred R. Bion‘s interpretation of Oedipus Rex, a growing in K); and the bad Oedipus, Noah Cross (Huston), the lecherous, incestuous rapist who, like a king, owns the police and the city, and who’s responsible for the deprivation of the city’s water, as Oedipus’ incest and patricide are responsible for the plague in Thebes.

If you read the third draft of Towne’s screenplay (link above), you’ll note that Cross’s original first name is given as Julian Cross. I’m guessing that when Huston was cast in the role, they decided to change the villain’s name to Noah, for Huston played the role of Noah eight years prior in The Bible: In the Beginning…, a film he also directed (as he did The Maltese Falcon, another noir film, and his directorial debut).

A number of interesting associations can be made with these two opposing Noahs. First of all, the Biblical Noah is the hero of his story, whereas Cross is the villain of his; Noah’s family is surrounded in water in the ark, whereas Cross deprives LA of water.

A particularly interesting association between these two Noahs, though Huston’s film doesn’t depict it, is how they’re related in terms of incest. In Genesis 9:18-24, Ham sees his father, drunken Noah, naked in his tent. This alone was considered quite a serious sin at the time–a breaking of the taboo against seeing a parent naked. Ham’s sin, however, may have been far more serious.

Most Biblical commentators, both ancient and modern, have thought that Ham’s merely seeing his father naked was not a sufficiently serious sin to deserve Noah’s curse. Seeing his father naked could be a Biblical euphemism for–among other possibilities–committing incest (paternal or maternal), as one reads in the Biblical condemnation of the sin: “the nakedness of thy [family member] shalt thou not uncover…” (Leviticus 18).

So Ham may have raped naked Noah (or his wife, his patriarchal property and therefore “his nakedness,” as euphemistically expressed), as Cross rapes his daughter, the real Evelyn Mulwray (Dunaway), and we assume he has similarly lecherous designs on Evelyn’s sister/daughter, pretty Katherine, hence Evelyn’s attempts to prevent him from getting his hands on the girl.

Now, if we apply Lacan‘s more metaphorical interpretation of the Oedipus complex, the little boy suffering his doomed love for his mother can be represented in the film by Cross. His mother can be represented by Evelyn (and later, Katherine), creating a kind of Iocaste complex, but with the sexes reversed. And the interfering, hated father can be represented by Hollis, who has intervened in this perverse family melodrama, married Evelyn, and spent time with Katherine, though in a perfectly innocent way, as opposed to the love affair that, as we later learn, Cross hopes to portray it in the newspapers, to disgrace and discredit Hollis, who has also frustrated Cross by opposing his plan to build the dam.

Hollis wants the water to be publicly available to everyone in the LA area; Cross wants to deprive the area of its water so the land can be bought up cheaply, then later sold at a much higher price. Because of Hollis’s opposition to Cross’s hoarding of the water, Hollis must be killed. The hoarding of the water parallels the wish to have Evelyn first, then Katherine later. Cross, an obvious narcissist who won’t take responsibility for the effects of having abused and estranged Evelyn, is also a wealthy capitalist who doesn’t care how his greedy control of LA’s water supply is hurting the people who live there, especially the local farmers and owners of orchards. In these ways, Cross personifies what I’ve elsewhere called the narcissism of capital.

As for the woman who impersonates Evelyn at the film’s beginning–actually named Ida Sessions–she could be seen as Cross’s idealized version of Evelyn, helping him to thwart Hollis. This idealized Evelyn, however false she may be, exists as she does exclusively for Cross’s benefit; she is thus a metaphorical mirror for his narcissism, an extension of himself rather than existing in her own right, just as the child wants the Oedipally-desired parent to exist for him or her. The real Evelyn originally served this purpose as Cross’s lover, but the trauma and shame she inevitably suffered from her incestuous union with him caused her to experience psychological fragmentation (Cross, accordingly, calls her “disturbed”). This fragmentation, an emotional falling-apart, is comparable to the fragmentation a child experiences up until the mirror stage, when he sees in his reflection a unified image of himself.

This image is the ideal-I, an idealized self-image, yet it’s also false, as Ida is a false Evelyn. Ego formation during the mirror stage, in the Imaginary Order, is grounded in untruth and illusion. It’s narcissistic, bringing about a False Self, reflecting grandiosity back to the subject, as Ida’s Evelyn does for Cross.

The dyadic mother/son relationship is reproduced for Cross in a transference first onto Evelyn, then onto Ida-as-Evelyn. Cross would like to do this a third time with Katherine, but Evelyn plays the role of the Non! du père by hiding her sister/daughter from him, then by threatening him with a pistol, a symbolic castrating phallus, at the end of the film.

The characters in this modern-day adaptation of Oedipus Rex often share, or even swap, roles. As I’ve said, both Gittes and Cross share the role of Oedipus, and Evelyn, pointing her gun at her father, is paradoxically in the prohibitive paternal role of Laius, who gets killed while traveling in a vehicle on the road.

She is also, however, in the role of Oedipus at times (recall that Freud rejected Jung‘s use of the term “Electra complex,” preferring to call the father/daughter romance the feminine version of the Oedipus complex; though what’s happened between Evelyn and Cross more properly corresponds with Freud’s earlier seduction theory). Apart from her incestuous union with Cross-as-male-Iocaste, and the shame she feels from that, she also gets a bullet in the eye, the same eye as the one with the flawed iris that Gittes has noticed, paralleling Oedipus’ having blinded himself upon learning of his shameful union with his mother.

Gittes’s parallels with Oedipus don’t end with his relentless search for the truth. He is deeply flawed in his own ways, though not necessarily in the same ways as Oedipus. Gittes is outright bumbling in the many mistakes he makes. The photos taken of Hollis and Katherine cause him embarrassing publicity leading not only to a near-fistfight with a banker at the barber’s but also to a near-lawsuit with the real Evelyn. His investigation of the releasing of water from the reservoir one night not only gets him nearly washed away and killed in the rushing water, but also gets him scathed with a cut nose from the knife of one of Cross’s henchmen (a short man in a white suit played by none other than Polanski himself).

The close proximity of the cut nose (awkwardly bandaged for much of the rest of the movie) to his eyes suggests another parallel between Gittes and blinded Oedipus. Indeed, the theme of blindness vs sight, as observed in Sophocles’ tragedy, is also seen in Chinatown, in the examples as given above as well as in the following, however symbolically.

First, there are Gittes’s newly-installed Venetian blinds, which he’d appreciate Curly not damaging as he goes through his grief over his wife’s unfaithfulness. Of course, towards the end of the film, we see the black eye that Curly must have given her as revenge for her adultery. When Gittes tells the dirty joke about “screwing like a Chinaman,” he has his back to the real Evelyn, thus blind to how offensive he’s being, even though his employees–to whom he’s telling the joke–are trying to warn him to watch his mouth. So his vulgarity is another glaring fault of his. Her alienation from men’s locker room humour, as well as that of his secretary, whom he asks to leave the room so he can be free to tell the joke, is also an example of marginalization.

Recall also how he tells Evelyn, just after making love with her in her bed, that he once tried to protect a woman he loved from being hurt and ended up making sure she was hurt. This sounds like Oedipus trying everything he could to prevent the fulfillment of the prophecy of his murdering his father and marrying his mother, yet he ended up fulfilling it anyway.

To get back to Cross and Evelyn, there’s no mention anywhere in the film about her mother, though in the third draft of the script (page 112, link above), she says, upon having revealed her incest with Cross to Gittes, that “the dam broke…[her] mother died…[Cross] became a little boy…[she] was fifteen…” In other words, Cross was going through his own fragmentation–he was losing his mind over his professional and personal adversities–and he found a defence from that fragmentation through a regression to infantile narcissism and an Oedipal transference, putting Evelyn in the role of a maternal Iocaste.

In this way, Cross responded to the extreme stresses of the time by reverting to the narcissistic solace of the dyadic, mother/son relationship via transference, back to the realm of the Imaginary. Still, that dyadic state keeps on being threatened by the marginalizing encroachment of third parties–Hollis, Gittes, and later, Evelyn herself when Cross jealously comes to want Katherine to complete his dyad.

A narcissist like Cross wants dyadic relationships with one person at a time–keeping things in the Imaginary–because the other person in the relationship is meant to act as a metaphorical mirror of the narcissist, as an extension of himself, like the narcissistic infant’s attitude toward the Oedipally-desired parent. The encroaching third party–the prototype of which is the child’s father, who prohibits his or her incestuous union with the mother–thrusts Cross back into the Symbolic Order, that of language, cultural norms, customs, and the radical alterity of other people who won’t act as mirrors or extensions of himself.

These other people, like Hollis, Gittes, and Evelyn, won’t indulge Cross in his wish to have Katherine as an extension of himself. Hollis won’t indulge Cross to have his dam, so he can buy the dried-up land cheap and sell it at higher prices later, and he won’t let Cross have Katherine, as Evelyn won’t let him have her, so Hollis has to be eliminated, and Evelyn’s plan to hide their daughter must be thwarted. Cross wants Gittes to find Katherine, but when Gittes learns Evelyn’s shocking secret about the girl and their father, he wants to stop Cross from getting Katherine, too.

Being thwarted by these third parties would make Cross feel marginalized, just as the child experiencing the Oedipus complex feels marginalized, pushed to the side and not allowed to have the Oedipally-desired parent, not allowed to be the phallus for that parent, because of the Non! du père coming from the third parties. Cross, however, is a rich capitalist, not a helpless child, and he can arrange to get what he wants with utter ruthlessness, just as King Oedipus, both by virtue of being King of Thebes and by being unaware that Queen Iocaste is his mother, can fulfill his own desires, as unconscious as they are.

Cross owns the police, as Evelyn observes at the end of the film, and his wealth can influence the government to build the dam and have huge quantities of water released from the reservoir every night, despite there being a “drought” in the LA area. So instead of being marginalized, Cross can marginalize others; he is free, through his wealth, to indulge his narcissism, just as King Oedipus indulges in his hubris, imagining his investigations will save Thebes from the plague the same way he saved the city from the Sphinx.

With the police working for Cross, Gittes can be arrested and detained instead of listened to, so Cross would be forced to face justice for his crimes; also, the police will shoot at Evelyn as she drives away with Katherine, killing the former (however unintentionally). Cross, though shot in the arm by Evelyn and showing grief over her death, nonetheless walks off with a traumatized Katherine so he can do to her what he did with her mother/sister.

It can be argued that part of the purpose of Greek tragedies like Oedipus Rex is that they are critiques of political corruption: the Theban king’s incest is symbolic of how his corrupt leadership has…plagued…his city. Similarly, the dyadic relationship Cross narcissistically and jealously wants to maintain with Katherine, marginalizing everyone else, spills over onto LA society as a whole (a private narcissistic relationship parallels such a relationship with the public)–controlling the water and depriving everyone else of it, marginalizing everyone else (a marginalizing paralleled by the Chinese-Americans’ relationship with white American society). Hence, Cross’s falling-out with Hollis is two-fold: over Katherine and over the dam.

My point is that, in Cross, we see how the unresolved Oedipal situation of narcissistically wanting to hog a person all to oneself leads, if one has the money and political influence, to wanting to hog crucial resources like water all to oneself, too. There are the material roots of power, and there are the psychological roots of grasping for power.

Recall what Cross says to Gittes after the latter has finally figured out that the former is responsible for Hollis’s murder and for having raped Evelyn: “Hollis was always fond of tide-pools…that’s where life begins…marshes, sloughs, tide-pools…he was fascinated by them.” (third draft of the script, link above, page 121) These three are all water sources and life sources, like one’s mother…le mer est la mère. In this we see the connection between Oedipal narcissism and that of capital.

Cross thus plans to incorporate the Northeast Valley into LA, then irrigate and develop it. He also schemes at finding Katherine, through Gittes’s help, and ‘irrigating and developing’ her, so to speak. His falling-out with Hollis outside the Pig and Whistle, as photographed by Walsh (played by Joe Mantell), one of Gittes’s employees, isn’t proof of Hollis having an affair with Katherine, but it reflects Cross’s jealous wish to hog that water and the girl to himself, and to stop Hollis from getting in the way of his plans.

Hollis is thus that third party, the Non! du père with his prohibitive laws and government regulations, stopping a capitalist from doing whatever he wants to the detriment of everyone else. But instead of the capitalist using the “free market” to rid himself of the intrusive government, Cross uses other parts of the government–corrupt cops, Yelburton (Hillerman), Mulvihill (played by Roy Jenson), etc.–to get what he wants, all proof of the hypocrisy of the capitalist who claims to advocate ‘small government,’ when he really considers government to be just fine…when it’s convenient for him.

Interestingly, right in the scene when Gittes meets Cross, and just before Cross wishes to hire him to find Katherine, Evelyn is brought up in the conversation, and Cross asks if Gittes is taking her for a ride…financially and sexually. Since Hollis is her husband, and Cross has had predatory interests in both females, he’ll feel jealousy toward Hollis and, potentially, Gittes. Again, in this we see the water and the women connect.

The eyeglasses found in the pond of saltwater (“bad for glass [sic]”) behind the Mulwray home are Cross’s, and they’re proof that he murdered Hollis, whose body had saltwater in it. The glasses fit in with the theme of sight-vs-blindness that’s also in Oedipus Rex. Killing Hollis, the Laius of the movie, and losing the glasses there is paralleled to Oedipus blinding himself after realizing his shame. One of the lenses is broken, too.

Note in this connection also the marginalization of the Chinese-American gardener, who like the other Asians is just a detail to the plot, whose imperfect English says “glass” when he means “grass,” and yet his comment is crucial to helping Gittes solve the mystery and determine Cross’s guilt. He’s thought the glasses were Hollis’s, and that Evelyn murdered her husband; but they’re bifocals, which Hollis never wore…Cross, however, did. Still, the git who is Gittes can’t convince Escobar (Lopez) and the other cops that Cross is their man.

So Gittes has to go home with the horrifying realization that he’s failed, as he has at so many other things, at protecting not only Evelyn, but also Katherine, whose father/grandfather is getting his filthy hands on her…as if the poor girl isn’t traumatized enough at seeing her mother/sister with a bullet in her eye. Rich Cross will get away with everything; Gittes cannot stop him.

The film ends with an emphasis on the theme of marginalization. Finally, we see in this last scene the Chinatown that is the film’s namesake and that has only been mentioned in passing here and there, like seeing the occasional Chinese-American servant. Walsh ends it all fittingly by telling Gittes, “Forget it, Jake–it’s Chinatown.” Yes, even in Chinatown, we should push it and its residents to the side. As the Chinese-American community comes over to see Evelyn’s dead body out of curiosity, Escobar shouts at them to get back and “clear the area.”

Marginalization, and the jealousy that comes from being pushed back, tossed aside, and forgotten for the sake of someone deemed more important–like a spouse in favour of a paramour, the needs of the poor in favour of pursuing profit, or a boy’s mother pushing him aside in favour of his father–this is the thematic essence of Chinatown.

‘Gaya,’ a Surreal Adventure–Chapter Thirteen (Final Chapter)

Tesel, Lia, and their surviving comrades watched all the bodies of the slain pass through Gaya’s rectum and go outside her planetary body.

“It’s sad to see our fellow fighters go out that way,” Lia said, “yet it’s also gratifying to see Aisa and the rest of our enemies being shat out. That is truly fitting.”

“Let’s get out of here,” Tesel said. “Speaking of shit, the stink here is intolerable.”

They left the rectum and passed through a tunnel leading to Gaya’s vagina. They then heard voices from above.

Cecil,look!Gaya’seyesopenedabit!
Hey,you’reright,Lila!Theydid!Isshecomingoutofhercoma?
Maybe.Ihopeso.

“The gods are speaking again,” Tesel said.

“Let’s go out that way ahead,” Lia said. “Maybe we’ll be able to hear what they’re saying more clearly.”

The warriors went through the birth canal to the opening. As they emerged, they felt a huge wave of water washing all over them, soothing their wounds and healing them. Coming out of Gaya’s birth canal, the warriors felt as if they were now newborn babies, innocent, unspotted…pure.

Their energy and strength were all brought back to them. They crawled up either side, along Gaya’s labia, in the direction of her clitoral hood. Tesel’s hands reached up and held on to the clitoral glans.

“Well,” he said with pleasant surprise. “What do you know?”

“Amazing,” Lia said with a snort. “A man has actually found the clitoris.”

The warriors continued their climb upward. At the top, they marched through the tall grasses of Gaya’s pubic hair, then reached her belly.

They all looked up to the sky. Instead of air all around and above them, though, it was all water. Gaya’s body, the ground they were walking on, was like the bottom of the sea. The ‘sky’ was actually the surface of an ocean that went on forever in all the other directions.

“We’re breathing water,” Lia said. “We’re like fish.”

They realized that Gaya must have been floating in all of this water, for they saw the naked bodies of other giant men and women floating in this dark ocean, like planets in this, so to speak, underwater solar system.

They looked up high and saw two thin, long slits in the upper water. Inside these slits were light from a…room?…and what looked like parts of the faces of a man and woman looking down on Gaya. The man’s face looked a little like Tesel’s, the woman’s, a little like Lia’s.

“A god and a goddess, looking down at us!” Lia said.

“They look like giant versions of the two of us, Lia!” Tesel said.

“What are they saying?” she asked. “Let’s listen.”

Doctor, Doctor, come here! I think Gaya is coming out of her coma! What do you think?

Tesel and Lia now saw another man’s face through those slits. The earplugs of what seemed to be a stethoscope were in his ears.

Let me check her heartbeat. Yes, her eyes are opening slightly. This is a good sign, but we’ll have to wait and see. We don’t want to get our hopes up too high. We mustn’t rush things.

“Are the gods saying that our planet is healing?” Lia asked.

“It seems that way,” Tesel said. “I hope so. Let’s roam around Gaya’s body and see if she’s getting better.”

The surviving warriors continued walking up Gaya’s belly toward the rolling hills of her breasts. Her skin was generally pale, but it seemed to be getting its colour back. Similarly, though she seemed quite emaciated when they’d just emerged from her vaginal orifice, she seemed to be getting more and more flesh back on her body, returning to her original shapely figure.

They marched between the breasts and saw her head, the chin up front. They went over there and got a closer look at her face. Her eyes were almost completely shut, her hair was spread out like the branches of trees, and her skin was getting its colour back.

Her eyes opened a bit more, ever so slightly.

Some more light shone down from above. Tesel, Lia, and the others all looked up at those slits, which were both a little wider now. The fighters could see those three giants looking down on them with hopeful, teary eyes and broad, loving smiles.

“The gods seem happy to see our planet regaining her health,” Lia said, with tears of her own in her eyes.

“Yes,” Tesel said, smiling. “I think she’s going to be all right.”

THE END

Mouths

When those fiery lips open wide,
and the fierce fangs are bared,
a lot of scalding
air comes out,
and a wiggly, wicked tongue
says a flurry of biting words
that make the lower lip quiver,

Making another mouth open.
It, too, says cutting words
that leave
big holes
that lick you in a fight,
leaving you bitten all over
with a swollen, bloody fat lip.

So, maybe those lips should just stay closed,
those teeth of yours should be kept covered,
no hole exposed to make more gaping holes,
a mouth that is just for eating and tasting,
and no rude talking with your mouth full.
There’s biting so you aren’t getting bitten,
and there are lips that kiss and aren’t lippy.

Analysis of ‘Repo Man’

Repo Man is a 1984 film written and directed by Alex Cox, starring Emilio Estevez and Harry Dean Stanton, with Tracey Walter, Olivia Brash, Sy Richardson, Vonetta McGee, Fox Harris, and Dick Rude. Michael Nesmith of the Monkees was executive producer, and Iggy Pop wrote the Repo Man theme; he also sings the song during the end credits.

A satire on American life under the Reagan administration, on consumerism, and on the Atomic Age, Repo Man had a troubled initial release because Universal Pictures doubted the film’s commercial viability. It nonetheless received widespread acclaim, was considered one of the best films of 1984, and is now a cult film.

Here’s a link to quotes from the film, here’s a link to the script (including outtakes), and here’s a link to a rather poor quality video of the complete film (i.e., the image being in the bottom-right corner, it’s being sped up, with all the sound in a higher pitch).

After seeing, during the opening credits, a shifting road map of Los Alamos, Santa Fe, Albuquerque, and finally to California, we’re in the Mojave Desert, with J. Frank Parnell (Harris) driving a ’64 Chevy Malibu. A cop on a bike pulls him over and wants to know what’s in the trunk of the Malibu. Parnell tries to warn him not to look in there, but the cop insists. He opens the trunk, a bright light shines out of it, and he screams as he’s being disintegrated from the mysterious thing in there, leaving only his flaming boots. Parnell drives away.

Later in the film, we learn from Leila (Barash) that aliens are what is in the trunk; they’re emitting the radiation that killed the cop. A question that should be obvious to ask is this: what business were the contents of the car to the cop? What right had he (I couldn’t care less about his badge) to stick his nose in Parnell’s personal business?

Now, aliens are heavenly beings, if you will. This fact, combined with the sinfulness of LA (where the bulk of Repo Man takes place), as well as the vaporizing of anyone who opens the trunk and exposes the ‘heavenly beings,’ makes me think of the Biblical story of Lot in Sodom. Such an association probably sounds far-fetched to you, Dear Reader, but please hear me out.

To get our bearings, I’ll start by saying that the aliens are like the angels God sent to destroy Sodom, which LA represents here. Granted, the aliens don’t destroy LA in the movie, they just kill a few people nosy enough to look in the trunk; but they do shake things up for a lot of people in and around the city. The radiation emitted by the aliens can be associated with the radiation from nuclear explosions, which can wipe out cities, as happened in Japan. These associations are close enough for me, since as was mentioned above, one of the satirical targets of Repo Man is the Atomic Age.

One of the major sins of Sodom and Gomorrah was inhospitality. The Sodomites surrounded Lot’s house when they knew he was accommodating the visiting angels. The Sodomites demanded he send out the angels so they could “know” them. (Gang rape, regardless of sexual orientation, can only be evil.) Knowing his duty to be hospitable to the angels, Lot couldn’t send them out. When the Sodomites tried to force their way into the house, the angels blinded them, which can be associated with the aliens vaporizing the intruding cop.

My point in bringing up the story of Lot in Sodom is that one of the central themes of Repo Man is impingement, encroachment, or imposing oneself on another’s personal space, just as the men of Sodom tried to impinge on Lot’s home and the guests to whom he was giving hospitality. If you impinge on others, they’ll impinge back on you, as the angels did when the Sodomites tried to break into Lot’s house and rape the visiting men.

The scene in the supermarket–where Otto (Estevez) and Kevin (played by Zander Schloss, bassist for the Circle Jerks, who appear later in the film as a nightclub band) are working as stock clerks facing cans–is full of impingement. Kevin, a geek who is annoyingly sycophantic to the whole capitalist system, is singing, of all things, a 7-Up jingle right next to Otto, irritating him. The last thing punk rocker Otto needs to hear is an advertisement for a soft drink while he’s doing monotonous wage slave work.

Otto impinges back on Kevin by sticking a price tag on his glasses. Then, to annoy Otto further, his boss, Mr. Humphries (played by Charles Hopkins), comes over to nag him about not only being habitually late for work, but also for not spacing the cans properly. He gives Otto an implicit warning of getting fired by mentioning how, in the bad economy of the time, one must be careful about the quality of one’s work. Luis, an armed security guard, gets in Otto’s face for not listening to his boss, then Otto curses at him, shoves chuckling Kevin into the pile of cans they’ve been facing, flips off Humphries and Luis, and walks out.

Incidentally, all the cans, cereal boxes, and other things sold in the supermarket are generically labelled and designed, as if either made by one company with no regard for visual style, or to indicate that it doesn’t matter who the makers of the commodities are. The satirical point being made here is about consumerism as an escape from eroding democratic freedoms in the Reagan era, which inaugurated the “free market” policies that have resulted in the neoliberalism that plagues us all today.

I’m reminded of what George Carlin would, in later decades, complain about: the illusory freedom of choice (i.e., lots of different brands and flavours to choose from) for consumers instead of meaningful, democratic freedom of political choice (viable political parties other than the GOP and DNC, ones that offer a genuine left-wing alternative). Seeing generic, no-name brands in the supermarket exposes the lie of consumerism as ‘freedom of choice.’

Kevin’s gloating over Otto losing his job, as well as his sucking-up to his boss, does him no good, because Humphries in his rage fires the “worm” too. Kissing the asses of capitalists is no guarantee of advancement.

More impinging is going on in the next scene, though it’s consensual–slamdancing to punk rock–at a party that night in the back of a warehouse. There, Otto meets Duke (Rude), a fellow punk who just got out of jail. The Circle Jerks song “Coup D’état” is heard. There’s a suggestion in this atmosphere of an anarchist wish for violent revolution, though it’s only a fantasy.

In the next scene, Otto is in bed with Debbi (played by Jennifer Balgobin) in Kevin’s house, where the party has moved. She asks him to go get her a beer from the kitchen, an interesting reversal of sex roles, especially seen in light of how she’s about the cheat on him with Archie (played by Miguel Sandoval) and Duke.

The partiers are living in a freely anarchist manner, while nothing is being done about the capitalist-based problems of the outside world, in the rest of LA and in the world in general. We don’t solve our problems by escaping the world and getting wasted, but far too many of us do this anyway. “Institutionalized,” a song by Suicidal Tendencies about teenage disaffection and alienation (a fitting subject for these punks), is heard from downstairs.

Speaking of disaffection and alienation, Otto is next seen alone outside in the early morning, in a vacant lot drinking a beer. He recites some of the lyrics from “TV Party,” by Black Flag. They’re lyrics about not wanting to think about anything important, about only wanting to watch the idiot box and drinking beer. Otto vaguely senses the futility of mindlessly partying instead of, say, organizing and advocating for social change.

Later, when it’s light out, Otto is still walking around outside, now in some neighbourhood. Bud (Stanton) is driving by in his car and offers Otto ten bucks, which sounds to Otto like he’s soliciting for gay sex, which of course would be more impingement. (Note how Otto’s homophobic response could be linked to the homophobic tone in the Bible story.) Bud actually wants Otto to help him repossess a car in the neighbourhood.

Repossessing someone’s car has to be one of the extreme forms of impingement, as well as the opposite of hospitality, which involves giving, not taking. Sticking one’s nose into someone else’s business, going into his or her personal space, and taking a vital personal possession of his or hers are among the worst forms of impingement.

Repossession of cars also makes for a vividly illustrative metaphor for the Reagan revolution, which was, in effect, a repossessing of so many of the working-class gains of the postwar period up to the 1970s. The Reagan years saw dramatic cuts in domestic spending, a steep increase in the number of homeless people, union-busting, and a number of other policies that resulted in the widening gap between the rich and the poor, policies continued and exacerbated by all succeeding US presidents.

Otto repos the car for Bud as requested, unaware that what he’s doing is a repo, and he takes it to the “Helping Hand Acceptance Corporation,” a misnomer for a repo organization so ridiculously bizarre as to be outright Orwellian doublethink. Indeed, proponents of the Reagan agenda similarly regard its rolling back of government benefits for the poor as a ‘liberating’ of the people from the ‘shackles’ of ‘big government,’ all while jacking up military spending to the point of leaving the American government with a deficit.

When Otto realizes the people in this business are repo men, a truly despicable, thankless job, he expresses his contempt for them by taking the can of beer they’ve given him and spilling it all over the floor–impingement on their property. Instead of being mad at him, Bud and Oly (played by Tom Finnegan) say he’s “all right,” meaning Otto has the kind of confrontational, impinging personality that makes for an ideal repo man. Still, he doesn’t want to do the job.

A government agent named Rogersz (played by Susan Barnes)–she has a metal hand–is leading a group of people who are investigating how the cop got killed in the desert. They will now try to find the Malibu, which is to become the MacGuffin of Repo Man, the car that will be the ultimate repossession.

Otto and Kevin are going through a newspaper, job-hunting and sitting by an unemployment office. Still deluding himself that if he works hard and plays the capitalist game, Kevin can become “manager in two years, King! God!” after dedicating himself as a fry cook. Otto isn’t so optimistic, though. He’s had a dream in which he and Kevin were 65-year-old bellhops in a “sleazy shithole motel” in Miami. It looked painfully real to Otto.

Since job prospects don’t look too good for him, Otto goes home (he lives in the garage, incidentally: see the outtakes [link above] at about 9:00) and asks his parents for a thousand dollars promised to him if he finishes school, so he can go to Europe. His mom and dad are stoners sitting on the couch sharing a joint and watching TV. The show they’re watching is of a televangelist, Reverend Larry, to whom they’ve given the thousand dollars to sell Bibles to El Salvador.

To make money, Otto will have to become a repo man. You’ve gotta love the “free market.”

The televangelist, of course, is a real character in himself, and a reflection of the Reagan years in many ways. Apart from the fact that Reagan himself was a conservative Christian, his preaching of ‘small government’ was a ploy to lower spending on the poor in order to increase spending to further the interests of the rich (e.g., increasing military spending for the sake of US imperialism), that is, big capitalist government! Similarly, the reverend tells his viewers, largely lower to middle-class people in need of ‘spiritual answers,’ to give him their money.

Also like Reagan, the reverend wants us all to “destroy the twin evils of godless communism abroad and liberal humanism at home.” Note how the religious right, calling these ideologies “twin evils,” is either too ignorant or outright lying when they don’t see the huge difference between communism and liberalism.

It’s safe to assume that Otto’s stoner parents used to be hippies back when he was a baby. Hippies are liberals, by the way, not communists. A common complaint we on the left have is when liberals backslide toward the right, as Otto’s parents have done by going beyond smoking marijuana to enjoying the opium of the people, a subject I explored in my analysis of Drugstore Cowboy.

Note how Otto’s parents aid US imperialism by selling Bibles to El Salvador instead of helping the country be free of the American empire. Religion is a drug used to help people forget their oppression. TV, of course, can also be a drug in itself, a kind of distraction from one’s everyday troubles, just as the partying punks did as observed above. In the outtakes (link above, at about 12:34), we can see cobwebs enveloping Otto’s mom and dad as they’re on the couch watching the idiot box, just as Black Flag sing about in their song.

In his having no choice but to do a despicable job in order to make the money he needs, Otto demonstrates the lack of meaningful freedom in a capitalist society. And just as the punks have their beer and partying, and Otto’s parents have their marijuana and religion as manic defences against the misery of the world, repo men have speed and booze for the same kind of escape.

This escape will be necessary for Otto, since as part of his selling of his soul to do this new job, he’ll take Bud’s advice and “dress like a detective…dress kind of square,” so people will think Otto is a cop. So much for being a punk rocker. Since one imagines punk rockers have at least anarchist tendencies, we can see how this tendency can backslide into liberalism, then to even more reactionary thinking, as Otto’s choice to become a repo man can be seen to symbolize.

As he and Otto are snorting amphetamine in a car in an alley, Bud sees some people outside and tells Otto he hates “ordinary fucking people.” This is because ordinary people always try to avoid tense situations, whereas repo men are always “getting into tense situations.” Such an attitude, glorifying an aggravating of alienation, sounds suspiciously to me like neoliberalism romanticizing confrontation for the sake of furthering capitalist interests; it’s somehow ‘cool,’ ‘rebellious,’ and ‘edgy’ to be a repo man, rather it simply being an asshole.

Bud and Otto go into a store to buy six packs of beer (generically labelled “drink”) while Bud is still talking about “tense situations” with people with knives or guns. They leave the store, and speaking of tense situations involving guns, we learn that Duke, Archie, and Debbi have been hiding behind the counter, where Bud bought the beer, the whole time. The three punks are holding guns on the cashier, about to rifle the cash register.

We’ll notice as we go through the rest of the film that whenever we see Otto and Bud in a store buying drinks, the three punk rock thieves will also be there. Repo men and thieves are thus being associated with each other. This juxtaposition sends the message to us that repossession, properly understood, is stealing. Bud himself admits this earlier when he’s explaining to Otto how much money you can make when you “rip [off]” a car. Making money by stealing: this is also known as capitalism.

In an outtake (link above, at about 6:42), we see Bud trying to repo a car from a man named Arthur Pakman. Bud gives him his name card, which curiously has the name “I.G. Farben” on it. This is the name of a German chemical and pharmaceutical conglomerate that became a donor and major contractor to the Nazi government, relying on slave labour from the concentration camps; one of its subsidiaries supplied Zyklon B. That a repo man would have such a name on his name card is an obvious satirical comment on the corrupt Sodom and Gomorrah that is capitalist society, the fascism that hides behind its ‘freedom.’

More impingement occurs when Bud and Otto are driving around a concrete riverbed, and they encounter the Rodriguez brothers (played by Del Zamora and Eddie Velez) in their car, one of them flipping Bud off. They get into a car chase for a while, and Bud and Otto end up stuck in a puddle. Annoyed, Bud says he and Otto ought to go off and get drinks. Otto is amused at how “intense” the car chase was; Bud says that a repo man’s life is always intense.

Duke, Archie (with a paper bag on his head), and Debbi have just finished robbing the store that Otto and Bud are about to enter; the thieves have impinged on the store. They run out, and Archie knocks into a waist-high pole by the door, hurting himself in the balls…more impingement.

Next, Otto and Lite (Richardson) are driving up to Miss Magruder’s car, stopped at a traffic light, and get ready to repo it. Lite gives him a bag with a dead rat in it to throw into her car to upset and distract her, then Otto can get the car. He throws the rat on the seat just beside her; she sprays mace in his face and drives off when the light turns green. He who lives by impingement shall die by impingement, or get blinded by it, as the men of Sodom were.

After that, Otto and Bud drive over to repo a Cadillac owned by a millionaire named Peason, who is in a laundromat talking to two kids about the laundry, and how he wants it arranged. He has an unsurprisingly condescending attitude toward the kids. When Otto rips off the car, Peason runs out of the laundromat, and the kids toss his clothes outside while laughing at him. It’s hard to sympathize with a rich guy who can’t be bothered to make the payments on his Cadillac.

As he’s driving around in the Cadillac, Otto sees Leila running on the sidewalk. She’s attractive, so naturally he slows down to talk to her. He wants to offer her a ride, but she’s distracted him from his driving, so he drives his car into a pile of garbage on the side of the road (impingement), angering an old lady who nags him to clean it up; he ignores her, of course, Leila gets in the car, and he drives off.

It’s here where we learn that Parnell has been driving around with aliens in his trunk. She shows Otto a photo “of four dead aliens.” He laughs in disbelief at her story. Since she’s being chased by government men associated with Rogersz in their own car, Leila has ducked down and hidden herself from them; she’s afraid they’ll kill her over the aliens. She explains to Otto that Parnell has smuggled the aliens from an air force base in his Malibu. She needs to find him before Rogersz et al do.

In this sense, Leila and Parnell are like Lot and his family, and the government people are like the men of Sodom, so to speak. Otto drops Leila off at her place of work, “The United Fruitcake Outlet,” which sounds like a flippant pun on the United Fruit Company. Apart from the aliens being associated with the angels in the Lot in Sodom story, their deadly radiation implies an association with Soviet nuclear weapons, a capability that the American government would like to be about to take from them, as would any capitalists, such as the United Fruit Company, who spearheaded a coup against the leftist Guatemalan government in 1954 (remember the selling of Bibles to El Salvador in this connection).

It’s easy to see Rogersz’s government agents as the bad guys here, but one shouldn’t assume that Leila’s ‘fruitcake’ group of people are any more sympathetic just because she becomes Otto’s girlfriend…or something (Leila and Parnell aren’t the good guys, just as Lot’s family aren’t all that good, either, as we learn in Genesis 19–Lot offering his daughters for the sexual sport of the Sodomites, his daughters getting him drunk and committing incest with him, etc.). Recall how later Leila helps Agent Rogersz torture him by electric shock to get information as to where the Malibu is. At the end of the film, he leaves Leila to go in the car with Miller (Walter); she asks Otto about her “relationship” with him, and when he blows her off, she angrily says she’s glad she helped Rogersz torture him.

There isn’t really anyone in Repo Man who can be called a ‘good guy’ in a more or less pure sense. As I said, the LA of this film is a modern-day Sodom, a corrupt, impinging, inhospitable place. Even the aliens in the Malibu’s trunk, whom I’ve associated with the Biblical angels on the one hand, and with the USSR on the other (radiation>>Atomic Age>>Soviet nuclear weapons), aren’t to be considered the ‘good guys,’ given that this film is a product of Hollywood liberalism, which has no more sympathy for leftist anti-capitalism than conservatives do.

Accordingly, everyone in the film, those from the far-right to the left-of-centre of the political spectrum, wants to get his hands on the Malibu. Thus Agent Rogersz and Leila wanting to find it is simply symbolic of competing capitalists/imperialists wanting to thwart the Soviet accumulation of nuclear power, as represented by the radiation in the trunk of the Malibu. To repo the Malibu, one will get the unusually high reward of $20,000.

After repossessing a red car, Lite and Otto are driving around in it, and at one point, Lite mentions a book he once found when he swiped a Maserati in Beverly Hills. The book is called Dioretix: the Science of Matter over Mind. “That book will change your life,” Lite tells Otto. It is obviously a parody of L. Ron Hubbard‘s 1950 book, Dianetcs, and therefore a satirical stab at self-help books and pseudoscience in general. (Matter over mind? Not vice versa?)

In the next scene, we see Otto with Miller in a vacant lot. Otto is holding his copy of Dioretix and is about to toss it into a burning garbage can. Miller goes into a big spiel about how many things that seem to be coincidences are really interconnected in some secret, profound, mystical way; it sounds like Jung‘s notion of synchronicity, but Miller’s use of a plate of shrimp as an example of how it works sounds idiotic.

It seems as though Miller has been reading Dioretix, too. His absurd attempts at philosophical profundity give Otto the impression that he must have done way too much LSD over the years. Still, Miller seems like more of a Dostoyevskyan idiot, for though Miller expresses his opinions with ludicrous examples, he seems to have his instincts in the right places, for at the end of the movie, he gets into the Malibu, his gut correctly telling him that it’s an alien vehicle, a spaceship that goes up into the night sky, then into space, and…who knows?…may well even travel time, as he imagines flying saucers and time machines to be one and the same thing. He is a working-class man with a spark of intelligence never properly developed because of a lack of money for higher education.

When it’s learned from the repo men that the reward for finding the Malibu is $20,000 (and it’s speculated that the large amount of money offered for the car is due to it containing drugs, rather than celestial beings, symbolically linking the drug speculation to the “opium of the people”), Otto calls Leila about the car to arouse her interest. He, however, is aroused by her body, and when he arrives at The United Fruitcake Outlet, he tries to get sex from her…or at least a blowjob. Angered by his impinging on her at work, she slaps him…twice. He who leers with impingement shall get slapped with impingement.

But now that so many people are licking their lips over that $20,000, Bud is imagining a life of financial security without needing to work anymore. He insists to Lite that he can achieve this security with $20,000 because he has good credit.

In the next scene, he’s driving with Otto and telling him about how important credit is: it’s “a sacred trust,” what the American “free society is founded on.” (That’s funny: I thought American ‘freedom’ was founded on black slavery and the genocide of the Native Americans, but I digress…) This “sacred trust,” combined with getting the coveted money, is what Bud imagines is the capitalist ‘liberation’ he has within his reach.

He compares this dutiful payment of bills and debts favourably to how the Soviets don’t “give a damn about their bills.” When Otto implies that not needing to pay bills in the USSR is a better deal, Bud (recall his IG Farben name card from the outtake) takes umbrage at such an implication and wonders if Otto is a “commie.” So many Americans are brainwashed about what ‘freedom’ is under capitalism to such an extent that it’s inconceivable to them how not needing to pay bills is one of the most liberating things possible.

Now, Bud doesn’t want to sound too right-wing, so while he won’t tolerate any “commies” in his car, he doesn’t want any Christians in it, either. Such an odd appendage to his hatred of the left can only be explained, in my opinion, as an ego defence anticipating an accusation of far-right thinking, or an attempt to seem centrist and liberal. One ought, however, to take into account the “fish hook theory,” which illustrates how liberalism and centrism are actually closer to fascism (remember again Bud’s IG Farben name card) than communism ever was, in spite of what that nonsensical horseshoe theory says.

Parnell drives over to a gas station, where Kevin has a new job. The nerdy boy still kisses capitalist ass, doing the phony friendly-to costumers attitude and hoping it will lead to advancement. He approaches Parnell and offers a vacuum of the Malibu, but the sweaty old man wants to find junk food from vending machines, imagining such food to be healthy. Kevin offers to check Parnell’s trunk, and luckily for him, he ends up not doing so.

He does the same ass-kissing routine for the Rodriguez brothers, who recognize the nearby Malibu and swipe it while Parnell is gone and Kevin is looking for a non-existent box of matches for the brothers in the gas station office.

In someone’s home, Otto tries, instead of outright repossessing the car of a sweet middle-aged black lady named Mrs. Parks (interesting choice for a name on Cox’s part!), to get her to pay the rest of what she owes for it. Her musician son and his bandmates, all huge guys, come home and, learning Otto is a repo man, beat him up outside. Oh, the karma of impingement…

Otto returns to the lot at Helping Hand, and Miller bandages up his wounds. Plettschner, a cop played by Richard Foronjy, interestingly has the same first name as Otto but is practically the opposite in personality or likability. He gets in Otto’s face by saying he isn’t cut out to be a repo man, getting a “fuck you” reply, which just gets the already obnoxious cop angry, so he brags about all of his ‘achievements’ as a veteran and as a prison guard, whereas Otto is just a “punk” and a “little scumbag.” ACAB.

The Rodriguez brothers carelessly lose the Malibu, which is literally and figuratively hot (from the radiation), to Duke, Archie, and Debbi, who see their chance and steal it while it’s unattended. Otto and Lite try to repo a car, but the owner shoots at them. Lite takes out a pistol of blanks and shoots back, telling terrified Otto to get in the car and repo it. As we can see, this juxtaposition of swiping cars shows how repo men are hardly any different from any ordinary car thief. Otto is increasingly realizing that repo men, with their guns and intense lives, are crazy.

Leila is talking to Parnell on public phones, but a car with Rogersz’s agents smashes into her phone booth just after she’s gotten out; they chase and catch her, put her in their car, and take her away. Rogersz is in a van, looking at Leila on a monitor and questioning her about the Malibu. When Leila mentions the aliens in the trunk, Rogersz asks her if she’s ever thought of working for the CIA, Leila having already said she is in no way averse to torturing people. As we can see, the sides these two women work for aren’t all that opposed to each other.

Next, there’s a party in the Helping Hand yard. The staff ask Otto who beat him up, but he doesn’t want to talk about it. Marlene (McGee) asks Plettschner why he won’t go after Otto’s attackers, but the cop says he’s on his coffee break. ACAB. Bud says that repo men should get their revenge on Otto’s attackers without the need of cops. “Just like John Wayne,” Marlene says, sneering at the men, who insist that the Duke is the greatest of American men.

Miller rains on the parade of the repo men’s worshipping of this epitome of American machismo by calling John Wayne “a fag” who wears dresses. (One might recall, in this connection, the scene in Midnight Cowboy when Ratso Rizzo [Dustin Hoffman] tells Joe Buck [Jon Voight] that dressing like a cowboy in New York makes him look like a gay prostitute; Buck, shocked, says, “John Wayne? You wanna tell me he’s a fag?”)

The importance of this scene isn’t about the homophobia (though homophobia links this scene with the homophobia in the Lot in Sodom story, as discussed above). It’s a satiric jab at conventional masculine roles, something further developed when Oly says lots of straight men like to watch their friends fuck, as do Oly and tough-guy Plettschner…apparently.

The repo men insist that Otto tell them who beat him up, and he lies and says that it was his old boss, Humphries, who gets beaten up that night at his home. It’s hard to sympathize with a petit bourgeois capitalist, all the same.

Leila has Otto meet up with Rogersz in a bar to discuss the Malibu and the aliens in the trunk. The two women stress the urgency of finding the car. Recall how the aliens, via the radiation, represent the Soviet power that the women, in turn representing capitalist and state interests, want to get their hands on.

While this is all going on, significantly, the Circle Jerks are performing in the pub as a nightclub band. They’re playing a lame and square acoustic version (this must be deliberate) of their punk song, “When the Shit Hits the Fan.” It’s easy to see why Otto would say, “I can’t believe I used to like these guys.” Recall that the bassist of the Circle Jerks is playing Kevin the nerd.

The song, as you can glean from the lyric, is about economic hard times that hit the poor the hardest. It is an ironic take on the Reaganite way of seeing the problem: “blame the government for hard times”; “let’s leech off the state/gee, the money’s really great,” thanks to “welfare checks,” and “free loaves of bread.” However, thanks to Reagan, “social security has run out on you and me,” meaning that it’s the capitalist government, not a ‘socialist’ one (something the US has never had, by the way), that we should blame.

So when we see the Circle Jerks having changed from a punk band into a lame night club one, the transformation parallels what’s happened to Otto (from punk rocker to repo man), to his parents (from hippies to supporters of a televangelist), and to Leila (from avoiding the government to working for them). All of these transformations allegorize the Reaganite metamorphosis of a welfare capitalist society, one where there’s at least the hope of evolving into a more left-leaning one, into a nakedly neoliberal capitalist society, the worst of which we have now in the 2020s.

Small wonder when Duke, Archie, and Debbi enter the bar and see Otto, they speak derisively to the repo man, annoyed that he’s too busy with work to hang out with his punk friends. Though Otto’s choice of work is a bad one, no other money-making opportunities have been opened to him. As the Circle Jerks sing, “We just get by however we can/We all gotta duck when the shit hits the fan.”

Of course, the trio of punk thieves aren’t all that much better. Committing petty crimes hardly improves society. Debbi thinks Agent Rogerzs’s metal arm is fascinating: it merely symbolizes how the system has dehumanized her and made her part of ‘the machine,’ as it were. The three punks, in their own way, have degenerated from their would-be revolutionary ideals, as have Otto, his parents, Leila, and this fictionalized version of the Circle Jerks.

The three thieves leave the bar and find Parnell trying to retrieve his Malibu. They feel he’s impinging on him, not realizing he was originally impinged on, first by the thieving Rodriguez brothers, and then by these three. Their sticking their noses into his business is no different, in principle, to the cop’s having done so at the beginning of the film, so fittingly, Archie suffers the same fate as the cop. Duke and Debbi run off in terror, and Parnell gets his car back.

The Rodriguez brothers are driving along and see Parnell in the Malibu. They claim to be “special deputies” and tell him to pull over. This pretence of authority to justify taking away a man’s car is how we can see no substantive difference between cops, repo men, and car thieves. Might makes right in the end.

This mutual identity is especially apparent when the repo men, in Bud’s car, find the Rodriguez brothers and Parnell in the Malibu, then start vying over who will get the coveted car, which soon drives off. Bud et al get into a violent altercation with the Rodriguez brothers. Swinging a baseball bat at the two, Bud would like to repo their car, but they insist they’ve paid it off.

Because Bud hit one of the brothers with the bat, they’re suing Helping Hand “for malicious damages,” and Bud has lost his job in a nasty falling-out with Oly. He is next seen in a car with Otto. They’re driving in a neighbourhood with a bunch of homeless people. Bud has just lost his job, but he still has no sympathy for them; he’s internalized the Reaganite attitude that the destitute have somehow ‘chosen’ their lot, and they’re leeching off the welfare system. Bud doesn’t understand that, as an unemployed man, he’s closer to being one of the homeless than he is to being the ‘made man’ he thinks the repoing of the Malibu will make him.

Otto is so disgusted with Bud’s attitude that he gets out of the car and walks down the neighbourhood with the homeless, people who truly deserve our sympathy. People in radiation suits carry off a dead body and put it in a car trunk…rather like those melting aliens.

Otto then sees the Malibu. His sympathy for the poor dissolves, he has dollar signs in his eyes, and he runs after the car. Parnell lets Otto in the car, and they drive together. Parnell is actually dying right there as he’s driving, from his exposure to the radiation in the trunk with the aliens. His ability even to focus and follow a conversation is clearly impaired when, during his conversation with Otto, he mishears the boy saying he represents the Helping Hand Acceptance Corporation, hearing instead radiation, something impinging on Parnell’s brain.

Parnell claims, in his obvious, growing mental instability, that any talk of radiation being bad for you is “pernicious nonsense.” Then he speaks glowingly of lobotomies, a friend of his and he himself each having apparently had one. Soon, he slumps over the steering wheel and dies. Otto gets him out of the Malibu and drives it to the Helping Hand repo yard.

It seems that Otto’s going to get the $20,000 for the Malibu, so at a party at Miller’s that night, the wives of several repo men, including Oly’s, are all over Otto…”like flies on shit.” Someone, however, has broken into the yard and taken the Malibu. Otto goes walking outside; Bud drives by, and Otto gets in the car. They’ll go to that liquor store to get some drinks again.

Duke and Debbi are in a car just outside the store. He’s talking, in all absurdity, about how they ought to settle down, get a house, and have a baby, since “everybody does it,” and it “seems like the thing to do.” Here we see yet another example of initially rebellious attitudes degenerating into mere social conformity–from rebel to liberal. She can hear how ridiculous he sounds, and so they just go into the store to rob it.

Otto and Bud are in the store, and a gunfight ensues. Debbi shoots, and her bullet grazes the side of Bud’s head. Duke is mortally wounded. As he’s dying, he does a melodramatic speech about how ‘tragic’ his demise is, and that it’s society’s fault that he became a criminal, but he’s a white suburban (implying at least middle class) punk. He who lives by impingement, dies by it.

Since the Malibu is missing, the agents are trying to find it. Marlene and Otto want to stop the agents from getting it, but Plettschner, dick that he is, tries to stop her and Otto from stopping the agents. Otto throws scalding hot coffee on the cop’s face (serves him right–ACAB), and Otto and Marlene run out the door; but he’s caught by the agents.

Leila and Rogersz torture Otto to get information about the Malibu. Leila is still a little conflicted about hurting her apparent boyfriend, but Rogersz rationalizes torturing him with a typical psychopathic projection: “no one is innocent,” apparently. Marlene and the Rodriguez brothers break into the room where Otto’s being held and get him out of there. Rogersz is fine with this, since it will lead her to wherever the Malibu is.

The search for the car continues, and even the reverend is interested in it, which shouldn’t be at all surprising. Considering what the Malibu, which is glowing now, represents as I’ve described above, it’s easy to see how commie-hating religion fits in with the capitalist state as personified by Leila and Rogersz, respectively.

Eventually, the car is found in the Helping Hand lot, angelically glowing with Bud at the wheel. It’s raining ice cubes, a kind of dialectical opposite of raining fire and brimstone over Sodom. This is fitting, if we equate the Malibu with Lot’s house, and equate everyone gathering to get at the car with the men of Sodom surrounding Lot’s house.

Otto goes up to Bud and tries to make a deal over what percentage of the reward money each of them will get for the car. Someone from a helicopter above warns Bud to get out of the Malibu. He gets out, but he’s brandishing a pistol. He’s shot from someone in the helicopter, but before he dies, Bud quotes Emiliano Zapata, in all irony, given Bud’s established opposition to revolutionary ideas: “I would rather die on my feet than live on my knees.”

The agents get close to the car, but sense “a strange, eerie kind of force field” surrounding it. Another agent approaching the Malibu catches fire. The reverend comes near the car holding a large Bible; he’s flanked by others in religious garb, as he himself is dressed, and Rogersz is with him, even calling him “your holiness,” implying a link between the state and religion that the ruling class would keep intact. A bolt of lightning from the car zaps the Bible in his hands, causing him to expose the phoniness of his “holiness” by saying “holy sheep-shit!” The Church is every bit as corrupt and sinful as everyone else in LA, the modern Sodom.

The force-field, the fire, and the bolt of lightning coming from the car thus all parallel the angels (i.e., the aliens in the trunk) striking the men of Sodom intruding into Lot’s house (i.e., the Malibu) with blindness.

So who is worthy of getting into the Malibu and driving it (even though he can’t drive)? Miller is, and he waves at Otto to join him inside for a ride. Miller, recall, is the Dostoyevskyan idiot whose innocence and lack of interest in the $20,000 makes him worthy. Now, Otto, spurning Leila and her association with capitalism (the United Fruitcake Outlet) and the state (Rogersz and the agents), as well as his tiring of the repo man job, is now also worthy of being in the car and enjoying its true benefits.

The aliens take the car up into the sky. Just as Lot and his daughters escaped the sin of Sodom, Otto and Miller fly up in the car into space and freedom from the sin of LA and the rest of the world.

‘Gaya,’ a Surreal Adventure–Chapter Twelve

Before Tesel was ready to lead his warriors into battle, he wanted to survey the entire fighting masses of Aisa’s men. Sure enough, as was predicted from the killing of Kappitta, it was as though the whole army of the enemy had lost its brain, or at least their control of their brains.

That giant worm had been their collective brain, and it was gone; so Aisa’s men were just haphazardly slashing their swords in the air, sometimes cutting–and even killing, occasionally–each other, and sometimes cutting into the tunnel walls, hurting an already terribly ailing Gaya. Tesel knew he had to act fast to stop the wounding of their beloved planet. But as directionless as Aisa’s army were, there was still one big problem for Tesel and his army.

There were still so many more of the enemy to fight.

Gujon was trying his best to conjure up images of dancing nude women to entice and distract Tesel’s men from the soon-to-be fight, but the magician was as unable to focus and give direction to his arts as the rest of the enemy were. As a result, the dancing nude ‘women’ were actually monstrosities with legs for arms and vice versa, heads for breasts and vice versa, and many other comically misplaced or incomplete body parts.

Tesel’s army laughed at the absurd spectacle.

“There’s no need for me to tell you all that this is just one of Gujon’s illusions, is there, men?” Tesel shouted.

“NO!!!” his men shouted back with more laughter.

“Still,” he said, “there are so many more of them than there are of us. I see what must be at least twenty men for each of ours. They fight aimlessly and wildly, but still tirelessly, and they’re amazingly quick. Many of us will still die.”

“If not all of us dying,” Fil muttered.

“Let’s just hope their slashing continues to kill enough of them so we can win,” Lia said.

“She’s right to hope for that, Fil,” Tesel said. “As hard as this will be, we have to keep trying. Gaya needs us, remember.”

Fil sneaked another swig of his drink. “Very well, then,” he said, then sighed. “Let’s do this.”

“Men!” Tesel shouted. “ATTACK!!!”

His army ran at Aisa’s, screaming with their swords held high.

The problem with the wild, chaotic flailing of the swords of Aisa’s men was that their movements were unpredictable for Tesel’s army. A lot of his fighters were surprised to receive slashes and stabbings from blades that seemed to fly from out of nowhere, because those swords were moving at what seemed lightning speed.

So while a lot of Aisa’s men fell quickly from the thrusts of the swords of Tesel’s fighters (as well as those of Aisa’s own aimless men), a lot of Tesel’s men fell early on in the fighting, too.

Fil ran over to where Gujon, also slicing his sword wildly in the air, was. He watched Gujon’s swiftly whipping blade like a hawk, looking for an opening to stab into. He found one, and thrust his sword in the magician’s left side, just under his rib cage. Gujon fell, and all those bizarre-looking, anatomically incorrect nude dancing women vanished.

“Good,” Fil said. “Now we don’t have their comical spectacle to distract us.”

He looked around for another high-ranking enemy to fight. Amid the sea of blood and clashing swords, he found Lew, Aisa’s second-in-command. Hungry for his enemy’s blood, Fil grinned and raised his sword.

“Lew!” he shouted at him. “It’s me, Fil! Follow my voice and fight me, you bastard!”

Lew rushed with a warrior’s yell in Fil’s direction. Fil watched his wildly swinging sword, careful to find the right time to parry it.

Lew came slashing down from high over his head, and Fil blocked his sword with a piercing metallic clang. Their swords were locked in that position, both of them using all of their strength trying to push in and overpower the other while staring hatefully in each other’s eyes.

Lia was close by, fighting Titos, another of Aisa’s top men, his battle strategist. Her eyes were locked on his sword, which flew about so quickly and wildly that it seemed almost invisible to her.

At one point, she saw a way in, swung her sword in a wide arc from right to left, and sliced through his throat just when he was about to hack off her left arm. Instead, he only cut a mark in it just below her shoulder, then he dropped his sword and clutched at his bloody throat with his other hand before falling.

Ignoring her pain, she turned to her left to see how Fil was doing, but she was too late: she heard him grunt in pain and cough out blood, with Lew’s sword stabbed all the way through his gut and out of his lower back. Her comrade fell to the ground, his last movement.

“No!!!” she screamed, and as Lew was pulling his sword out of Fil’s bloodied guts, she swung her sword down and sliced off Lew’s head. She looked with satisfaction as his head rolled along the floor to the bottom of Gaya’s rectal wall. “Goodbye, old friend,” she said with a choking voice as she looked at Fil’s lifeless body.

Just then, out of the corner of her eye, she saw another of Aisa’s men yelling and charging at her with his sword slashing maniacally in the air. Noting that his sword wasn’t about to come down just yet, she pushed out her sword so that when he’d come close enough, it would just run him straight through.

It did; he fell.

As Tesel was slashing and killing many of the enemy, his quickly darting eyes were also trying to survey the area to know how the progress of the battle was going. He noted that, while many of his own fighters had surely died, many more of Aisa’s men had fallen not only at the hands of those of Tesel, but also from their own aimless, thoughtless sword-swinging.

With fewer and fewer of the enemy to fight, he was able to spot Aisa himself among the bodies of the dead as well as those still fighting.

“Aisa!” he shouted. “It’s Tesel! Follow my voice, come and fight me, or be a coward!”

Aisa’s ears pricked at the calling of his name, found the location of the voice, in spite of his lunatic disorientation from the death of Kappitta, and charged in the direction of the voice, screaming so loudly as he ran there as to make Tesel’s shouting seem like mere whispers.

“Tesel!” Aisa screamed.

When he arrived, Aisa swung his sword in a wide, horizontal arc in an attempt to behead Tesel, who ducked just in time to avoid that. As Aisa was running past, Tesel lunged, trying to stab Aisa in the gut, but his foe also dodged him in time.

Tesel watched Aisa standing by, twirling his sword over and around his head like a madman, his wild eyes never making contact with Tesel’s, but Aisa then slowly began walking toward him as if he had an intuitive sense of where his enemy was. Tesel never took his eyes off of Aisa’s swinging sword, it moving almost too fast for the eyes to follow, though Tesel managed to follow it through perfect concentration.

The two adversaries took slow, careful steps toward each other. Tesel kept watching that twirling sword, looking for an opening that just wouldn’t appear.

“You’re a dead man, Tesel,” Aisa grunted. “I might not be able to see you directly or thrust or slash with precise aim, but I can swing my sword around so fast, and so tirelessly, that not only will you never get your sword past mine, but I’m also sure to cut you down sooner or later.”

“You always were too proud for your own good, Aisa,” Tesel said, then their swords started clashing with strikes coming again and again so fast that it sounded like a metallic rattling.

Their swords locked at one point, and as they held them there, trying to push ahead and overpower each other, Aisa’s wild eyes finally made contact with Tesel’s. The men exchanged malicious looks, staring each other down as they tried to push each other’s sword away.

“You’re going…to die, Tesel,” Aisa growled. “Enjoy your last…few moments…of life.”

Tesel grinned defiantly at those words.

They released swords and resumed their quick slashing. Aisa swiped a long red line on Tesel’s right arm. He let out a light groan of pain, then ignored the hurt and the blood.

Their swords repeatedly clashed again, with that quick rattle. Tesel swung over Aisa’s ducking head. Aisa slashed a shallow cut in Tesel’s left side. Again, he ignored the blood and the pain.

As for the rest of the fighters, all of Aisa’s men had finally fallen, some killed by Tesel’s men, others having accidentally killed each other as before. Lia and the surviving men now stood in a circle watching Tesel’s and Aisa’s duel.

Aisa swiped his sword in a wide, horizontal arc, and Tesel jumped back, but not far enough. He got a slash across his chest; fortunately, it wasn’t so deep that it would kill him, but the pain caused him to scream out loud. He fell back for a second.

“He’s dead at last!” Aisa shouted with a grin. “Now, to finish off the rest of them!”

He saw the circle of Tesel’s surviving army, then saw Lia. He ran at her with his sword flailing in all directions.

“Time for you to die, bitch!” he shouted.

She raised her sword to get ready, but didn’t need to. Tesel came at Aisa from behind and ran his sword through Aisa’s guts.

He shook for several seconds and looked down in shock at the tip of Tesel’s sword pushing out of his bloody belly. Then he looked back at his killer.

“I told you: you’re too proud for your own good, Aisa,” Tesel said, then Aisa fell to the ground.

The survivors were too exhausted to shout a hurrah of victory. They just heaved sighs of relief that it was finally all over and dropped to the ground, in desperate need of rest and bandaged wounds.

Analysis of ‘Brain Salad Surgery’

I: Introduction and Cover

Brain Salad Surgery is ELP‘s fourth studio album, released in late 1973, after the prog rock supergroup‘s eponymous debut, Tarkus, the live album Pictures at an Exhibition, and Trilogy. It was produced by singer/bassist/guitarist Greg Lake, as were all of the trio’s previous albums.

Though it initially got a mixed critical response, Brain Salad Surgery‘s reputation has improved over time. It had always been a commercial success, reaching #2 in the UK and #11 in the US; it eventually went gold in both countries.

Here is a link to the full album, and here‘s a link to all of the lyrics.

HR Giger‘s superb album cover gives a vivid visual representation of the album’s central theme of duality–male vs female, man vs machine, and good vs evil. The male/female duality is represented by the woman’s face in the circle in the middle of the cover; under her chin is the end of a phallus pointing up along her neck, the rest of the phallus being represented, outside the metal circle, by a short cylinder and a circle with ELP representing the balls. The record company insisted on removing the phallus for obvious reasons, so on early releases of the album, one instead saw it airbrushed away and replaced with a…shaft…of glowing light.

The album’s title–derived from the lyrics to Dr. John‘s “Right Place, Wrong Time” (released earlier the same year), and replacing ELP’s working title, Whip Some Skull on Ya–is a reference to fellatio, hence the phallus just under the woman’s face…and the skull at the top.

The cover originally opened up, like two front doors to a building, to reveal the whole head of the woman with her eyes closed, as opposed to seeing the skull’s eyeholes over her when the cover is closed, indicating the dualities of life and death, good and evil, and man and machine.

II: Jerusalem

Side One begins with two tracks that are adaptations of other composers’ works, something the band had done several times before, as with pieces like “The Barbarian” (based on Bartók‘s Allegro barbaro for solo piano), “Hoedown,” by Aaron Copland, and the aforementioned piano suite by Mussorgsky. As for track one of Brain Salad Surgery, ELP did an arrangement of a hymn by Hubert Parry, who set William Blake‘s poem, “And did those feet in ancient time” (from the epic, Milton), to music.

“Jerusalem” was released as a single, but it failed to chart in the UK; actually, the BBC banned this ‘rock’ version for potential “blasphemy” (despite how reverent the band’s arrangement was). Apart from being understood as a religious song, “Jerusalem” is also considered patriotic to England, even proposed as the national anthem.

Now, the long-held modern assumption that Blake’s text is based on an apocryphal story–about Jesus walking on English soil during His lost years–is unlikely to be true, because no such story existed, apparently, before the twentieth century; instead, Blake’s text is based on a story that it was Joseph of Arimathea who allegedly went to England to preach the Gospel there. I find such an interpretation hard to follow, though, since the text explicitly refers to “the holy Lamb of God” and “the Countenance Divine” being in England.

In any case, the notion that the feet of Christ (or those of Joseph of Arimathea, for that matter…whichever) sanctified English soil by treading on it is jingoistic nonsense that actually turns the meaning of Blake’s poem into its opposite. The key to understanding the text is not “England’s green and pleasant land,” but rather “these dark Satanic mills,” referring to the early Industrial Revolution and its destruction of nature and human relationships, or to the Church of England and how it imposed conformity to the social and class systems.

People who see patriotism and conventional Christianity in Blake’s poem are blind to his irony in using Protestant mystical allegory to express his passionate advocacy for radical social and political change. He wasn’t saying that Jesus walked in England, thus making it ‘the greatest country in the world,’ and worthy of global domination. He was asking if Jesus went there, where the “dark Satanic mills” would later be found.

That he meant such a visit seems unlikely, but if the visitor was Joseph of Arimathea, at least he would have done a proselytizing of the primitive Christianity of the first century AD, not that of later centuries, with the corrupt Catholic or Protestant Churches of Blake’s time, those that subjugated other lands and justified their imperialism with their ‘superior, civilized’ religion.

Blake says he “will not cease from Mental Fight” (my emphasis), meaning his moral struggle with the powers-that-be, the industrial capitalists who used religion as Marx would later call “the opium of the people” to maintain social control in the interests of the ruling class. Blake’s bow, arrows, spear, and sword are metaphors for all he would use to bring about revolution and social justice (his metaphor for these being “Jerusalem”) in England; they were never meant to aid in the building of empire, much to the chagrin of the British patriots who want to read his poem in that way. Even Parry grew disgusted with the jingoistic misuse of his hymn.

This ironic surface patriotism and conformist piety as cloaking Blake’s real revolutionary social critique plays well into the theme of duality–good vs evil–on Brain Salad Surgery. Similarly, it’s fitting that keyboardist/composer/arranger Keith Emerson should have done an adaptation of Parry’s musical setting, one with the usual Emersonian pomp embellishments, but still reverent to the piety of Parry’s music. For again, such a musical style, soon to be contrasted sharply with that of the next track on the album, is a part of the good-vs-evil dualism of Brain Salad Surgery.

III: Toccata

The “dark Satanic mills” of the first track seem to be vividly depicted, in musical form, in this next ELP adaptation of a composer’s work, this one being the fourth movement of the first piano concerto of Argentinian modernist composer Alberto Ginastera. The movement is titled toccata concertata, hence the name of ELP’s adaptation.

Unlike the trite harmony of Parry’s work, this one is violently dissonant, something accentuated by Emerson’s use of raspy synthesizer sounds. Indeed, the dissonance of this adaptation makes King Crimson sound like the Bay City Rollers in comparison.

Another valid comparison of ELP with King Crimson, as far as this second track is concerned, is how we hear a push towards the most state-of-the-art technology. Recall how the 1980s King Crimson used guitar synthesizers, the Chapman stick, and Simmons electronic drums. “Toccata” boasts (as does “Jerusalem”) the use of the very first polyphonic synthesizer, the Moog Apollo, and eight specially developed drum synthesizers, used in the track’s middle percussion section, arranged by drummer/percussionist Carl Palmer.

Again, this use of the latest technology of the time, as mixed in with more conventional instruments and singing, reflects the album’s theme of dualism–in this case, the dualism of man vs machine.

I’d like to do a comparison/contrast of Ginastera’s fourth movement with ELP’s adaptation. I won’t cover every detail, as that would be too difficult and tediously long; so I’ll point out and compare/contrast a number of highlights. (Here is a link to the entire piano concerto, with a video of the score; move it ahead to about 18:50 to get to the fourth movement.)

ELP’s adaptation adds a considerable amount of material to Ginastera’s piece (as well as removing much of it), including of course the percussion section in the middle, as I mentioned above. Another addition is at the beginning, with Emerson playing a synthesizer, and Palmer hitting tympani.

Emerson plays a motif of B-flat, E, E-flat, and A, then Palmer hits A, A, A, and C. Then Emerson plays the same notes again, a bit faster, adding a C and an A, and Palmer does a short roll on A. Emerson goes up an octave to play the same first opening four notes, and Palmer does another, longer roll on A. Emerson, still in the higher octave, plays the notes faster, with the added C and A, and Palmer doesn’t another, still longer, crescendo roll on A.

Next, ELP’s adaptation converges with Ginastera, but with the latter’s arrangement of the B-flat, E, E-flat, and A motif played predominantly on horns, with all the notes sustaining in a swelling dissonance, while Emerson plays the notes on his synthesizer, intensifying the tension by adding a raspy, grating tone to it. The motif is played as I described above, then transposed an octave and a semitone higher to give B, F, E, and B-flat.

ELP come in with Emerson on organ, Lake on bass, and Palmer on drums. In Ginastera’s original, we hear pounding dissonances on the piano in 3/4=6/8 time, with the fourth bar in 5/8 time as an exception.

With the piano beginning in octaves of E in the bass, the orchestra is playing a cluster of eighth notes in A, B-flat, and E-flat. The E-flat goes up to a G-flat (with the E in the bass going down to a C-sharp with the G-flats), then back to E-flat, up and down and up and down. These movements up and down occur at irregular times, creating the illusion of odd time signatures, but Ginastera’s score has the whole passage in the same 3/4=6/8 time. The playing sounds fairly subdued in Ginastera’s original, but Emerson’s organ gives the passage a fiery extroversion.

The next passage has piano playing in the bass, whereas ELP’s version has Emerson playing it on synthesizer. A beginning in F and E leads to the opening motif of B-flat, E, E-flat, and A, then ending in another swelling dissonance reminding us of the opening one, but transposed a whole tone higher, giving us C, F, G-flat, and B (reverse the second and third notes to see the exact parallels). In Ginastera’s original, these notes are heard in the orchestra, predominantly the brass; in ELP’s version, Emerson does it on the synth, ending with that rasping sound again.

Next, a tune with a galloping rhythm, starting off with eighth notes going back and forth in F-sharp and A, then going to F-sharp, B, B-flat, C, A, F-sharp, and E, is heard on the strings; Emerson plays it on the organ. These seven eighth notes are heard three times, accented in a way that gives the listener the impression of 7/8 time, but again, Ginastera’s score notates it all as 3/4=6/8 time.

The up-and-down of F-sharp and A continues for a while, then we hear a five-note ostinato of B, A, F-sharp, E, and F-sharp, which grows dissonant with the addition of the horns, and ends with the piano playing a descension in octaves. ELP’s version ends the five-note ostinato, played on the organ, with more dissonant, angular synthesizer.

More of a galloping rhythm is heard in piano chords (on organ in the ELP version); this leads to more galloping, but with switches from 3/4=6/8 time to a bar of 5/8–this happens twice, then it returns to the regular 3/4=6/8 time. Again, what is piano in Ginastera is organ in ELP. Also, Ginastera’s version develops this switching of the time from six to five, while ELP’s version brings the tension to a climax with organ chords featuring a tritone of E and B-flat. Palmer also plays this tritone on the tympani.

Later on in Ginastera’s score, we hear a variation on the passage mentioned earlier, the cluster of repeated eighth notes, the top of which is the E-flat that goes up to the G-flat, then down, and up and down at irregular times. This time, however, the notes are a second-inversion A-minor triad with A-flat and C-flat in the bass. The top C-natural will go up to an E-flat, and down and up and down, in the same irregular pattern as with the E-flat and G-flat before. We hear the orchestra, predominantly strings, doing this; ELP’s version has the organ doing it.

After this, the piano does more galloping rhythms, with a few dissonant seconds thrown in here and there. Later, the piano does more developments of that passage with the time changes back and forth between six and five as discussed above, with an additional bar of 7/8 sandwiched in the middle. This passage isn’t in ELP’s version, which skips ahead in Ginastera’s score to bar 200.

Here, the galloping rhythm is done on pizzicato strings, starting with E-flat and G-flat going up and down in the bass clef. Then we hear E-flat, G-flat, A-flat, and A-natural three times before transposing the first two notes to A-natural and C. Emerson plays this line on the organ, but develops it further before going to the next passage.

A French horn plays A, D, G, and G-sharp, then A, E-flat, D, D-flat, G, and G-sharp, etc. Emerson plays this line on a synthesizer an octave higher. After this phrase, Ginastera has us hear five pairings of eighth notes of a minor second (C-sharp and D), with groupings of two to three eighth rests in between the first, second, third, and fourth pairings of those notes. They’re played softly in his score, but Emerson plays this rhythm as stabbing, loud organ dissonances.

A trumpet plays F, B, B-flat, and E three times; this leads to a climactic, dissonant passage. ELP’s version builds up this tension much more, right from the beginning of this passage, on the synthesizer. Ginastera does glissandi down and up on the piano; Emerson does a downward glissando on the organ.

At bar 240, the piano plays octaves in C, F-sharp, F-natural, and B, a restatement of the opening motif, but transposed up a whole tone; Emerson plays this on the synthesizer, using it to embellish the dissonance further and bringing this tensely climactic moment to raspy near-chaos, leading to Palmer’s percussion section. Ginastera’s original, however, further develops these themes on the piano, coming soon to the end of the movement.

Palmer pounds away on the tympani for a while, striking a gong here and there. This comes to an end, then we hear the soft hitting of A and C on the tympani, and on both tympani and tubular bells. Emerson plays three soft, dense chords on the piano as this passage comes to the end.

Next comes a passage with Lake playing electric guitar, with Palmer in the background hitting the tympani. Lake is playing, among other things, variations on that opening motif of sharpened tonic, fifth, flattened fifth, and tonic an octave higher.

The climax of the percussion section is Palmer showing off with a solo on his drum kit that features the drum synthesizer, and all the flashy, extraverted electronic sounds it can make.

After this, ELP ends their adaptation with a reprise of the section starting with A, D, G, G-sharp, etc. (i.e., the French horn line in Ginastera’s original). Again, Emerson intensifies the dissonant tension with that raspy synthesizer in ways totally different from the dissonant tension ending Ginastera’s original.

Both pieces end more or less the same way, with twelve sets of eighth notes of a dissonant chord played molto sforzatissimo, by the orchestra in the original, and on the organ in ELP’s version. The band played their recording of the adaptation for Ginastera in order to get his permission to publish it. The composer gladly gave it, describing ELP’s adaptation as “Diabolic!” and “Terrible!” These words were meant as compliments, though, for he felt that ELP had captured the mood of his music as no one else ever had.

That this music is “diabolic” makes it a perfectly dualistic contrast to the ‘piety’ of “Jerusalem.” Hence, we can see these two adaptations as thematically fitting within the context of Brain Salad Surgery as a whole. An outward appearance of trite piety masks the evil inside.

(Incidentally, a piece I composed years ago, my Divertimento for Strings, has a third movement, presto furioso, that is inspired by ELP’s adaptation of Ginastera’s toccata concertata, though I must insist that I used all my own notes and themes, not theirs. If you’re interested, please check it out.)

IV: Still…You Turn Me On

Lake was always sure to include an acoustic guitar ballad on every ELP album, and Brain Salad Surgery is no exception. Earlier, and in my opinion, far better examples of such ballads are “Lucky Man” and “From the Beginning.”

A curious thing about Brain Salad Surgery is how the musical style jumps all over the place. Normally, one tries to find a reasonably consistent style from track to track, but on this album, ELP seemed to be deliberately going as far in the opposite direction as possible. The album has a hymn, a violently modernist piece, a syrupy love ballad, a honky tonk piano farce, and a sci-fi epic–part standard prog, part jazz/piano sonata.

As far as I’m concerned, the only way to see unity in such musical and lyrical disunity is to hear it in terms of dialectical dualism, of finding a paradoxical unity in opposites. So, in these opening three tracks, we have the sentimentality (thesis) of Lake’s ballad, the brutal ugliness (negation) of the Ginastera adaptation, and the ironic piety masking evil (sublation) of the Parry/Blake adaptation. That Lake’s ballad is a love song also gives us the duality of male and female, some romanticized brain salad surgery? After all, he is turned on.

The instrumentation of the ballad reflects the man-vs-machine duality, in that on the one hand, we hear the human voice, Lake’s acoustic guitar, and Emerson’s harpsichord, but on the other hand, there’s Emerson’s synthesizer and Lake’s electric guitar leads played through a wah-wah pedal.

V: Benny the Bouncer

This song has lyrics written by Lake and Pete Sinfield, a colleague of Lake’s back when both of them were members of the original King Crimson back in 1969 and 1970. Lake would return the favour by helping Sinfield release his solo album, Still, on ELP’s new Manticore record label, as well as contributing vocals and electric guitar on it. Sinfield would also contribute lyrics to Side Two of Brain Salad Surgery, as we’ll soon see.

“Benny the Bouncer” manifests the album’s theme of duality in two ways: first, the use of synthesizer at the beginning, and the use of vocals and honky-tonk-style piano suggests the man-vs-machine motif; second, the light-hearted nature of the music, as juxtaposed with a story about a fight and a violent murder, gives us the duality of good vs evil, or light vs dark.

Benny is already understood to be a bloody, violent sort: “He’d slash your granny’s face up given half the chance,” as Lake sings in his affected Cockney. “Savage Sid,” however, is much meaner. First, he spills his beer on Benny’s boots to test him, then when the two fight, Sid sticks Benny with a switchblade, and Benny ends up with “an ‘atchet, buried in [his] head.” He’s dead now, and “he works for Jesus as the bouncer of St. Peter’s gate.”

All of this fighting, of course, is a reflection of the alienation found in an oppressive, dystopian society, the subject of the epic coming next, “Karn Evil 9,” the real thematic focus of Brain Salad Surgery.

VI: Karn Evil 9, 1st Impression

“Karn Evil” is a pun on carnival; this title for the sci-fi epic was suggested by Sinfield–due to the festive, carnival-like nature of the music heard in the “See the show!” sections of this movement, or “impression”–as a replacement for the originally intended title, “Ganton 9,” a fictional planet on which all evil and decadence has been put.

“Karn Evil” also reflects duality in the sense that the ‘carnival’ show of decadent displays is a pleasing, entertaining diversion (the ‘good’) from the evil and oppression really going on in this dystopian world. Indeed, this epic has real relevance in our world today, in the 2020s, in which such breads and circuses as the Super Bowl, Taylor Swift, OnlyFans, and photos of string-bikini-clad beauties plastered all over our Facebook feeds distract us from such problems as extreme income inequality, escalating wars, a media controlled by the super-rich, and the ongoing genocide in Gaza.

As for “9,” apart from “Ganton 9,” the meaning of this number could be seen in a subdivision into three of each of the three “impressions.” We all know, of course, about the division of the 1st Impression into two parts, because its length had to be spread over two sides of the original LP. One could, however, divide this impression further–namely, at the break between Lake’s singing of “Fight tomorrow!” and “Step inside, hello!”, or, between the frankly dystopian opening lyrics and the ‘carnival’ section about the “most amazing show.” Hence, three parts for the 1st Impression.

As for the 2nd Impression, it can easily be subdivided into three by virtue of its fast-slow-fast sections, like a short, three-movement piano sonata. The 3rd Impression can be divided in terms of the storyline as given by the lyrics: before the war, from the beginning to “Let the maps of war be drawn”; the middle, five-minute instrumental section and keyboard solo, as dramatizing the war; and the outcome of the war, from “Rejoice! Glory is ours!” to the end.

Anyway, part one of the 1st Impression begins with Emerson doing some contrapuntal playing on the organ. As Lake is singing the first verse, Emerson is playing dark, eerie bass notes on the piano while Palmer is hitting a cowbell.

This first verse establishes the dystopian world of the story, a dystopia disturbingly similar to our own world of the 2020s, “about an ago of power where no one had an hour to spare.” Those who have the power, the capitalist class, ensure that none of us, the working class, have much of any free time, because we’re all overworked and underpaid.

“The seeds have withered” because of environmental damage caused by prioritizing profit over the health of the planet. “Silent children shivered in the cold” because ‘free market’ capitalism has failed to provide for the needs of the poor, rendering so many of them homeless and unheard (“children” here isn’t necessarily to be taken literally; they can be also children in the metaphorical sense of being vulnerable and helpless).

The common people suffer like this because of “the jackals for gold,” or the greedy capitalists. “I’ll be there” to help when the revolution finally comes.

The working class have all been betrayed and silenced by the advocates of neoliberal, ‘free market’ capitalism (whose prophets, including the likes of Milton Friedman, were already making their promises of plenty in a world of ‘small government’ as of 1973, the year Brain Salad Surgery came out, thereby making “Karn Evil 9” prophetic, as I see it). The riot police of the ‘small government’ have “hurt…and beat” the people who try to protest the injustices they’ve been subjected to.

Everyone, working several jobs just to have enough to pay his or her bills, food, and rent, is “praying for survival,” but “there is no compassion” for those who cannot leave this miserable world–these are the homeless, whom it’s against the law to feed, and who suffer anti-homeless architecture and benches.

He, in whose voice Lake is singing, begs for a leader who will rise up and save the world from oppression, who will “help the helpless and the refugee”–that is, the impoverished and those displaced by war in ravaged places like Libya and Syria, or by genocide in Gaza. Again, he says he’ll “be there…to heal their sorrow.”

Next, we have the instrumental break that, in my opinion as described above, divides part one from the real part two of the 1st Impression (the “part two” of this impression beginning on Side Two of the LP being, in my opinion, ‘part three’ in actuality). We hear a tight riff in alternating 6/8 and 4/4, led by a synth melody; this tune will be heard again on Side Two in part two (or ‘part three,’ as I’d have it), but it will all be in 4/4.

This instrumental continues, with more time changes and synthesizer soloing, until it segues into the ‘carnival’ themes and ‘part two,’ as I conceive of it. Now that the dystopian world has been established, we will learn of how the powers-that-be are distracting the people from their oppression with “a most amazing show.” We can relate to this aspect of the story today, with all of the entertaining nonsense we see on TV and social media, distracting us from the horrors of the real world out there.

Those in power have always used two ways of keeping the masses under their control: the carrot and the stick, two seemingly opposed tactics, but actually just opposite sides of the same coin, since they both serve the same political purpose. The world government of Huxley‘s Brave New World uses the carrot of pleasure (sex, drugs, etc.) for social control, whereas the totalitarian government of Orwell‘s Nineteen Eighty-four uses the stick of coercion and bullying for the same purpose.

“Karn Evil 9” opens with an exposition of the dystopian stick, and with the “most amazing show,” we have the carrot. In our world, TV and social media are our carrot, meant to distract us from the stick of riot police and standing armies that imperialistically oppress the world. In cyclically abusive relationships, the carrot and stick represent traumatic bonding.

Those who “come inside” to “see the show” are the industrial working class, for they are told to “leave [their] hammers at the box” before going in. Among the images to see are violent, shocking ones, meant in this way to be entertaining and “spectacular”: namely, “rows of bishops’ heads in jars,” and a terrorist’s car bomb. The same goes for the “tears for you to see.”

There are entertaining horrors, but also entertaining pleasures, like the stripper. Of course, for many, the opium of the people is the most entertaining spectacle of all, hence they “pull Jesus from a hat.”

After all of this, there’s an instrumental section leading to the end of Side One of the LP. Being one of the pre-eminent progressive rock bands of the 1970s, ELP were always known for showing off their virtuosity as musicians, even to the point of annoying music critics, who accused them of egotism run rampant. For ELP to show off in this way, however, for the sake of putting on “a most amazing show,” is perfectly appropriate. In fact, Lake does some extended lead guitar soloing here, something he did only sparingly on previous ELP albums.

Side One ends with a fading-out of Emerson playing a repeated synth note in A-flat, accompanied by Palmer shaking a tambourine. This same music fades in to begin Side Two. There are CD versions of this music played without the fading out and in, giving an uninterrupted 1st Impression, but the long instrumental passage leading up to the famous “Welcome back, my friends, to the show that never ends,” still gives us the feeling that this is a distinct part two…or ‘part three,’ as I’d have it.

Note the ecological destruction alluded to in the line, “There behind the glass stands a real blade of glass.” While Lake is singing this line, Emerson comes in with the organ, playing that cheerful, ‘carnival’ music. In this we hear the stark contrast of the happy music masking the evil reality depicted in the lyrics of having wiped out almost all the plant life on the planet…and this horror is presented as a form of entertainment, or a museum piece.

In today’s world, the debate surrounding climate change could be seen as a form of entertainment, in that it may amuse many of us to watch and hear the heated, angry arguing over the controversy as to whether global warming is real or a myth. We go from “England’s green and pleasant land” to “a real blade of grass” over the space of one side of an LP.

So we can see how the theme of the good-vs-evil duality manifests itself as a mask in “Jerusalem” and “Karn Evil 9.” The piety and patriotism of the first track masks the “dark Satanic mills,” as discussed above, and the enjoyment of “the show,” the Karn of the carnival, its carnality, masks the Evil.

That the show is “guaranteed to blow your head apart,” in the context I just described, can thus have a dual meaning: good in that the show will impress and amaze us, and bad in that its mesmerizing effect will take away our ability to think independently. That we’ll “get [our] money’s worth” sounds like a capitalist hard-sell, and that “it’s rock and roll” suggests the decadence of capitalism (i.e., rock stars making huge profits while posturing as edgy, anti-establishment social rebels).

The decadence of rock is then aptly demonstrated by more instrumental showing-off, in this way by an organ solo by Emerson. This has to be one of the greatest organ solos in the history of art rock, ranking right up there with Rick Wakeman‘s organ solo on Yes‘s “Roundabout.” These solos almost compel fans to play ‘air organ,’ they’re so good.

Emerson’s organ playing here, as is the case with his piano playing in the 2nd Impression, is so good that it makes all the more tragic his suicide in 2016, from a gunshot wound to the head. Nerve damage in his right hand, starting in 1993, was hampering his playing; it had abated by 2002, but in 2016 he was struggling with focal dystonia, something he did not dare discuss publicly for obvious, professional reasons. Drinking and depression exacerbated the problem, and anxiety over performing badly, disappointing fans, pushed him over the edge, especially when internet trolls made mean comments about his playing. Lake died later the same year.

Speaking of Lake, after Emerson’s organ solo, he replays most of the written part of his guitar solo from Side One, followed by some extrovert drumming by Palmer and more verses. More references to decadence are made, these times of a sexual sort, when Lake sings of a “gypsy queen in a glaze of vaseline,” reminding us of the stripper from Side One; then there’s “a sight to make you drool–seven virgins and a mule.”

“The show” of the 1st Impression ends fittingly with more bombast, pomp, and instrumental showing off, particularly by Emerson playing fast notes on the synth, and by Palmer not only on the drums but also on the tympani.

VII: Karn Evil 9, 2nd Impression

This delightful instrumental has to be the creative zenith of the entire album, with “Toccata” and the 1st Impression just under it. Here, Emerson is held back by neither the need to play someone else’s notes, nor by a need to conform to listeners’ expectations, whether in the mainstream pop world, nor in that of what had by 1973 already become prog rock clichés. Here, we have pure Emerson as composer and artist, unfettered by anything.

Here‘s a link to the piece, with a transcribed score for piano and bass.

The piece begins with a long, twisting and turning piano riff, jazzy in style and yet, in the context of being sonata-like in structure, the ‘exposition,’ as it were. Palmer plays some fast, tricky drum licks before Emerson comes in as described, backed by Palmer and Lake on the bass. The music is modulating all over the place, and while most of it’s in 4/4, towards the end there’s a shift to a bar of 2/4, then two bars in 5/16, and a bar of 7/16 before returning to 4/4.

That long and winding piano riff is repeated, then there are two bars in 3/4, one in 12/16, one in 3/8, and one in 7/8 before going back to 4/4. After a while, we hear octaves on the right hand of the piano, eighth notes and sixteenth notes in C-sharp, then three sixteenth notes in E, then an eighth note in B, while on the left hand (doubled by Lake on the bass), instead of the E and B, it’s D and G respectively.

This set of notes is heard twice, leading into a section with a Latin American rhythm. Over this rhythm, Emerson plays a synthesizer solo that imitates the timbre of a steelpan. Palmer is shaking maracas and tapping claves in the background.

After this, a complicated riff is heard in alternating bars of 4/4 and 7/8 time, in the latter of which we hear high octaves in C-sharp on the right hand of the piano, thirds going up and down in C-sharp/E-sharp and D/F-sharp on the left hand, and C-sharp and D-natural on the bass. Next, a bar in 7/16, one in 9/16, and a 4/4 piano riff of high octaves in G-sharp, then C-sharp on the right hand of the piano, with the left hand playing second-inversion triads of E-natural/A-natural/C-natural to the right-hand G-sharp octaves, and left hand second-inversion triads of G-sharp/D-natural/F-natural to the right-hand C-sharp octaves.

The dissonance of these last few chords is the most tension we hear in this beginning fast section of the 2nd Impression, leading into the eerie tension of the slow middle section. Prior to this tense moment, the music has been largely upbeat and even merry. This contrast between cheerful and dark is once again a reflection of the good-vs-evil duality of “Karn Evil 9,” and of Brain Salad Surgery as a whole. Surface pleasures mask inner evils, as noted on previous tracks. The beginning fast section ends on a chord of C-sharp major.

While the beginning and ending fast sections are light and jazzy, the slow middle section is essentially like twentieth-century classical music in its use of eerie, atmospheric, dense chords, which are a kind of theme-and-variations form based on a harmonic progression in E minor, A minor, and C minor, as expanded tonality. As I said above, this softer music represents the hidden plotting and scheming behind the extrovert fun and games of the faster parts.

In this middle section, we hear Emerson’s expressive use of softer piano dynamics. Before, we heard his dabbling in jazz; now, we hear his mastery of classical technique.

Eerie, ambient, dense chords of G-sharp/D/E/A-sharp and F-natural/D/G-sharp/E are heard on the piano, and Lake follows with a line of A-sharp, G-sharp, F-natural, and E on the bass. These are heard twice, then Emerson plays intervals of G-sharp/E and F-natural/D, which Lake follows with a line of D, E, F-natural, G-natural, and A. This has all been in 6/4.

The time switches to 4/4, and Palmer is playing woodblocks behind the piano and bass, which have been playing harmonic variations of the chords and intervals I described above. At one point during this passage, Lake plays a descending chromatic line from E to A. Now in A minor, Emerson’s playing will include ascending and descending octaves in A, B, C-natural, and C-sharp, then C-natural, B, B-flat, and A; the first three of both sets of notes are triplets, and the second set of triplets are backed with a triplet roll on a kettledrum by Palmer, who’s still playing those woodblocks, like a ticking clock…ninety seconds to midnight (<<<more on this later).

The fast third section comes in next; it starts in 3/8 time, with Emerson playing a lot of fast triplets in the right hand. Then a bar of 4/8, back to 3/8 for four bars, a bar in 9/8, four more bars of 3/8, then 4/4, 4/8, 7/8, and a few more time changes until an improvisatory passage in 4/4.

In the middle of this passage, there’s a brief reprise of those dissonant chords heard just before the end of the fast first section, though notated in the transcription (YouTube link above, at about 6:16) with the enharmonic notes of D-flat octaves in the right hand, and a second-inversion triad of A-flat/D-natural/F in the left hand.

Finally, the 2nd Impression ends with a recapitulation, if you will, of the twice-played ‘exposition’ of the beginning of the fast first section, that twisting and turning theme. It ends with octaves in both hands of F-sharp on the piano, which Lake doubles on the bass.

VIII: Karn Evil 9, 3rd Impression

The music we hear Lake singing to sounds very patriotic, with a harmonic progression that sounds, to be perfectly frank, rather trite with, for example, its ending in a suspension fourth resolving to the leading tone, being the third of the dominant chord in the cadence, then back to the tonic in a major key.

How such music ties in with the story, it seems to me, is that a gung-ho, nationalistic attitude is being appealed to as a solution to the dystopian class conflict as established in the 1st Impression–trite harmony thus corresponds to patriotism as a naïve attitude in politics. Furthermore, historically such a solution has tended to lead to fascism, which in the context of this story can explain its ambiguous ending (more on that later).

Bourgeois liberal democracy gives the pretense of a free society, full of choice and pleasures, hence “the show” of the 1st Impression. But when class conflict gets too strained, as can be felt in the lyrics and music before the displays of the show, and the ruling class feels threatened by a proletarian uprising, they resort to fascism in order to maintain power, typically seducing the masses with talk of nationalism and patriotism, as is felt here in the 3rd Impression.

Once again, we have the duality of good as a mask for evil. The soldiers think they’re fighting for their country, when really they’re just fighting for the capitalist class.

“Man alone, born of stone”, is hard-hearted in his alienation. He thus is “of steel,” he’d “pray and kneel” to political and religious authorities to get an illusory sense of identity, communal inclusion, and meaning in his otherwise empty life. Still, his life is full of pain: “fear…rattles in men’s ears and rears its hideous head.”

Could that “blade of compassion” be the same blade of grass, the one preserved piece of plant life, from the 1st Impression? Whatever it is, it’s been “kissed by countless kings, whose jeweled trumpet words blind [men’s] sight.” Heads of state pretend to care about us, kissing compassion, as it were, and we’re blinded by the “jeweled trumpet words” of their demagoguery and false promises, believing their lies are truth.

We thought our civilization would last forever: “walls that no man thought would fall, the altars of the just, crushed…” Because of these disappointments, war must come, replacing the hope of revolution.

The relevance of the lyrics of the 3rd Impression to our world in the 2020s can be seen in not only the wish to fight the oppressive political system, but also in fascism’s co-opting of the common man to fight wars among nations instead of rising up in revolution against the ruling class, as well as how computers acting in their own right and supplanting humanity sounds like today’s rise of AI, and the fears many of us have about such technology replacing us in the working world and thus leaving us in abject poverty.

Accordingly, we sense hostility between man and machine (which, recall, is one of the main forms of the duality theme in Brain Salad Surgery–remember Giger’s ‘biomechanical’ album cover) in the bridge of the ship when the computer, voiced electronically by Emerson, says, “DANGER!…STRANGER! LOAD YOUR PROGRAM. I AM YOURSELF.” Indeed, our technology, in its quest to be dominant, is a reflection of ourselves.

All of these issues are relevant to our times in that we’ve seen these phenomena: a resurgence of fascist tendencies in many political movements in the world (those of Trump, Ukraine, Jair Bolsonaro, Marine Le Pen, Giorgia Meloni, etc.); such leftist struggles as Occupy Wall Street, opposition to the Gaza genocide, BLM, etc.; and the double-edged sword of AI (in a socialist context, where production is for providing for everybody’s needs, it can liberate us all; but in a capitalist context, it can throw millions of people out of work and thus subject us to homelessness, starvation, and death). Finally, a “nuclear dawn” in our time is the danger of such an armageddon between the US/NATO on one side, and Russia and China on the other.

All of what has come so far in the lyrics is a lead-up to war, culminating with “let the maps of war be drawn.” So the instrumental break, including a keyboard solo, all of it lasting for almost five minutes, represents the war.

There have been three interpretations of the outcome of the war. The first is that man has won, with Lake singing, “Rejoice! Glory is ours! Our young men have not died in vain.” Note the patriotic themes heard not only during the beginning of the middle ‘war’ section, but also during the beginning of this ‘victory.’

Perhaps man has deceived himself, though, in this supposed victory. Is the patriotic music a masking of an insidious evil, that of a surreptitious takeover of the computers? That they have won over man is the second interpretation of the war’s outcome. Such a possibility is suggested when the computer says to the “PRIMITIVE! LIMITED!” humans, “NEGATIVE!…I LET YOU LIVE.” In other words, the superior computers spared the defeated humans’ lives so they could see how inferior they are to their real victors. After all, “the tapes have recorded [the] names” of all the fallen men (suggestive not only of such things as the televising of the carnage of the Vietnam War, but also the deaths of so many in such places as Gaza today, all recorded on cellphones).

The third interpretation of the war’s outcome, as Sinfield–who collaborated with Lake on the lyrics of the 3rd Impression–would have us understand, is that man and the computers won together in a war against a shared enemy, but the computers have since taken control over man. Such an interpretation is the one most consistent with the lyrics, taking account of all of them.

IX: Conclusion

Such an interpretation is also conducive to the relevance of “Karn Evil 9” (and of Brain Salad Surgery as a whole) to our times in the 2020s. Class war was diverted from by fascism, not just in the period between the two world wars, but since both of them, too, in such forms as Operation Paperclip, with ex-Nazis working in the American and West German governments (including in NASA and NATO), in Operation Gladio, and in Western support for Ukrainian Nazi sympathizers all the way from the end of WWII to the present.

The war of the middle section of the 3rd Impression can thus be interpreted as the Cold War, with a preoccupation against “Un-American” activities as represented in the music by the patriotic theme. The perceived human victory would today be seen as the “end of history,” while the subsequent computer takeover can be seen to represent all of the technological advances of the three decades following the dissolution of the Soviet Union, including the online invasions of our privacy, AI threatening to take over many of our jobs, and the prospect of cashless societies making us helpless handlers of our cellphones.

So once again, the duality of good–for example, the convenience of new technologies–masks the evil of the hegemony of those technologies, just as the ‘good’ of patriotism masks the evil of fascism. In the same way, the piety and patriotism of “Jerusalem” mask the “dark Satanic mills,” and the erotic pleasure of ‘brain salad surgery’ and of “the show” masks the pain of “the helpless and the refugee.”

Contradiction and duality are at the heart of everything in life; this is what makes Brain Salad Surgery so thematically universal.

‘Gaya,’ a Surreal Adventure–Chapter Eleven

“Attack!” Tesel shouted.

All the soldiers behind him, Lia, and Fil rushed at the monster, yelling in a mad frenzy with their swords held high. Especially wild in their racing at Kappitta were those men who’d contemplated deserting, so eager were they to redeem themselves and to be purged of their former selfish thoughts and shame.

…and all of these were the first to be sucked, by a powerful inhalation, into the giant worm’s mouth.

As they were sucked in screaming, the others were able to get past the mouth and stand on either side of Kappitta’s long, snaky body. They immediately began stabbing their swords into its sides, spraying its blood all over themselves and making it wail deafeningly in pain.

The men sucked inside weren’t dead just yet: they were frantically jabbing their swords into the beast’s insides, trying to make as many internal stab wounds as possible in, they hoped, its vital organs before its enzymes fried and melted their bodies. The fighters outside were heartened at the sight of those internal sword pokes bulging out, inspiring their own external sword lunges to be all the more furious. They tried their best not to let their lowered spirits affect that vigorous thrusting when they no longer saw those internal sword bulges.

Many of these fighters, however, had their spirits far more than lowered when Kappitta swung its serpentine length to crush them against the tunnel walls.

“Lia! Fil!” Tesel shouted. “Let’s try climbing up on top of its head! We can try stabbing at its eyes and its brain! Come, let’s hurry up there!”

The surviving soldiers stabbed more aggressively into the sides of the giant worm to distract it from Tesel, Lia, and Fil climbing up its head. Once on top, the three of them started stabbing–Lia and Fil reaching for each of its eyes, and Tesel searching for Kappitta’s brain with his sword.

The monster tried bucking the three of them, but with little success: they just bounced on top without falling off, causing mere brief interruptions of their stabbing. Kappitta tried crushing the three against the ceiling of the tunnel, too, but it was too high; no raising of its head could get high enough.

One of the fighters on the sides saw the height of the ceiling and what the three were doing. She got an idea.

“Hey!” she shouted out to those near her. “Let’s do what our leaders did! Let’s climb on top. Kappitta can’t raise its body high enough to crush us against the tunnel’s ceiling! Let’s go! The others should follow!”

She and those who heard her immediately started their climb. The worm swung its body and crushed several fighters against the tunnel wall, but it was the wall opposite that of the side where the other climbers were, so most of them got to the top.

One of them, however, fell off, and when lying on the floor Kappitta rolled on top of her and crushed her. The other climbers were on top of the worm by that time, and they began stabbing it. Its blood was spraying everywhere, and its wails hurt its enemies’ ears.

Again, Kappitta tried to buck those on top of it. Tesel, Lia, and Fil managed to stay on top by keeping their stabbed swords deep inside of its body and hanging on tight to the hilts; most of the others who’d just climbed on stayed where they were, too, but two of them fell off. The worm twisted its body, rolled on the pair, and killed them.

Those fighters still on the ground and stabbing Kappitta in its sides were growing tired, but tried to ignore their waning energy and kept stabbing and slicing…though slower. The worm swung the middle of its body at some of them, crushing them against the tunnel wall. It was losing strength, too, and moving slower.

When that swing of its body came, one of the men closer to its head dodged out of the way, but came up to its mouth. It gave a strong inhalation and sucked him in screaming. He’d dropped his sword, so he couldn’t even stab inside as his body went struggling inside, punching and kicking…until the bulges in its body from his punches and kicks were no more.

Kappitta felt a new surge of energy, thanks to this latest snack, and it bucked those on top again, causing one of those on its back to fall off. It rolled its body and crushed him on the floor, while also smashing some of the men on the side against the wall and killing them, too.

A few men on the sides saw those on the top, and decided to climb up, too; though as they started their climb, the worm swung its body again, crushing them against the wall.

Lia and Fil were still reaching for the eyes, but they were too far out of reach, especially after the bucking and swinging had knocked them further back down the head.

Lia, however, finally managed to crawl forward far enough. She gave a forceful lunge and stabbed Kappitta’s right eye. The monster let out an ear-splitting wail, then bucked hard. She fell off, and landed right in front of that huge mouth.

She jumped to the side just before it inhaled, but she got pulled in by her feet, just enough for it to close its lips around her lower legs. She screamed, then hacked at its lips to free herself. They hugged her legs tightly, hurting them.

Fil stabbed his sword into its other eye, blinding it completely. It wailed again, letting Lia go. She scrambled to her feet as quickly as she could, in spite of her legs’ soreness, and tried to run away from the mouth, but it inhaled again, this time sucking her whole body inside.

…and at just that point, Tesel stabbed his sword all the way into its head, piercing its grapefruit-sized brain and making the animal slump on the floor, lifeless.

They could hear Lia screaming just behind the lips. The stabs of her sword from inside were poking holes through the lips.

The survivors from the sides rushed over to help her. Tesel and Fil got down from the head.

“Hurry up and cut her out!” Tesel shouted. “Before any enzymes flow out and kill her!”

All the men hacked with their swords at the lips, as she continued to do from inside, until she could get out.

…and she came out, trembling all over, soaked in slimy worm saliva.

Some fighters came over with cloths and rags to wipe her dry. As soon as they touched her, though, she started screaming and flailing her sword wildly. A woman fighter then approached her with her arms out, ready to hug her, and she calmed down a bit.

“It’s OK, it’s OK,” she said to Lia as she put her arms around her. “Kappitta is dead. You’re safe. It’s all over.” Lia sobbed a bit.

Tesel and Fil looked back at all of the remaining fighters, then at all those crushed on the tunnel walls and floor.

“How many do you think we lost?” Fil asked Tesel.

“At least half of those we had before this fight,” Tesel said, frowning. “Aisa’s army will be directionless in their fighting when we confront them, but they’ll surely have well over twice as many warriors as we have.”

“We’ll have to hope that the wild swinging of their swords will result in them cutting down a large number of their own,” Fil said.

“Perhaps, but that wild, directionless swinging of swords will also cut into much of Gaya’s body, whether intended or not,” Tesel said. “For that reason, we must hurry down there.”

The soldiers marched double time again, passing along the seemingly endless length of Kappitta’s corpse, then through the stomach chamber…so dismayingly empty of food…and into the filthy, reeking tunnels of the intestines, where they could faintly hear the wild clanging of swords, surely those of Aisa’s men.

“Oh, by the gods,” Fil said as he held his nose. “I don’t know which to dread more–Aisa’s men, or this smell!”

As they were approaching the rectal area with even more reluctance (and this reluctance says nothing of the upcoming fight!), they heard voices from the gods above again:

Lila,didyouhearwhathappenedtoAsa?
No,Phil.Whathappened?
Cecilgotintoanastyfightwithhim,andevenstabbedhim!Asa’sdead.
Oh,myGod!HasCecilbeencharged?
No,itwasself-defence.Asahadtheknifefirst.He’soutofthepicture,though,forgood.
Really,Phil?
Yeah,Cecil’stakingoverproductionofourfilms,andweknowhe’lltreatusallmuchbetter.
That’sgoodnews.IfonlywecouldgetsomegoodnewsforGaya.

These words, in a way inexplicable to the troops, who still couldn’t make out the unclear language, gave them some courage…which they were going to need, right at that time.

For in the rectum, Aisa’s chaotically flailing, massive army was right there, ready to fight.