Bible Black, Heaven and Hell

The late Ronnie James Dio pulled off something of a miracle with the release of The Devil You Know in 2009. Dio was 66 years old, had only 13 months to live, but somehow and he and the aged members of Heaven and Hell (aka, Black Sabbath) put together one final terrific Sabbath album. Much better than 13 IMO.

I love this entire album, but my favorite song is "Bible Black." I dig the atmospheric spoken word intro .. but strap on your jockstrap for 1:30 when it kicks in with a dark, heavy, murky, stoner groove that is everything I love about the Black Sabbath sound. It is the Black Sabbath sound, because a lineup that includes Tony Iommi, Geezer Butler, and Dio is Sabbath.

Crank this son of a bitch and enjoy your Friday.

Let me go
I've seen religion but the light has left me blind
Take me back
I must have the Bible Black

Railing against AI art

I hate computer generated art* and worry very deeply about what a future dominated by artificial intelligence will look like. Both for artists, consumers, observers, fans, and anyone who cares about human creativity in general.

One of the regular YouTubers I enjoy watching is Rick Beato. Rick serves up long form, in depth interviews with artists whose work I admire (recently Sting, and Billy Corgan for example). He attracts great guests because he’s not a quack, or a conspiracy theorist. His large following (3.3M) appreciates his candor, personality, passion, and sharp insights into what makes certain songs, albums, or artists great. Moreover through his talent he replicates many of those sounds in the studio with a guitar or keyboard.

But in his most recent video he touches on something that has occupied my mind more and more these days. “How Auto-Tune Destroyed Popular Music” includes a discussion of generative artificial intelligence music companies set to unleash music wholly made by AI. “The selling point of generative AI is that no musical knowledge or training is necessary. Anyone can potentially create a hit song with the help of computers that evolve with each artificially produced guitar lick or drum beat,” Beato says.

Yuck. Sounds fucking awful.

A quick recap of where we’re at:

• Humans can prompt AI programs (i.e., Midjourney, etc.) to generate pictures, for example sword-and-sorcery images that look a lot like something Frank Frazetta or Ken Kelly might have created, while also being something new. Many of these are pretty good.
• ChatGPT is authoring stories with just a few prompts. Not as good, often poor, but in some cases passable… and this technology will get better.

I fail to see how any of this is good for art.

The argument about “democratizing music” is horseshit. Yeah, let’s bypass the cost of having to pay for a studio drummer and democratize the cost of a recording studio for the struggling musician… but now let’s cut out the song writer and the singer as well, and proceed straight to entering prompts in a computer.

My best friend’s son is just starting to learn the guitar. Even though he’s just 13 he’s gotten pretty good… because he’s put in hours of practice. It’s awesome to watch him grow, but also fair to ask: Why bother, kid?

Are human beings supposed to consume computer developed art, and embrace it with our soul (if you believe we have one, and are not just flesh and blood robots)?

What about guys like Beato? Are they supposed to analyze computer generated art? Who are they going to talk to… some nerd who input the prompts, or the software engineer who designed the program? Or maybe some version of HAL 9000?

At that point, why have humans at all? Should we just accept our robot overlords?

Where is the place for high, noble art in all of this?

The real crime is that all of these algorithms are based off mass data that is taken from original work by human beings who will never be acknowledged or compensated for their efforts. Google has floated a repeated claim that all information should be “free,” and all of the world’s library digitized. But they and a handful of other large corporations are the ones getting rich from this process. Beato asks the same: “Really the only question is, who gets paid for it? Who are the songwriters? Are they the programmers that program it?”

And this is just art. No one is really talking about deep fakes, and the destruction of what is truthful through the production of fake news, and the subsequent loss of our grasp on reality.

I think AI has amazing potential for improving the quality of human lives, and in many ways already has. If an AI can detect cancers unseen by a radiologist’s eye, that’s a technology I want deployed STAT. I’m in favor of self-driving cars that reduce the human error that leads to most roadway fatalities. Let’s get cheap self-driving cars out there, even if they cost drivers’ jobs.

But art? Art is not a tool; art is created by humans and enjoyed by humans. Creating art, and putting in the hours to do so, is a meaningful act, i.e., meaning-generative. It’s one of the few refuges of meaning we have left. What’s the point of art without a human mind behind it, guiding its creation?

Call me an old fart but a world where we consume AI generated art is not one I want to live in. I’m glad I have my old CDs and will just sit in my corner and listen to them. And go see cover bands that cover the old shit I like while refusing to auto-tune their voices.

I have tried to embrace new tech, and have (laptop, cell phone, reasonably modern car) but general AI seems to me a bridge too far, and one we should not cross--at least without some serious thinking about the economics and societal impact.

Yup, first post of 2023 and I’m officially an Old Man Who Shouts at Cloud.

*I make an exception for CGI, etc. that adds detail to sets and supplements the work of human actors. 

Night Winds blowing for Karl Edward Wagner, Kane

My latest post is up on the blog of Tales from the Magician's Skull: (Night) Winds Blowing for Kane--Toward a Karl Edward Wagner revival.

Will 2023 finally be the year we get good affordable editions of the immortal Kane? There have been stirrings at publisher Baen, with rumors that KEW's estate holders have been approached about the possibility. The current situation--wildly and fantastically priced Centipede collectors editions, tattered and increasingly expensive Warner mass-market paperbacks--is pretty untenable. The barrier to entry for new fans is high, and the property is languishing. I've heard the current kindle editions are lousy, laden with typos and other gaffes, and the cover art is certainly ... uninspired. I might say shit, if I were being less kind.

I'd love to see Kane back in print, the stories are terrific and an important piece of sword-and-sorcery's past. If you would too, send an email to info@baen.com. 

2022 in review

2022 is just about in the books. Gosh, this was a good year for me professionally. After more than 17 years with the same company I changed jobs in March, and my life and mental health improved immeasurably. Nine months post momentous change, my overriding thought is: Why didn’t I do this sooner? But I guess I wasn’t ready; every season in its turn and all that.

Here on the blog and this relatively small, alternative online sword-and-sorcery/heavy metal space I inhabit, I was reasonably happy with the work I produced. It was my most productive year since 2009, on the basis of sheer number of posts (exactly 100 as I press publish, and I'll have a couple more before the year is out). I wrote several posts for the blogs of DMR and Tales from the Magician’s Skull. I guested on two episodes of the Rogues in the House podcast, which is always a blast. I won a second award from the Robert E. Howard Foundation, co-winning the Venarium, given to an emerging scholar in Howard studies. It's an honor, and I’m planning on making the trip to Cross Plains in April.

2022 was a good year for sword-and-sorcery. We got a new Elric novel from Michael Moorcock, who is still with us and still writing. We got a new Conan novel, S.M. Stirling’s Blood of the Serpent, which I have in hand but have not read, but am planning to begin soon. There are an increasingly large number of outlets publishing sword-and-sorcery, too many to mention here. Tales from the Magician Skull (which I continue to back on Kickstarter) is the most prominent, and the new issues have been good. Whetstone is an important outlet for new writers. New Edge #0 pubbed and I contributed an essay for it. Schuyler Hernstrom’s revised Thune’s Vision was awesome. I hope this small renaissance continues to gain steam. I need to check out more new authors and titles in 2023.

It was also a year of loss for S&S. We lost Richard Tierney, Neal Adams, and Ken Kelly among others. Kelly was a hard blow; his art was a big part of my adolescence, adorning the albums of Manowar, KISS, and various covers of Conan books and other S&S titles. 

This blog is evolving. It’s gotten more personal since I dumped Facebook back in April. Facebook was a place where I would share occasional posts about my family. I don’t miss that platform, but my family is a huge part of my life and so I need to channel that expression somewhere. I also think it’s because of how I’m evolving as a person; I’ve worked hard to balance the personal and professional in my life, and family/friends with my esoteric interests and private writing. Expecting a sharp divide on a personal blog and never mentioning the events of my personal life seems unnatural. So, expect more of that on The Silver Key.

Top 10 most popular posts

Here are the posts that got the most traction on the blog in 2022:

Some ruminations on sword-and-sorcery’s slide into Grimdark, 528 views. The S&S to Grimdark transition was an interesting one that I did not cover in Flame and Crimson, and when I wrote about here it proved to be my most popular post of the year. Like all the highest-performing posts this was linked to elsewhere, driving traffic to the site and the post views up. 

Whetstone #5, a review, 398 views. Many authors who appeared in Whetstone #5 appreciated my review of this publication. I’m grateful to editor Jason Ray Carney for producing such a fine, free outlet for new S&S and am looking forward to reading issue no. 6. 

S&S updates: Dunsany, New Edge, book deals, and a fine response to a troubling essay, 333 views. Speaking of Carney, I still agree with his response. 

My top 5 Frank Frazetta paintings, 302 views. Who doesn’t like a top “whatever” list? Couple with Frazetta imagery and no surprise this one rounded out my top 5. 

Top 10 reasons why I don’t care about Amazon’s The Rings of Power: 297 views. The Rings of Power sank beneath the waves like Numenor, only this event will not pass into Atlantis-like myth. And I still don’t care, although it’s disappointing. The subject matter deserved better.

On suspect art, sword-and-sorcery, and good storytelling, 282 views. My first of two off-the-cuff editorializing posts. This one defends old S&S.

Raging against Twitter and the dying of the written word, 282 views. This one takes the piss out of Twitter but also the need to constantly shrink messages to the smallest possible word count (and the lowest common denominator). Engaging in that garbage risks your own artistic integrity and attention span, and it’s not even debatable. 

A shout-out to five S&S voices on the interwebs, 274 views. We need more praise; I need to do more of this here in between the rants. These five deserved the props.

Robert E. Howard Changed My Life, 274 views. A great read deserving of a Robert E. Howard Foundation award. 

I, Black Sabbath (with incredible Conan imagery), 252 views. The single best S&S music video on YouTube; watch and see if you don’t agree. Plus the song is an underappreciated stone cold classic of Dio-era Sabbath. 

My reading

Damn but I can’t seem to hit my stated goal of 52 books in a year (book/week). As of this post I have read 44 books in 2022, and hope to finish a couple more before year’s end.

The best books I read this year included Larry McMurtry’s Lonesome Dove, Joe Abercrombie’s First Law trilogy, Who Fears the Devil? By Manly Wade Wellman, and Thune’s Vision. I also enjoyed re-reads of J.R.R. Tolkien’s The Silmarillion, Cormac McCarthy’s The Road, and Poul Anderson’s The Broken Sword, all of which are spectacular.

Other news of note

I have started work on another book. I don’t want to say much more than that, other than (and sorry to disappoint readers of Flame and Crimson) it is not sword-and-sorcery related. It’s not fiction either, but I will say no more, as I’m not sure if I have the ability to write it. I’ve only just begun and it may derail or reach an impasse and I don’t want egg on my face if I can’t finish. But I have much more than just an idea, the outline is done and I’ve started principal writing. We’ll see where it leads.

I survived a bout of COVID, saw Iron Maiden and Judas Priest along with a handful of other live shows, and enjoyed several business and personal trips, including one with my family to Bar Harbor, a kickass guy’s weekend in New York, and a company retreat to Dripping Springs, TX. I’m grateful I have my health and my old man is still here.

To put a wrap on this overlong and semi self-indulgent post, thank you to everyone who has read and enjoyed anything I’ve written, on this blog or elsewhere. I hope you have a Merry Christmas and a wonderful New Year celebrating with friends and family, or with a broadsword and tankard of ale on the rolling deck of a longship. However you choose to celebrate.

Theater of Salvation, Edguy

Today a sprawling, epic track. 12:22 in length, but awesome the whole way through. Incredibly inspired near-masterpiece by the underrated Edguy.

Edguy is a German power metal band, and while they sing in English it sometimes seems like it's a ... distant second language for them. I find a lot of their lyrics a bit odd, occasionally nonsensical. But damn it if doesn't work anyway. Heavy metal after all is really about emotion. Romance over reason. And of course volume. Crank this one up and enjoy; it feels like you're in church, but the coolest, heaviest service ever. 

Tobias Sammet is a terrific singer and is particularly inspired on this one. The closing bit starting at 8:58 is divine. Pardon the pun.

Take a look at the open gate
Walk on and don't be afraid

Plant a seed today, it may bear fruit tomorrow.

Recently I attended my daughter’s season-ending cross country banquet. Libby is a senior captain, and so was one of four girls who gave a speech in front of the crowd of about 150-odd athletes, parents, and coaches.

I was blown away when hers began, because, very unexpectedly, my words were coming out of her mouth.

My daughter is a terrific student, ranked no. 3 in her class, and a talented runner. But she’s also a teenager. That means, we often get nothing from her. One-word answers, or silence.

(Typical conversation over dinner: “How was the sleepover at Lia’s last night?”

“Good.”

“Wow, coach must have been happy with the way you guys ran today!”

“Yup.”

And so on).

Of course, we love her just the same. And, she’s far from a robot. I’m generalizing here; sometimes she’s conversational, even chatty. But that’s not the norm. She’s a default teen, as she should be, at 17. She’s also had her share of struggles, but that’s for another day.

Then came her cross country speech.

A year ago I was inspired to write Libby a poem, the day after her team won a hard-fought Cape Ann League championship in the mud and rain. When the results were announced they were overjoyed, and embraced, a group of girls grown into a tight circle, bonds forged through the fire of competition and tough practices.

But I also knew it would not last. It was already becoming a memory as they got their medals on the podium and boarded the bus for home.

That scene of the girls in a circle in the rain inspired me to go home and write a poem, “Running Against Time.” I printed it out with a picture of Libby and a teammate and left it on her desk.

In typical Libby fashion she did not make a big production out of it. I think she sent me a text with a couple of hearts. She did hang it on her wall, so that was a win.

Fast forward a year. I had almost forgotten about the poem until the banquet when she began her speech with those same words I had written a year ago.

It was an incredible moment. To see her so articulate. To appreciate something I had left for her.

To think that I had made an impact, very unexpectedly.

If you want to read “Running Against Time” click the image above. I’m OK sharing it since she did, so beautifully, for a crowd. It was part of a broader speech about the amazing memories she made in cross country, the people who impacted her, and fun memories.

I loved her words of wisdom to the freshmen and sophomores not to take it for granted. Because her race was now run.

So, plant a seed.

Do it without expectation. Many of your seeds/deeds will wither, or remain dormant. But some will flower. And surprise you.

Libby, blue dress/center, and the rest of the Pentucket XC captains. Great kids.

Manilla Road, "Flaming Metal Systems"

Damn, I wish I had discovered these dudes decades ago when they were at their peak circa Crystal Logic or thereabouts, and Mark "The Shark" Shelton was still alive. RIP.

Manilla Road encapsulates everything I like about Classic Heavy Metal. Guitar-driven. Quasi-medieval, swordly-and-sorcerous subject matter. Well-constructed songs that take you on a journey. Varied material, from dirges to headbangers to haunting melodic journeys. A singer that sounds like Skeletor. 

All delivered with attitude. Great example is this week's Metal Friday.

"Flaming Metal Systems" has a lengthy intro, then kicks into a massive higher gear at about the 1:10 mark. It then reaches an incredible crescendo starting at the 4:32 mark that sends chills down my spine. Nice work boys. 

I'm still tickled that bassist E.C. Hellwell writes sword-and-sorcery, and I've got one of his stories, "The Riddle Master," on my shelf, in DMR Books' Swords of Steel.

Beware, the shrapnel flies 

Flaming through the night, this night, tonight 

The fever of blood runs high 

Lightning strikes from the sky, this night, tonight