Worst to Best: The Beatles

One of my biggest fears is to be ordinary. Typical. Unoriginal. Predictable. Normal just like you. My parents always said I was special, and goddamnit, I had better start acting like it.

These are the reasons as to why I’ve always struggled with the depths of my Beatles adoration. It's because every publication in existence will mention them by name as one of the most important artistic contributions to modern music. They are already a permanent signature in all of the musical history books, more often than not on the first page. Hence why it seems like such a tasteless place to lay your eggs. There is nothing exciting about loving The Beatles. Go ahead, and tell people about your interest. Watch as you receive nothing more than a mere pat on the head from those who smile at your safe selection. Or, at very best, you may even witness an eager scream from your mate’s mom as she experiences a Beatlemania flashback, fainting and then convulsing upon the floor. You love The Beatles? Omg, me too! As does eveyone.

That said, over the years, I have occasionally come across members of the anti-Beatles movement. At first, I was always impressed by their bold opposition. How big does your ego have to be in order to claim your opinion is greater than a force which literally influenced all of the music you enjoy today? How much attention are you seeking right now, exactly? Were you neglected as a child? But eventually I realised, nobody dislikes The Beatles. That's impossible. Rather, what people are rejecting is the sheer popularity of the band. They cannot stomach the myth. The folklore has outgrown the product. This band are not as great as the monumental reputation they hold, because how could anything possibly be that size? And to be fair, this makes sense! I get it! Ok, I'm in! Let's fight against the norm! Let's go on an anti-Beatles rally! Off I march! But then before I know it, I've walked in circles, gravitating towards the core center where The Beatles reside. They're always waiting for me there. And then we dance in the middle of this story like nobody is watching. Because nobody is watching. I am alone all of the time.

It’s a tired claim when a subject is said to require “no introduction”. In the case of The Beatles, however, any introduction is beyond redundant, and that includes this one. I don’t need to justify my decision to dedicate this space to these heroes. It's none of your goddamn business what I do with my blog anyway. It's not even like it matters, my list is nothing more than an insignificant speck of fluff floating down into the ether of similarly existing articles, forever lost so deep within The Beatles cosmos that no search engine will be able to find it. And this is for good reason. But I still feel compelled to tell you one thing: it was an absolute joy to write this piece. It felt like I was eating a healthy meal, like I was happy again, and I fell in love these guys deeper now than ever before. I'm just sorry it took me so long. Here is my Worst to Best of the Greatest Band That Ever Lived.

15. With The Beatles (1963)

Merseybeat Pop Rock & Roll
Spotify

The Beatles were on a roll in their early days, although when weren’t The Beatles on a roll? Rather, what made this era so particularly unique was a certain pre-fame hunger which existed before the group outgrew Jesus and were shrouded in the security blanket of Beatlemania validation. They had been standing on the cusp of world domination for a while now, and it was here, on With The Beatles, when they fell in. Their debut was a mere eight months old, and they were still charging forward, unstoppable and armed with these joyous clap-along rockers, edging away from the pop naivety and still jumping around just because they loved the thrill of it all. But with this blind rush, came a slight taint of an understandable fatigue. The six cover songs featured on this album should have been the first warning flag, as they were shoved between disorganised cracks of an otherwise undercooked inspiration, the biggest crime of this sophomore being an obvious lack of any wow factor whatsoever. It may have sold well (the second album to ever sell a million copies in the UK, in fact) and the artwork may be as iconic as they come, but nothing can distract this as the most boring collection the band ever threw together in their entire career, and my personal choice for their worst batch of material. Most people don't have a problem with me saying this.

14. Past Masters, Volume One (1988)

Merseybeat Pop Rock & Roll
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Early Beatles discography is an utter mess to follow thanks to the practice of reordering and repackaging the exact same collections of songs under different album titles for the British, American, and Canadian audiences. Thankfully, at some point in the 80s, somebody realised how ridiculous this was, and a core catalogue was established, otherwise known at the “correct catalogue” or the “UK catalogue“, exactly how The Beatles had always intended. However, said unification left a stack of homeless non-album tracks floating away, some of Fab Four’s most revered works clinging onto their b-sides, gone and lost forever. Just kidding. Money could be made, and the Past Masters duo were the clever solution, working as erratic dumping grounds for #1 monster hits, vinyl underbellies, German translations, and Long Tall Sally EP cover tunes, wrapped up neatly in one sellable product. Due to these characteristics, the Past Masters inclusions within the stricter Beatles discography is debatable—more a completist bag if anything—but thank God for their existence all the same. Volume One specifically suffered from the scrappy jumbles dripped out from those sugary pop days (most of which could be located elsewhere anyway) hence why this compilation feels a teesntie bit pointless to me. But still... how massive were those singles??

13. Beatles for Sale (1964)

Merseybeat Pop Folk Rock & Roll
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Peak Beatlemania came with some serious demand, and nothing could reflect the band's waning interest more than this title itself. Beatles for Sale. A product. Their fourth album, 21 months after their first. The pop curtain was getting thin, the cynicism was settling in, the lethargy showed on their artwork. Historically speaking, no one could shit out decent music quite as fast as these guys could, and that’s pretty much all they did here. They sat down and pushed out a rushed dump, risk-free and exhausted, just take what you are given. What’s worse is that The Beatles had already proven themselves as the best songwriters on the planet by the end of 1964, hence why the six cover song filler fluff really stank the place up, 42.86% of the ingredients may contain less Beatle. To be kind, this record’s hindsight charm was recognised as an in-between release, the band unsure of where they wanted to go but certain of where they didn’t want to be, ending up in some Lennon-heavy country-folk phase, not lost in the artiness just yet but way past the bouncy yeah yeahs—just some Liverpool lads having a rock ‘n’ roll jam really. And let's not forget about those vocal harmonies! On point. Perhaps better found here than anywhere else, hence why I'd happily buy some of that Beatles stuff everyone is banging on about, pass it here.

12. Yellow Submarine (1969)

Psychedelic Pop Rock, Orchestral
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Does Yellow Submarine possess the genuine Beatles membership card as an essential block in their fundamental discography? That’s a controversial conversation. Due to contractual obligations, the boys were forced to provide some new compositions for a (now classic!) animated film simply because it wore their likeness and sported their brand logo. The Beatles had no choice, and they reluctantly threw aside four tracks they didn’t care much for, packaged with two previously released hit singles, and that’s side one, done. Side two was eagerly seized by producer George Martin, who filled it up with his orchestral score for the film, and with that, the messy soundtrack was folded up and handed over. In defense of this sloppy execution, The Beatles had just released their monumental Beatles [White Album] two months previous. And as Yellow Submarine was such a happier collection glinting off the peaks of surreal LSD rejects, its trippy love and colourful characteristics did provide an interesting antithesis of the otherwise tedious indulgence found on the aforementioned self-titled affiar. The primary criticism against this record stood loudest against those Martin contributions (even the band were heard to dismiss them), but I personally appreciate those tracks too, as a welcome intermission in the overall Beatles catalogue if nothing else. Honestly, for something so utterly inconsequential, the Yellow Submarine soundtrack sure knows how to bring about a smile.

11. Let It Be (1970)

Pop Blues Rock
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The Beatles’ catalogue ends in tragedy. Let It Be (released a month after their dissolution) is oft-mistakenly considered as their final album, when this project was actually recorded before Abbey Road. The project had been abandoned for good reason and was only resurrected as a shameless cash-in on their recent demise (or at least that's what I tell people). Consequently, this “swan song” is an incomplete mess shoved together without merit, dirtying up the group's perfect score after the finish line, even if we need to take a moment to admire the initial idea. Story tells that the concept was proposed by McCartney’s dictatorship enthusiasm as an attempt to recapture their former back-to-basics magic, bluesy one-take style, no overdubbed psychedelic doodling or another effort to etch their names into the wheel. And that was totally worth the shot, right? It may have even worked too if The Beatles themselves weren’t so sick of one another by this point, the disintegration of the world’s biggest band taking place right here and conveniently captured by the documentary of the same name. What followed was hours upon hours of disorganised tape dumped upon eccentric genius madman Phil Spector’s desk, featuring some of McCartney’s most realised work spread thin by worthless chips of filler and sarcastic Lennon chatter. Spector did his best, bless him, and his best was actually incredible, coating on his orchestral wall of sound until The Beatles’ mistakes were densely covered up, a sneaky move which McCartney has publicly despised a billion times over. And yet, annoyingly, it's still better than your best work.

10. Please Please Me (1963)

Merseybeat Pop Rock & Roll
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I may have been four decades too late, but I find it rather fitting that the band's debut was the first Beatles record I'd ever bought and listened to in full. Consequently, my affection may be slightly tainted by bias, but nobody can deny that a certain exciting charm still remains on Please Please Me above any of their subsequent records. There was no drool of global audiences as of yet, and this absence has blessed the record with an amusing power in hindsight. Just listen to it now and remember: nobody involved had the slightest clue about the atomic bomb which sat beneath them. This was nothing more than a hungry little Liverpudlian band, rushing to capitalise on one successful single by building an entire album around it, consisting of nothing more than their cover-heavy stage shows, so well rehearsed that the project itself took a mere 10 hours to record. Critics argue against its cautious commercial calculations and lack of creative innovation, but these fools overlook the playful naivety and youthful energy of four guys simply having a blast and loving music for music’s sake. This was the first Beatles album, man! And they came out swinging with smart attire and wide smiles, capturing a tight magic with a stickiness so immediate that it initiated one of the most important artistic stories of all time. And that's just perfect.

9. A Hard Day's Night (1964)

Merseybeat Pop Rock & Roll
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The Beatles were working hard. Running around, getting things done. Beatlemania was currently burning the world down, and the only logical solution was to milk public pockets for every dime they held. How about a full-length feature film then? And a soundtrack to go with it? Why not the first album to be 100% penned by the boys themselves? Oh no, these artists were becoming self-aware! They were taking control and getting cocky within their role. They were actually thinking about their musical direction now. The brains were overpowering the guts because they knew that the whole empire would come crashing down without them. Place all of these observations in one lunchbox, shake it around, and that's what makes A Hard Day's Night such an important record. It may have kept both feet firmly fixed inside of the classic Beatle sugar bowl, swooning from silly romantic simplifications and juvenile optimism, but they were consciously evolving towards a tighter overall consistency. Every song needed to be a memorable inclusion. A thread of cover fillers connecting the odd hit singles together would no longer suffice. This is exactly what peak early Beatles sounds like. That special sweet spot where the world was infected and the band were still loving it, while slyly contemplating where their creative boundaries ended, quietly rebelling against the advice of those in charge. Needless to say, everybody loved it and the film itself was a landmark cinematic masterpiece too. Of course it was! Fucking Beatles, man!

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8. Rubber Soul (1965)

Folk Pop Rock
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In terms of Beatles folklore and global importance, this is a landmark album. The band were experimenting with marijuana while hanging out with Bob Dylan, and that kinda sloooooowed everythiiiiing dooooown. Their stoned third-eye was struggling to open as they decided now was the time. They needed to take complete creative control of this adventure. The cheesy crowd pleasers were smoked out by a more unified aura of folk rock, somewhat drifting towards space but ripening into an artistic wokeness within their core until it hardened as a Rubber Soul. It was the earliest indication of the band’s restlessness and their refusal to stand still, finally breaking free from any predictable former commercial ties. And (like various Beatles albums following) it changed the entire music industry. Historians are quick to point towards this direction as the first “true album” ever made, a full package presented as one cohesive piece of art, not just some formality product intended to support the radio singles. And this approach shook other musicians from their slumber, until proper albums became the priority, a practice which has benefitted us all greatly still to this very day. Thank you! The initial public reaction may have been one of confusion, and admittedly I find this record to be a smidgen overrated, but retrospectively, it has been lauded as the earliest bonafide Beatles classic for justifiable reasons.

7. Help! (1965)

Pop Rock
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Help! is essential Beatles splendour which has been criminally overlooked by latter-day fanatics. I guess it was too quickly overshadowed by what followed, and then unfairly lost within the lump of early easy-stick pop Beatles (not to mention that the US version opted to replace many of the central tracks with instrumentals from the associated film, and that didn’t “help” in the slightest). But for those of us who were paying attention, here are the first hints that this band were progressing towards The Beatles that we know and adore today. The songwriting was maturing, the reliance on cover songs were slowly being phased out, and this was the crouch before the leap, leaving their mop-top days behind for good, the final traces of Merseybeat shaved off into the ground as seedlings for future compost. Sadly, Help! may have had the right ingredients to be another classic, but it fell slightly short due to a top-heavy song sequencing and a continued fixation on love love love. But at the same time, the winning hits were fucking knockouts! Most notably was McCartney’s confidence which truly expanded here, point proven with his song Yesterday, the most covered piece of music ever written in history, fact.

6. Past Masters, Volume Two (1988)

Psychedelic Pop Rock
Spotify

The two piece Past Masters compilations may have been sold as one idea but they could not be any more contrasting in terms of quality. Volume One leaned closer towards the written concept: a safe haven for those homeless scraps and prime cuts to live in harmony, allowing the completists to round off their collections, no longer cluttering up their precious vinyl shelves with the endless single releases otherwise required. Volume Two, however, was a different spread altogether, as an almost perfect run of non-album hits and their associated b-sides, gathering up lost children along The Beatles’ most compelling psychedelic period right until their crash-landing. Consequently, it’s easy to forget that this is not a greatest hits assemblage, but rather, nothing more than a convenient nesting point, a fact alone which proves the unparalleled supernatural genius that is The Beatles. Make no mistake, if this second Past Masters was an official Beatles album, it would undeniably be considered their most consistently impressive work and perhaps even the pinnacle of pop music itself.

5. Magical Mystery Tour (1967)

Psychedelic Sunshine Pop Art Rock
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Magical Mystery Tour was never intended to be a real album. Rather, a double EP soundtrack was the plan, fixed to the (critically despised) film of the same name. The US market, however, had other ideas, wrapping the rushed somewhat forgettable EP tracks up with a collection of previously released A-side singles to create a full LP, and you know what? Those Americans actually got it right this time. The second half outshines the first half dramatically, featuring a solid run of unimaginably impressive work without toppling over the cohesiveness of this overall kaleidoscopic vibe. Every song danced though a surrealistic hippie-coloured world, playing in the sunshine, singing like children, nth degree cooked and undoubtedly their quirkiest record ever. The band had truly eaten too many lysergic doses at this point, and the acid ran thick as their hallucinatory exploration concluded right here with what can only be described as Sgt. Pepper’s reject brother. And that is exactly the type of Beatles I prefer anyway. Rest assured that this is a band at their peak creativity carrying some of the most extraordinary psychedelic songs ever written, totally underrated and deserving of much more love from you.

4. Revolver (1966)

Psychedelic Pop Rock
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Revolver is the audible equivalent of the stars aligning. It was a special period for art itself, where the trippy drugs and lovey-dovey counterculture were conspiring together, breaking into new territories with The Beatles at the forefront of the creative explosion, fueling their indulgences with as much money as they felt necessary. Due to their mental expansion and touring exhaustion, this album marked an important global musical activation when the studio itself became an instrument, smashing boundaries and innovating unprecedented techniques which have since influenced all future recording practices if you’re willing to research it. Consequently, this does feel like some sort of an apex in The Beatles universe, at the top of their game without trying to be anything but themselves, gradually sinking deeper into ego artiness and contemplative metaphysical lyrical matters while still remaining somewhat safe within commercial boundaries. Truthfully, it’s impossible to grasp what this utterly flawless record meant back in 1966, as even today the untouchable masterpiece sounds ahead of our time. Its reputation has fairly reflected this significance though, as it's often considered The Beatles’ finest half hour to many, especially in latter-day arguments. In fact, any dispute over the greatest Beatles record from this point onwards is nothing more than an unresolvable debate at best.

3. The Beatles [White Album] (1968)

Hard Rock Art Blues Pop
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Meet the ugly duckling of this tale. As if a loud opposition against their recent psychedelic vibrancy, all flashy frills were torn down just like the minimal artwork told you so, hiding a dark disturbance beneath the whiteness of nothing. Listen to a band falling to pieces. A four-way solo album with far too much ego to make the necessary trimmings. Unrestrained creativity at war with highly tense interpersonal bitterness. Look no further than the once inseparable productivity of the Lennon/McCartney partnership, now not even featuring on one another's creations. See Paul’s sweet vanilla storytelling as it clashes with junkie John’s harsh and thought-provoking shouts intended to make Yoko happy. Notice all of this and be astounded that the turmoil birthed The Beatles’ most fascinating work, as a rushed, sloppy disconnection of brilliance and filler, unstable and uncomfortable even when it was just trying to play nice. What an eclectic mess of stress, a raw experiment lost within atmospheres of confused conflict, unfulfilled spirituality, and a political upset, delivered so effortlessly that none of this makes sense whatsoever. People often (rightfully) observe that The White Album could have easily been cut down into another flawless Beatles gemstone, but that would hack away at its essential character, and it would no longer be the monster it has come to be feared. Do not entertain such thoughts. Rather, enjoy this imperfect masterpiece as truly one of the most remarkable albums ever made.

2. Sgt. Pepper's Lonely Hearts Club Band (1967)

Psychedelic Sunshine Baroque Pop Rock
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Sgt. Pepper has become so synonymous with “The Greatest Album Ever Made” that we’ve grown jaded, nauseous as we witness this record drowning within its own pretensions and overblown reputation, dying beneath layers of blinding sparkles and swirly rainbow colouring without losing that goddamn cartoon smile upon its face. The LSD had dominated their common sense! The flower power naivety was bad for our teeth! Take off those rose-tinted glasses and see this for the 60s novelty album which it truly is! Of course, these fatigued critiques would work much better if each song on Sgt. Pepper wasn’t such an explosively magnificent landmark of inventiveness, surging so far forward into the gaping abyss of blinding imagination that The Beatles themselves were forced to retreat shortly following. Furthermore, this ingenuity extends a billion years beyond just some pretty compositions, as a full art piece without a single corner left unexplored, featuring unprecedented studio wizardry (including the first ever hidden track), packaging unlike the world had ever comprehended (including the printed song lyrics, which had never been done before), and the (incorrectly) praised “earliest concept album in history”. Opinions will outlive us all, but if Sgt. Pepper is not the greatest, then it is undeniably the most important and innovative album ever created, as well as the purest musical masterpiece above every other musical masterpiece ever, done.

1. Abbey Road (1969)

Art Pop Rock
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Abbey Road opens the door with a cheerful smile and welcomes you into its tidy home, so apologetic that they couldn’t quite fully fumigate all of the demonic tensions. Still, I’m sure you’ll agree, it’s very clean and tidy in here. So airtight and polished to reflection. Hey, would you like a biscuit? It’s very digestible. Void of any artificial colouring. Nobody is trying to push the boundaries anymore. Baking on LSD was so ‘67. Try one of Harrison's treats, by all accounts they rival even the most satisfying of Lennon/McCartney desserts. Why don't you take a seat? There’s something else you must know. Unfortunately, we have some bad news. Despite what the released chronology may tell you, Abbey Road is the final amalgamation of the Fab Four’s creative spunk. The inner workings may sound like a band functioning at their absolute unified peak, but in reality, things have been crumbling for a while now, and sadly, this is to be the curtain call. Oh no, please don’t cry! Here, take this box of cookies home with you and treasure it forever. Remember The Beatles for this bittersweet finale, as it is their absolute best work really. Oh, and would you look at that? We're sorry but it's time to go. We hope you have enjoyed the show. The love you take is equal to the love you make. The End.

If you'd like to hear my favourite songs from each of these albums, you can! Here is a little 119 song 5h42m Spotify playlist just for you. Don't worry about it.

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Suicide on the Underground

On the 28th of June 2018, I was in the presence of a train jumper. I had just arrived at the Bow Road Westbound platform and casually strolled to the far end where there were less people to cramp my superior style. The train was pulling into the station, and then with its nose protruding only few meters out of the tunnel, it abruptly stopped. I thought nothing of it. We’ve all seen this type of thing happen before. I have enough interesting thoughts to entertain me in the meantime.

Pretty soon, however, the atmosphere began to change. It wasn’t one of blind panic or terrified screams, which I guess is what I would have expected. Instead, it was a quiet hum of concern, people cautiously approaching the train, exchanging wide-eyed glances, some of them covering their mouths. In hindsight, this was the eeriest part of my whole story. The train driver got out of his special compartment and spent a few minutes apprehensively peering beneath the vehicle. It was in that moment that I first thought, “Oh my, is this a suicide scene?” but I also thought, “Perhaps the train just broke,” and I also thought, “There is a bomb here and we are all about to die”. Is it wrong to admit that I felt a glimmer of excitement?

Following shortly after was the announcement that we all had to evacuate the station immediately. The small crowd made their way to the exit and I stretched my lobes out, hoping to catch some juicy information from the passersby. I heard a lady talking about blood. Someone else mentioned they could see a hand beneath the wheels. Ok, so suicide confirmed then. I tapped out at the barrier, and shamefully my brain mumbled to me, “I bet they are still going to charge us for that”.

Leaving the station and walking the journey to the next one, I did feel a bit spooked. But more than that, I was acutely aware that I'd just experienced something I had never experienced before. It blew my mind that a man (or perhaps a woman? I don’t know) who I may have even made eye contact with, had just snuffed their existence away. By choice. There was an energy which powered a human body in that station, and then it wasn't there anymore, set free not far from where I stood. I did not know how I was supposed to feel about that, so instead, I just took the most logical next step I could think of and promptly updated my Facebook status, informing the world that my brain had been through something new.

90% of my friends responded by asking me if I was ok. This amused and confused me. Of course I was ok! I didn’t jump in front of a train, did I? If anything, whatever problems I may have been going through at that time, were swiftly slapped into place, sit the fuck down. All things considered, I was fantastic, really. The thought of jumping in front of a train hadn’t even crossed my mind that day, and yet there was this poor evaporated soul, so tortured that he had committed his afternoon schedule entirely to getting rid of himself. How ridiculous would it be for me to not be ok? What's more, I got drunk not long after this, and then I was really ok.

The next day when I awoke, I felt different. One part of this was certainly the hangover. Another part was the realisation that a life had been flattened by a giant machine, spread across the tracks like butter. But there was yet another part which was far worse than all of this. It was the inevitable British trademark where individuals felt the need to express their opinion to me that any train jumper was a selfish person, and that this is where our primary focus should lie.

There would be an element of hypocrisy in my words if I pretended to not understand this stance. Reportedly, around 100–150 suicides take place on the London Underground network every year. As a Londoner, it becomes a part of your life. “Sorry for the delay, ladies and gentleman, but there’s been a person on the track". Oh God, not now! I’m running late as it is! And here I am stuck on this packed carriage with my nose in somebody’s armpit, plus a baby is crying. I’m uncomfortable and this is very inconvenient for me. How am I expected to rise towards some moral podium while I'm stewing in an emotional pit of frustration? It seems like a bit much to ask, really.

In times like these, it is simpler to label this victim as a “selfish” person, not only because they may have potentially interrupted thousands of people’s day, but also because there are witnesses we need to consider too. People who have now seen something which will remain tattooed on their mind for the rest of their days. And then there's the driver who was accidentally responsible for a final breath, now carrying that demon on the back of their conscience until they pass themselves. Hell, I didn’t even see the incident take place, and I am still shook by it.

However, in my heart, I knew this was the wrong way to look at it, and now more than ever, I feel an absolute disgust by such a nonchalant disregard. Here is a human who was so lost within our world that they truly felt the need to end it all. It's a turmoil so complex that you can’t simply write it off with one meager word. And then if you take this tragedy and turn it around, focusing on the ordeal until it becomes about you, whining over how the death of a person slowed your day down, then I struggle to see how the “selfish” brand doesn’t fit your size perfectly. This is the epitome of a self-centered attitude, is it not?

Said misdirected “selfish” argument, of course, is not one against suicidal people. I doubt anyone who utters the word does so from a hostile position, intentionally undermining the agony which surrounds such a terrible event. Rather, it is an animosity towards this individual's chosen method of self-destruction. With so many wonderful suicide options available, why would someone select this specific angle? Why don’t they perform the act quietly at home, by hanging themselves, overdosing on pills, slitting their wrists, or dropping a toaster into the bathtub? At least this way, these disturbed characters get their happy little death wish, while we can arrive at wherever we’re going on time, none the wiser. Why do this to us? Why do it this way?

I know why. You see, I used to have this friend named Amy. About 10 years ago, she jumped in front of a train, and she killed herself. Perhaps it's because I can put a face to the episode, but it did help me to understand the plan from a unique perspective. People who jump in front of a train are not pussies. These are men and women who are wholeheartedly dedicated to their cause. They don’t want to live, they don’t want to fuck around, they don’t want a chance to change their mind. It’s a one-step maneuver which requires minimal preparation, all for the price of a one-way train ticket. You can make this decision and you can carry out the action within a very short timeframe. The complete process from point A to B doesn’t even have to be premeditated, you can hand in your notice and leave the building in less than a second. The thought of whether you make someone late for work was probably not your underlying concern here. Your concern was that you wanted to die, and this little procedure should get the job done nicely.

It’s the insensitivity towards these people that bothers me. If your friend is perpetually haunted by the compulsion to jump in front of a train, and yet you stigmatize the operation as one of “selfishness”, then they are not going to ask you for help. If you call yourself the victim when there are families left behind to pick up the pieces, then you have truly lost the connection to your fellow species. And if you pretend to understand what was going through a person’s mind before they dive face-first into the steel wheels of a moving train without having done it yourself, then perhaps you should take a moment to ask yourself how many people know what is going on in your life right now.

I was going to end this piece by telling you how I've been feeling since I witnessed this incident. But as I emphasised before, how selfish would that be of me?


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