Communists

Song Meaning

The lyrics open by immediately deflating the perceived threat of 'communists,' framing them as relics of the past, no longer dangerous compared to contemporary threats like cybercriminals and bioterrorists. This sets up a sharp contrast with their historical portrayal in 1917, where they are described as 'righteous and they were mean,' ruthlessly enforcing a 'tidy ideology' for a 'reconstructed many.' The song suggests that the nature of perceived enemies has shifted dramatically, moving from a specific political ideology to a more diffuse and eclectic list of modern anxieties. The central tension arises from this juxtaposition of past and present dangers, highlighting a perceived absurdity in how societal fears are reallocated. The narrator lists a bizarre collection of modern 'foes' – from 'Hollywood producers' and 'Belgians' to 'escaped zoo animals' – implying that the definition of a threat has become so broad and nonsensical that it encompasses almost anything. These new enemies are characterized as 'season-ticket holders to the show of power,' hiding behind 'propaganda tools' and 'absurd interpretations,' suggesting a critique of how power structures create and maintain fear. The most striking craft element is the relentless, almost deadpan repetition of the phrase "Communists are no longer dangerous," acting as a refrain that underscores the song's core argument. This repetition, coupled with the increasingly outlandish list of contemporary threats, creates a darkly comedic and satirical tone. The inclusion of 'Belgians' and 'escaped zoo animals' alongside 'politicians' and 'religious fundamentalists' is a deliberate rhetorical device, amplifying the absurdity and questioning the validity of current societal fears and the entities that propagate them. Ultimately, the lyrics' effectiveness lies in their ability to provoke thought about the nature of fear and perceived threats. By diminishing the historical menace of communism and replacing it with a chaotic, almost random assortment of modern anxieties, the song critiques the way societies identify and demonize enemies. It suggests that the 'danger' is often manufactured or misdirected, a commentary on the fluidity of political discourse and the often-arbitrary targets of public outrage.