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Thinking Out Loud

The Honest Truth About Lying
Imagine this: your best friend is hiding in your attic. A frantic, terrifying knock rattles your front door. You open it to find a wild-eyed person holding an axe, who asks, “Is your friend here? I’m going to hurt them.” What do you say? The truth? Or a lie? I’m guessing you’d lie without a second thought. You’d lie your face off, and you’d be a hero for it. And yet, from the moment we’re old enough to speak, we’re taught one simple, unshakeable rule: don’t lie. It’s bad. It’s wrong. But as we just discovered, it’s also… complicated. This is where we step into the foggy, fascinating moral maze of the ethics of lying, a place where good intentions and dishonest words get tangled up in the very fabric of what it means to be human.
The All-or-Nothing Approach (And Why It’s a Little Scary)
Let’s start with the hardliners. There was this brilliant, and famously rigid, philosopher named Immanuel Kant.1 He believed that some rules are absolute. Universal. He called this the “Categorical Imperative,” which is just a fancy way of saying if something is wrong, it’s wrong all the time, for everyone, in every situation. No exceptions. So, for Kant, lying isn’t just a bad choice; it’s a fundamental violation of moral law. He argued that if we all lied whenever we felt like it, the very concept of trust and communication would collapse. Society would crumble. It’s a powerful argument. Honesty as the bedrock of civilization. But then you get back to our axe-wielding friend at the door. Kant, in his unwavering consistency, would argue that even then, you cannot lie. You must tell the truth. It’s a chilling thought, isn’t it? It prioritizes an abstract principle over a real, breathing human life. It’s a perfect system for a world that isn’t messy, emotional, or filled with people carrying axes. In other words, a world that isn’t ours.
Let’s All Just Do the Math: The “Greater Good” Gambit
So, if the no-exceptions rule feels a little… robotic, what’s the alternative? Enter a different school of thought, Utilitarianism. Forget rigid rules; let’s just focus on the outcome. The most ethical choice is the one that produces the greatest amount of good, or happiness, for the greatest number of people. Suddenly, our dilemma at the door becomes a simple math problem. Lying leads to one person (the axe-wielder) being unhappy, while telling the truth leads to at least one person being, well, axed. Easy choice! Lie, and you’ve maximized the good. This feels so much more intuitive, so much more humane. This is the logic behind what we call the “noble lie.” It’s the doctor who tells the family their loved one passed peacefully in their sleep, even if it was a struggle, to spare them additional pain. It’s the leader who conceals terrifying information to prevent mass panic. The goal is to create a better outcome. But… and there’s always a but… this path has its own shadows. Who decides what the “greatest good” is? What if you do the math wrong? What if your lie, intended to create happiness, backfires spectacularly and causes even more suffering? It puts an immense amount of pressure on our ability to predict the future, something we humans are notoriously terrible at.
It’s Not What You Do, It’s Who You Are
Maybe we’re asking the wrong question. Instead of asking “Is this lie right or wrong?” what if we asked, “What does telling this lie make me?” This is the core of Virtue Ethics, a philosophy championed by Aristotle. He wasn’t as concerned with rules or outcomes as he was with character. For him, the goal of life was to cultivate virtues: courage, patience, compassion… and, of course, honesty. A good person is an honest person. Lying, then, isn’t just breaking a rule; it’s a small act of corrosion on your own soul. It makes you less trustworthy, less whole. Each little white lie is like a tiny chip in your character. But here’s the beautiful, maddening conflict: what happens when virtues collide? Isn’t compassion also a virtue? What about loyalty? Back at that front door, the virtue of honesty is in a direct cage match with the virtue of protecting a friend. The virtue of compassion for your friend is fighting the virtue of honesty to a stranger. This framework doesn’t give you a clean answer. Instead, it asks you to use wisdom, to weigh the virtues, and to choose which kind of person you want to be in that moment. It’s less of a rulebook and more of a compass.
The Many Faces of Deception
The truth is, not all lies are created equal. We have a whole wardrobe of them we pull out for different occasions. There’s the classic White Lie, the social lubricant of our species. “Your new haircut looks great!” “This casserole is delicious!” “Sorry I’m late, traffic was a nightmare.” Are they really harmless? Or do they create a world where we can never quite trust the small stuff, making it harder to trust the big stuff? Then there’s the Lie of Omission. You didn’t say something false, you just… didn’t say something true. You sold a car and “forgot” to mention the weird rattling sound it makes on Tuesdays. It feels less dirty, doesn’t it? But the intent to deceive is exactly the same. And perhaps most insidiously, there are the lies we tell ourselves. “I’m not really unhappy.” “I can quit this bad habit anytime I want.” “Everything is fine.” This self-deception can be a temporary shield, a coping mechanism to get us through a hard time. But when it becomes a lifestyle, it prevents us from ever facing reality, from ever truly growing. It’s the lie that eats you from the inside out.
Living in the Fog
So where does this leave us? Trapped between a rigid rule that feels inhuman, a calculation that feels impossible, and a character test that has no right answer. It leaves us right in the middle of the messy, beautiful, complicated business of being a person. The ethics of lying isn’t a problem to be solved like an algebra equation. It’s a tension to be managed, every single day. It reminds us that morality isn’t a checklist; it’s a conversation. It’s about pausing before we speak and asking ourselves: Why am I choosing this path? Is it out of kindness or cowardice? Am I protecting someone, or just protecting myself? Am I building a bridge, or am I planting a landmine that will explode later? There is no universal flowchart that can tell you when to lie. There is only your conscience, your compassion, and your courage.
And maybe, just maybe, the goal isn’t to be perfectly honest, but to be thoughtfully honest. To wield the truth with kindness, and to wield our deceptions, when we absolutely must, with a profound sense of responsibility for the consequences.
So, I’ll leave you with a different kind of dilemma. Forget the axe-wielder. Think about a lie you’ve told recently. A small one, a big one, it doesn’t matter. Why did you tell it? And if you could go back, would you do it again?
I would love to hear your stories and your thoughts in the comments. Let’s try to navigate this fog together.
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Weekly News
The Story of Angels & Demons
Hello, my friends,
Before I say anything, I just want to thank you. Your support is the quiet, steady rhythm beneath all the music I create, and it’s for you that I want to pull back the curtain on my new album, Angels & Demons. This project is more than just a collection of tracks for me; it’s a piece of my own heart, and I want to share the story of how it came to be.
It all started with a feeling I think we all know.
Have you ever felt that? That little voice telling you that you have to be perfect, like an angel? For so much of our lives, we’re taught to strive for this flawless ideal. We’re meant to be patient, selfless, and always good. But life isn’t like that. We get angry. We make selfish choices. We feel envy. We break. And in those moments, a crushing guilt can set in, making us feel like we’ve failed—like we’ve become the opposite, a demon.
For years, I wrestled with this inner debate. This idea that we have to be one or the other. But the truth is, we are never just one thing. We are a paradox. We are the serene angel and the raging demon, all at once. True harmony isn’t found in choosing a side, but in accepting that this internal war is part of what makes us human. That complex, beautiful, and sometimes painful struggle is the soul of Angels & Demons.
When it came time to turn this idea into music, my process was a little unconventional. It might sound strange, but I don’t really start with music. Because I’m a writer at heart, I always start with a story. I’ll close my eyes and picture a scene, an imaginary scenario, as clearly as a movie in my head. For one track, it might be the image of thousands of wings unfurling at dawn. For another, it’s the feeling of a single, warm ember glowing in the ashes of a ruin.
I hold onto that one core feeling—that single image—and I search for its sound. I’ll sit at my keyboard and look for a melody or an arpeggio that feels like a whisper of that story. Once I find it, that’s the anchor. From there, I build the entire track, layer by layer, to serve that one initial feeling. That’s how we got the 16 different worlds that make up this album.
Usually, my anchor is the piano, my home instrument. But for Angels & Demons, the story demanded something different. The sound in my head was less percussive and more fluid, more sweeping. So, more often than not, I found myself starting with the strings, letting their mournful cries and soaring hopes lay the foundation before anything else.
This brings me to the sound of the album. Some might call it “classical,” but I feel “modern classical” is a better fit. I know it’s not the top-trending genre on the charts, but I’ve always believed its power is universal and absolutely not elitist. Think about the movies that have moved you to tears or made your heart pound in your chest. The score behind those moments was very often orchestral, a modern classical piece that you enjoyed without even thinking about the genre. It speaks a language we all understand. In a way, almost all music stands on the shoulders of the classical giants.
But enough about that. Let’s get to how it’s made. There is no band, no recording studio full of people. There is just me, in my room, with my controller keyboard. I record every single instrument, one by one. The first violins, the second violins, the cellos, the horns, the timpani… each part is played and recorded individually.
Then comes the part that is both magic and madness. I go back and edit every single note, adjusting the timing and volume to capture the tiny imperfections and nuances of a real human performance. I try to breathe life into the digital, to make you forget that it all came from one person and one keyboard.
My ultimate dream, the one I hold onto every day, is to one day stand in a hall and hear Angels & Demons performed by a real, living orchestra. But until that day comes, the orchestra plays in my head, loud and clear, all the time. I listen to them, and I do my best to translate their every move, their every breath, their every feeling, through my fingertips.
This album is the most honest translation I could create. It’s the story of all of us. Thank you for listening. Thank you for being a part of it.
Listen to the full “Angels and Demons” album on your favorite platform: https://distrokid.com/hyperfollow/dannyballan/angels-and-demons
Or you can listen to it right here; right now…
With all my heart,
Danny Ballan
Editor-in-Chief
P.S. There is nothing a writer or a composer loves more than to hear what people think about what they do, so please let me know in the comments or you can email me directly at danny@dannyballan.com
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