The Annotated Pale Horses

The Annotated Pale Horses 1
The Annotated Pale Horses

by David Daugherty
An exploration of the lyrics
from the mewithoutYou album Pale Horses,
as written by Aaron Weiss.
Pale Horse
Pale horse songs of a slow decline [1],

Sideshow words [2] if the songs don't mind.
A few more lines, 'the oil and the wine' [(Rev. 6:6)] [3]
I thought I'd left that all behind.
Pale horse vows in the sacred signs [4]
[At Cleo's Ferry Museum] [5]
traded for an infinite aloneness to find
Wooden signs, helpful signs [6]
[Like 'imagination is important’] [7]
But how to fit your thoughts in mine? [8]
Black horse [9] reaping of the crops we grew [10]
Comforted by sequences of sounds [11] we knew:
'You abide in me, and I in you.’ [12]
But what exactly should I do? [13]
Pale horse songs of a slow decline
Sideshow words if the [songs] boys [14] don't mind
A few more songs. A few more lines
I thought Id' left that all behind…
Watermelon Ascot
[“Hell grant soon we hear again the swords clash” - Ezra Pound] [1]
Here again the chords clash [2]
Again the half-past [3]
Carrie Nation cut glass [4]
[Prohibition] children of the have caste [5]
Across a dark bar/lack of concentration camp [6] of self harm [7]
Feel again the Dr. Bronner sermon on the soap jar [8]
[moral ABC's, ect.][9],
Open [10] as a bank vault,
Focused on a passed fault
Not-named Lot's craned neck-salt [11]
Another clay mouse [12] thrown into a [Potter’s House] [13] potter’s house
Bait & switch hell pitch [14]: Dutch Blitz [15]
Venus of a Gem State [16]
Cleaners of a blank slate [17]
Of metamorphic straight-laced [18]
Latter Day Saints-faced [19] speed it up a knot [20],
Feed: [grant] meat? no, [strength] [21] Milk? no! [22] [R.E.M.] [23]
PAPER COW: May it be so.
LIVING COW: Make it so! [24]
Low in the burst of a red dwarf star [25]

No one on earth will know who we are [26]
Blue ribbon pigs in a 4-H show [27]
No one on earth must know
Quiet as the church-top lead roof thieves [28]:
Custer [29] in his stone-drunk [30] Bighorn's rolled up
Juliet shirtsleeves [31]
No one on earth must know!
Counter-terror prophet in a watermelon ascot [32]
[photocopied] Coriander manna [33] in the mortar of a joke [34] C.I.A.
Beneath a Coatesville farm [35]
With incorruptible charm
We leaned ephemeral bones [36] on everlasting arms
4-behavior-frontal-lobe[37]-a-universal-product-code[38]-of-iridescent-Joseph-coat-
hullucination[39]-H show
Low in the hearse [40] after Red Cloud's War [41]

No one on earth will know who we were
Buried in Beds (R.I.P.) [42] of regrets at the eight-straight-B/buffalo [43] show

No one on earth must know!
What have I to dread, what have I to fear

Leaning on the everlasting arms;
I have blessed peace with my Lord so near
Leaning on the everlasting arms
O how bright the path grows from day to day
Leaning on the everlasting arms. [44]
D-Minor
A borrowed fern with a cigarette burn [1]

And a [$15] pawn shop ring in her hand
[n.b. [2] actually bought after leaving the courthouse]
At the Idaho courts to affirm our divorce
Before the marriage began
In a celery boat [3] singing triangle notes [4]
To [an automatic] [5] a horn from the military band
The spectreworks care of Pepper & Dircks’
Bargain Ghost and Haunted Man. [6]
We awkwardly shielded the curious eyes
Of innocent pines from the [Cape Henlopen State Park] [7] forest floor [8]
From the frying pan of a celibate man
To the fires of the premature [9] - dear lord!
Who could ask for nothing more? [10] -please, nothing more!
We're an unshrunk patch on a tear of the edge [11]

We're a campaign badge, the short-lived match [12]
Of an unshrunk patch and the bellow's edge [13]
On the iron lungs [14] of our language.
[By now an] A by-now acquired a fern with a cigarette burn

In a basket with a [rectangle] note on the bedroom floor:
“They repaired my fence, those bastards [15]

I can't go back home no more [16]
Save by a roundabout way, unto each day
Is sufficient misfortune thereof [17]
With which to spend in proportion to your modest pay
While shopping around for a word like 'love.'
--With obedient trust as a babe in the womb
And impeccably chaste [18] as a priest in the tomb
With a Deadwood map [19] and a dynamite hat
I'll come back to Idaho soon
Harmless as a Danish cartoon [20].”
This is not the first time…

This is not the first time God has died [21].
This is not the first time (capitalized three lettered sound) [22] has died
This is not the first time
Won't you help me get by?

Will you help me get by?

Will you help me get by?
Will you help me get by? [23]
Mexican War Streets
Though by the path I lead

The passing of time and the pouring of tea
Are all I've lately seen
O my soul [SH 159] [1]
Until the temporal bridge [2] be burned
Until our anchor stocks [3] hold firm
Where the hands of clocks don't turn [4]
O my soul!
May our lips remain discreet
While your traps are beneath our feet--
But how long before our tails are caught
By our "free" thought [5]?
Sugar in the cane, candles low [6]
Kettle on the flame for the teapot?
No, I tremble at the thought.
Sugar in the cane, candles low,
Southside Flats [7] where the upscale go,
I tremble at the thought!
On the Streets of Mexican Wars [8] I battle with -

the memory of a first fight
In our contemptible youth. [9]
I quoted White Nights
[“My God, a moment of bliss
Why, isn't that enough for a whole lifetimes?" --F. Dostoevsky] [10]
Thinking that'd get rid of you
And waited with a stone in my hand, [11]
But you were quite right:
Nature had another plan
(& failed to run it by me!)
Nature had another plan. [12]
Some other surrogate [13] self
To live in the sediment
of so many somebody elses’ innumerable lives. [14]
And you were right:
“It's not a person who dies
But worlds die inside us” [-Y. Yevtushenko] [15]
Sugar in the cane and the candles are low,
On the West End Bridge [16]
looking down at the Ohio [River].
I tremble at the thought of what's often referred to as ‘karma.' [17]
The sugar and the candles are gone. [18]

You panic like a mouse when the lights go on.
(I ADMIT, IT WARMS MY HEART
TO WATCH YOUR WORLD FALL APART)
The colorful hills talked me down from the bridge:
To [hell] heck with all the drugs my parents did! [19]
I'd like to meet whoever said the words we print in red [20]
With a coin in my teeth [21] on Mexican War Streets.
Rivers of sadness and mutual need

In the loud desperation of social routine [22]
The rock of salvation, lightly esteemed [(-Deut. 32:15)] [23]
And distances surging like oceans between us
Suspended by strings
Over rotating wheels
Via magnets and springs
Of Carnegie steel [24]
With 'representation' our fashionable theme [25]
And unfathomably powerful forces
Like oceans between us
We have all the signs we need
Do we decide not to read? [26]
"My will: [his will that fronts me.
Seas between." -James Joyce] [27]
And those who precede [28]: the relation between
Is listening beside me at night
like some seismic machine [29]
While the mental vibrations of petrified men
Are etched in translation by pendulum pens [30]
And the movements of underground plates [31]
Do nothing to bridge or exacerbate [32]
Oceans between us.
Red Cow
Before the Red Sea flood [1] beneath a cornhusk dawn [2]
We bid the Elkhorn [3] run to a locomotive psalm [4]
Until the pale horse comes along a rail withdrawn [5]
Clanging loudward on [6], clanging loudward on
We bid the Elkhorn run until the red cow [7] comes
I was a steadfast son, with thoughts and hooves divided [8],
And on the arid ground of thirsty Zion’s hill [SH 178] [9]
Cold waters tumbled down where the staff of Moses fell. [10]
What Pharaoh spell [11], what picture holds us now?

[i.e., “A picture held us captive.” L. Wittgenstein] [12]
Behold the snake of brass [13], the wind was blowing backwards [14]
Behold a golden calf [15], blighted leaves of Law [16]
O for the land we knew before the frogs withdrew [17]
In the fragrant pomegranate blooms [18] where the tender locust flew [19]
[Honeymoon:] [20]
Behind the milk-white tombs [21], behind the milk-tank cars [22]
We passed the North Platte yard [23] on silver tracks unguarded
Out past the [antelope] sambar [24] herds, out to the outcast birds [25]
In the rust of open wagons, [saw] Lo! the Blessed Virgin’s [form] likeness [26]
We watched the green figs fall [(Rev. 6:13)] [27] from the Nebraska sky
How much were even passive things responsive to our watchful eye! [28]
And let there be no doubt: so many figs and pictures hold us!
In the wells of livestock vans [29] with shells and [sidewalk] garnet sands [30]
Iron mixed with oxygen as per the laws of chemistry and chance [31].
A shape was roughly human [32], it was only roughly human!
Apparition eyes apparition eyes Knock Apparition [33] Knock eyes apparition eyes!
Was he a violent man? Well, he had his genocidal moments… [34]

Or penned by fiction’s hand? To whom could that phrase not apply? [35]
How much are even lifeless sounds responsive to our listening ear!
What Pharaoh now, or Jew [/Christian/Muslim/atheist, etc.] [36] or picture holds us here?
Dorothy
The other night I dreamt I was back in college

There were boys in robes and sandals
They were singing [oms] songs to Krishna [Kṛṣṇa] [1]
[and] Burning candles [2] they’d trade for money
And you agreed to buy one because you felt guilty
One turned into Sr. Margaret [3]
I said "If you can change your shape that easily
Can you take the form of my dead father? [4]
Because I think he would've liked to meet my wife.”
And I know for a fact he would have liked my wife. [5]
Then last night I was somewhere near Virginia [in Maryland] [6]
Rebuking Satan [7]
[With the singing and praying band
Joining in "Satan get behind me”] [8]
With ironic faithfulness [9]
[And a man looked almost exactly like Elliot] [10]
And Satan turned to me:
Have you thought much about that cry?” [11]
Eloi, Eloi
Have you thought much about that cry?
Eloi, Eloi
Lama sabachthani. [12]
Eloi, Eloi,
[Elliott] [13]
Eloi Eloi.
Blue Hen
Fires of the lighthouse burning in the bay [1]

Waters of the sound [2] sleeping through the day.
Ostrich of the night half buried [3] in the sand [stars]
[The world’s an ugly place but I’m still afraid to die]
Nearer comes the man, sickle in his hand
Battles in the back seat, soap box car [4]
Black-bolt lightning car--I don't care who you are. [5]
Fires of the lighthouse, sounds of the guitar
Far beyond a cure, far beneath regard
[“Things without all the remedy should be without regard"--Lady Macbeth] [6]
Death where is thy sting? (-1 COR 15:55) [7]

In the trails of Sunfish sails [8] and curve stitch string? [9]
Black mass ghosts of half-chewed hosts? [10]
Off the Henlopen [11] coast?
In the [Camp Arrowhead] [12] saltwater [summer] spring? [13]
[DEATH:] [14]
You arrive washed up in the tide
Still nominally alive [15]
With your consolation boots
Of Spanish inquisition eyes [16]
Prancing around the stage at your advancing age [17]
Offering stale communion to the presbyters of time? [18]
Cousins on the swing set, rabbits in the grass:

Is it too much to ask to reproduce the past? [19]
Stories of the Ice Boat [No.3] wreck kept us warm
Sheltered from storm on the ocean floor [20]
And in the morning, we rest

In Corinthian headdress [21]
On couches of ivory [22]
And wake in the moonlight
Like badgers at midnight [23]
To friends made in factories somewhere [24].
You'll know where to find us,
Our best years [attention] behind us-
Barefooted pilgrims at shrines of our youth:
'Our joy was electric, our circles concentric...'
Converging on statues of permanence [25]
Death where is thy sting?

You ought to put more thought into what you bravely sing. [26]
Aft-mast ships [27] of straw-short bricks [28]…

[I repeat my point until Death makes his]
You'll soon see exactly where my victory is.

The spring to its slumber
Your lighthouses black
Like a virginal thunder
I'll break on [like] the lap
Of your Delaware shore. [29]
Your Blue Hen [30] remains
Will dissolve at my door
Like a teaspoon of salt in the rain
And I'll wrap up your absence
In blankets of reverence-
A mastodon shadow
Divided by zero- [31]
And comfort your family
With words like eternity
And friends made in factories somewhere.
Lilac Queen
Comet streams and rocket scenes

And cyclone-turning seas [1]
Thy foes profanely rage [SH 49B]. [2]
Hands washed, Pontius-Pilate-clean [3]
In proud Euphrates' stream [SH 504] [4]
Where no one knows my name
I'll be long, long gone… [5]
“Tolling bells through [On the slopes at] Courchevel

[The news from the Gulf War is relayed
By loudspeakers during the intensive bombardments.”
(-J. Baudrillard)] [6]
All moon-rides, lifts are full [7]
Go search the world beneath. [SH 300] [8]
Cladding breach at 3-mile beach [9]
All spent fuel pools are full [10]
"It's all the same to me--

I'll be long, long gone"
In such fell repose [11], you suppose

That mouth will finally close
When you're long long gone?
I was born of a thought of mine [12]

I was the ISIS flag design [13]
You were a Lilac Queen [14]
Paddling through your empire's streams
I was born of a thought of mine
Born of the stillborn heart [15] of mine.
You were the Werewolf King [16]
Peddling ’round your sapphire [17] ring.
Soon is the swing of the Hammerhand [villain from Thundercats] [18]
Same is the low-flying day of the Vultureman [ibid] [19].
Circling the earth I go,
Slobbering out of my oatmeal wisdom [20]:
Nearer the boots to the stolid floor
Or restless thought to the waves of a foreign shore? [21]
Racing the sun, I rose
Hastening lest thy gates be closed;
[Racing the sun, I rose

Hastening lest thy gates be closed.
But I, I was born of a thought of mine.
I was born of a thought of mine!]
But I find that there is time.

[please read Rabindranath Tagore’s Endless Time] [22]
Magic Lantern Days
Hail the blest atomic morn

Unto the earth a bomb is born [1]
The pebble bed reactor core
Up to the sky ascends. [2]
Hail the blest atomic sea,

Its mouth in [Washington D.C.] Oak Ridge, Tennessee [3]
Whose lips--untouched with blasphemy--
Our glowing eyes attend
Bishops [4] wrapped in Bedford cloth [5]

say pride will [would] cast our victories off [6],
The Deep Blue to our Kasparov
Our mortal thoughts impart [7].
“Time will fill the rubbish yards,

the hospitals, the funeral yards…
[“The city dumps fill the junkyards
Fill the madhouses fill the hospitals
Fill the graveyards fill not nothing else fills"
(-C. Bukowski)], [8]
But neither time nor I can hold your
1985 Chernobyl heart. [9]
Brightest and best
Are the [sons] children of the morning. [10]
Dawn on our darkness
And lend us thine aid.” [SHH 132]. [11]
In unmysterious ways [12]

We re-enacted closet plays [13]
From charming Magic Lantern days
For the android whales below [(thank you Harvey)] [14]
You'd be cast as the Nazarene [15]
In the unrepenting [16] desert scene
Near to me, your Mary Magdalene, [17]
Our Lady of the Snow, [18]
Brightest and best
Are the children of the morning.
Dawn on our darkness
And lend us thine aid.
Star of the west horizon deforming, [19]

[T.S. Eliot]
[Bachich:]
Too many humans
Under the brown fog of winter. [20]
Come dawn on our darkness.
Lend us thine aid
Guide where our infant redeemer [21] is laid.
Birnam Wood
All dark effects I'd long withstood

Upon my room advanced
The moving shade of Birnam Wood
Disguised by broken branch [1]
I struck firm the hollow of your thigh,

Withheld my name, yet from determined hold I could not fly;
Though every tendon came undone. [2]
Would you take a bound-up Isaac's place? [3]

"Are you [is he] a God and shall your grace
Grow weary of your saints?" [(I- Watts)] [4]
Or prefer the father's dreadful fate? [5]
Are you a God, and shall your grace
Grow weary of your saints?
(Though every tendon came undone
Safe in the arms of the kingdom come [6]).
Floodwater filled your formless birth [7]

A column cloud descends [8]
'Your [cause of ] sorrows [must not be] measured by [your] his worth
For then it hath no end’ [again, from Macbeth] [9]
Yet may my heart in tune be found
In four-shape [10] notes from underground [11]—
And can we not call it 'a nervous breakdown,'
My nervous system breaking down? [12]
Would you take a bound-up Isaac's place?

Are you a God, and shall your grace
Steady is a knife [13] held sure by faith
Are you a God? And shall your grace
Riding in a westbound railcar [14]
They'll dump you in the Highgate Graveyard [15]
[poison-in-the-teacup-graveyard alpha-radiation-graveyard] [16]
Come untie your little son

Before the angel comes [17]
Rainbow Signs

Sideshow words if the songs don't mind [1]
G-d [2] gave Noah the rainbow sign [3]
No more water, is the H-Bomb next time? [4]
Pale horse vows in a grave [I-do-yes-definitely][5] reply
Smile for the camera at a 'church' nearby
Threw a mute curse at the Boise sky [6]
For my fucked up Napolean-of-St.-Helena-hairline [7]
Black horse leaping when the frogs withdrew [8]
The parable of the plums [by Stephen Dedalus][9] where the olives grew [10]
Clouded rearrangement of sounds we knew [11]:
An Idaho sunset for my own private Waterloo [12]
Side show words if our moms don't mind:
Cloud gave no one the rainbow sign [13]—
Six-point starred ink flag [14] next time?
Sh'ma Yisrael Adonai Eloheinu Adonai Eḥad.

Qul Huwa-llahu Ahad Allah hus-Samad. [15]
[‫שׁמַע יִשׂ ְָראֵל ה' אֱֹלהֵינוּ ה' ֶאחָד ﻗﻞ ﻫﮬﮪھﻮ ﷲ ﺍاﺣﺪ ﷲ ﺍاﻟﺼﻤﺪ‬
ְ ]
With imperial crowns we were 'sent,'

Riding out conquest-bent [16]
Daylight is breaking [17]
Wielding the sanctified sword [18]
For the army of the Scarecrow Lord [19]
Daylight is breaking
Balancing scales at our feet
Measuring out two pounds of barley, six pounds of buckwheat
[(Rev. 6:6 again)] [20]
Beasts of the Battersea Shield [21]
[Nick Fury agents of S.H.I.E.L.D.] [22]
At the opening of the fourth seal [23]
The sky, I'd been told
Would roll up like a scroll [(v. 14)]
As the mountains and islands moved from their place
And the sun would turn black
As a dead raven's back
But there'd be nowhere hide
From the Judge's face [24]
After which message-less birds take flight without cause
To the silence they've heard in the absence of laws

Or imperial crowns: Unsent, unsigned [25]—
The other night I dreamt I was finally out of college [26]

In my own pair of sandals,
I had turned into my [Elliott] father [27]
Whistling our tune about the Rio Grande [28]
Like an anchorite in June [29] I took hold of my own hand
And started on the Abrahamic joke we knew
About apostrophes and pronouns and you-remember-who
"But let's keep that silly punchline between me and you,
Little Haroon,[30]
And the man in the moon.”
Pale Horse
[1] It is important to establish when beginning to examine an album called Pale Horses just what
exactly a pale horse is. First the text, from the Christian new testament, specifically the
Apocalypse of St. John:
When the Lamb opened the fourth

seal, I heard the voice of the fourth
living creature say, “Come!” 8 I
looked, and there before me was a
pale horse! Its rider was named
Death, and Hades was following
close behind him. They were given
power over a fourth of the earth to
kill by sword, famine and plague,
and by the wild beasts of the earth.
- Revelation 6:7-8
And from Wikipedia’s description

of the subject:
The Four Horsemen of the Apocalypse are described in the last book of the New Testament of the
Bible, called the Book of Revelation of Jesus Christ to Saint John the Evangelist, at 6:1-8. The
chapter tells of a book or scroll in God's right hand that is sealed with seven seals. The Lamb of
God, or Lion of Judah (Jesus Christ), opens the first four of the seven seals, which summons four
beings that ride out on white, red, black, and pale horses. Although some interpretations differ, in
most accounts, the four riders are seen as symbolizing Conquest, War, Famine, and Death,
respectively. The Christian apocalyptic vision is that the four horsemen are to set a divine
apocalypse upon the world as harbingers of the Last Judgment.
And of the Pale Horse itself:
The fourth and final horseman is named Death. Known as "the pale rider", of all the riders, he is
the only one to whom the text itself explicitly gives a name. Unlike the other three, he is not
described carrying a weapon or other object, instead he is followed by Hades (the resting place
of the dead). However, illustrations commonly depict him carrying a scythe (like the Grim
Reaper),[citation needed] sword, or other implement.
The color of Death's horse is written as khlōros (χλωρός) in the original Koine Greek, which can
mean either green/greenish-yellow or pale/pallid. The color is often translated as "pale", though
"ashen", "pale green", and "yellowish green” are other possible interpretations (the Greek word
is the root of "chlorophyll" and "chlorine"). Based on uses of the word in ancient Greek medical
literature, several scholars suggest that the color reflects the sickly pallor of a corpse. In some
modern artistic depictions, the horse is distinctly green.
The verse beginning "they were given power over a fourth of the earth" is generally taken as
referring to Death and Hades, although some commentators see it as applying to all four
horsemen.
Throughout the album, we will see Aaron Weiss offer many instances of apocalyptic death and
disaster. Here we find the introductory line, possibly offering a somewhat bashful apology for
the following songs, which he denigrates as being on a “slow decline”. Another possibility is
that the “slow decline” is that of society as it is presented throughout the album.
[2] To my mind, the most apt use of “sideshow” here is as a minor or diverting incident or issue,
especially one that distracts attention from something more important. In this case, it would
seem that the denigration of his own work continues for Weiss. He describes his words (one
would assume his lyrics) as a kind of sideshow, even offering something of an apology to the
songs themselves in a phrasing he will repeat throughout this song and the closer, “Rainbow
Signs”. One other possibility is that the lyrics of the album themselves are a sideshow due to the
fact that they were added to the project, after music had been completed, by a rather reticent
Weiss. Thus the lyrics are “sideshows” to the music. This latter explanation holds less water
than the former, but is nonetheless a good one.
[3] The “oil and the wine” comes from the book of Revelation, concerning the Black Horseman,
whom we will discuss shortly. The text:
When the Lamb opened the third seal, I heard the third living creature say, “Come!” I looked,
and there before me was a black horse! Its rider was holding a pair of scales in his hand. 6 Then
I heard what sounded like a voice among the four living creatures, saying, “Two pounds[a] of
wheat for a day’s wages,[b] and six pounds[c] of barley for a day’s wages,[d] and do not
damage the oil and the wine!” - Revelation 6:5-6
From Wikipedia, concerning the interpretations of the passage:
Of the four horsemen, the black horse and its rider are the only ones whose appearance is
accompanied by a vocal pronunciation. John hears a voice, unidentified but coming from among
the four living creatures, that speaks of the prices of wheat and barley, also saying "and see thou
hurt not the oil and the wine". This suggests that the black horse's famine is to drive up the price
of grain but leave oil and wine supplies unaffected (though out of reach of the ordinary worker).
One explanation for this is that grain crops would have been more naturally susceptible to
famine years or locust plagues than olive trees and grapevines, which root more deeply. The
statement might also suggest a continuing abundance of luxuries for the wealthy while staples
such as bread are scarce, though not totally depleted; such selective scarcity may result from
injustice and the deliberate production of luxury crops for the wealthy over grain, as would have
happened during the time Revelation was written. Alternatively, the preservation of oil and wine
could symbolize the preservation of the Christian faithful, who used oil and wine in their
sacraments.
There are a few interpretive possibilities for the use of the phrase here, but much of the song
seems to point to a continued defamation of the songs about to be sung, at least on the part of the
lyricist.
[4] What exactly the “sacred sign” refers to in this line we will likely never be sure. I am
inclined to interpret the connotation here, as it touches on Pale Horse as an adjective, being a
play on “Till death do us part”, the common line in marriage ceremonies, as Aaron Weiss’
marriage become a common theme on the album. This would render the use of the term “vow”
especially apt.
[5] Appearing in the liner notes, “Cleo’s Ferry Museum” gives some context to this small portion
of the song, which we will discuss shortly. Note that the museum is located in the state of Idaho,
which will play a large role in the album.
Part outsider art museum, part nature trail, part iconoclastic pet project: Cleo's Ferry Museum
and Nature Trail is a kitsch-filled "Faith Adventure" that defies simple classification.
Spread throughout the winding nature trail and its preserved 1860's ferry service buildings are
thousands of bird houses, ceramic lawn decorations, signs espousing random religious
philosophies, bronze statues, a graveyard, and even a flock of live peacocks. Combined, the effect
of all the totally non-related elements is dizzying and absolutely unique.
After Dr. Samuel "Pappy" Swayne and his wife Cleo purchased the old ferry area in Melba,
Idaho the couple began building a number of structures to house themselves, their medical
practice, and some simply just for storage. After Pappy's death in 1976, Cleo decided to use the
land they had as a nature trail.
In the ensuing years, the Lady Swayne installed thousands of ornate bird houses, many of which
accompanied by placards with little tidbits philosophy regarding life and faith. In addition to the
copious birdhouses are dozens of individually-crafted art scenes, most featuring ceramic lawn
art mixed in with the local flora and in the parking lot are several large statues of animals made
entirely of old, welded together horseshoes. One section of the trail even features massive
fiberglass statues of African safari animals.
Cleo also added bronze sculptures to the trail, creating a strange dichotomy of massive bronze
sculpture scenes interspersed with the much smaller, and cheekier lawn art that adorns the older
parts of the trail. Additionally, peacocks and chickens reside in a set of pens and can be fed by
children or the young at heart.
While the net effect of the chaotic kitsch collection is a sense somewhere between serenity and
the cramped memories of life remembered in keepsakes. Although most affectingly there is a
graveyard near the middle point of the nature path, the final resting place of Dr. Swayne located
right within he and his wife's strange life work.
(Cleo’s Ferry Museum and Nature Trail. (n.d.). Retrieved June 22, 2015, from http://www.atlasobscura.com/places/
cleo-s-ferry-museum-and-nature-trail)
[6] The “wooden, helpful signs” refer back to the placards accompanying the ornamental
birdhouses at the Cleo’s Ferry Museum and Nature Trail. While this may be up to debate, I read
the word “helpful” as being cuttingly sarcastic.
[7] The sign referred is one along that trail that

reads a trite and saccharine phrase:
“Imagination is important!” For an artist going
through any sort of spiritual or existential
crisis, as Aaron Weiss seems to convey
throughout the album, one would tend to think
that such a message would come across as
infantile at best, and at worst almost
patronizing.
[8] The response to such a sign, from the

narrator, seems to indicate a reluctant confusion.
The idea of “imagination” leading to a relentless questioning about thoughts in and of
themselves, and of rendering them compatible with another party. The other party here being left
ambiguous. Perhaps the audience, perhaps a wife or parent or friend, maybe even God. It must
be noted that taking the entirety of these lines in sequence, Aaron seems to find some similarity
to the sign in the words of Jesus as they are presented in the gospels.
[9] I have included the full text from Revelation concerning the Black Horseman in annotation
[3] and so I will not repeat it here. Some clarification added, once again from Wikipedia:
The third horseman rides a black horse and is popularly understood to be Famine as the
horseman carries a pair of balances or weighing scales, indicating the way that bread would
have been weighed during a famine. Other authors interpret the third horseman as the "Lord as a
Law-Giver" holding Scales of Justice. In the passage it is read that the indicated price of grain is
about ten times normal (thus the famine interpretation popularity), with an entire day's wages (a
denarius) buying enough wheat for only one person, or enough of the less nutritious barley for
three, so that workers would struggle to feed their families.
[10] That the Black Horseman is “reaping of our crops” may be a play on the idiom “reap what
you’ve sown”, which finds it’s origins in St. Paul’s letter to the Galatians:
The one who is taught the word is to share all good things with the one who teaches him. 7Do
not be deceived, God is not mocked; for whatever a man sows, this he will also reap. - Galatians
6:6-7
As this song deals in a seeming hesitation to share spiritual ideologies with the same confidence
of previous mewithoutYou albums, some interesting context may be culled from the verse. It
may even be more extreme than that, in that he is possibly completely mired in doubt over the
authenticity of Christ’s words from scripture.
[11] That the words of Christ in the following line are described here as comforting “sequences
of sounds” brings to mind a portion of “D-Minor” in which the word “God” is referred to as a
“capitalized three lettered sound”. This repeated theme could mean any number of things, but to
my mind indicates a lack of meaning in these words, which are here used in an attempt to
placate. Aaron Weiss as the narrator is riddled with doubt and seeking guidance, as some of the
following lines indicate. Taking it another level, this might be an instance where he is requesting
further clarification, seemingly from Christ or the scripture itself.
[12] This phrase comes from the biblical gospel of St. John:
6 If anyone does not abide in Me, he is thrown away as a branch and dries up; and they gather
them, and cast them into the fire and they are burned. 7 If you abide in Me, and My words abide
in you, ask whatever you wish, and it will be done for you. - John 15:6-7
[13] In response to the instruction to “ask whatever you wish” in the above passage, Aaron Weiss
is seemingly asking for clarity and direction in his spiritual quandary, possibly even as it relates
specifically to the writing of the album.
[14] Most likely, the “boys” are the other members of mewithoutYou.
Concluding observations:
In “Pale Horse”, we are given an apologetic track that warns of the things to come in the album,
especially as it pertains to the mindset of lyricist Aaron Weiss. No longer entirely confident of
his role in sharing a spiritual point of view through music, he apologizes for his sideshow words,
and recounts a time where he read a trite platitude on a wooden sign at an actual sideshow
attraction in Idaho, which stated that “Imagination is important!” His response seems almost to
be a kind of tired confusion and exasperation, which is extended to his feelings in regards to faith
in general, and the actual commandments of Christ; thus he asks for clarity. As we approach the
true start of the album, we are reminded that these songs are coming from the mind of someone
who thought that this part of his life was behind him.
Watermelon Ascot
[note: this song is styled entirely after the work of Dr. Bronner, who is mentioned below (and
may even be a direct parody). As his manifesto is obviously the work of a deranged individual
obsessed with conspiracy theories and fanciful interpretations of religion and politics, this
song may well follow the same track. That is to say, much of this song might be playful
nonsense words and phrases that only make a vague sort of sense, and follow no real logic.
That being said, I have treated each line individually and tried to find a semblance of an
overarching theme, keeping in mind that I may be on somewhat of a lyrical wild goose chase.]
[1] The lyric sheet opens with a direct quote from Ezra Pound’s poem Sestina: Altaforte.
Reproduced below in full, this poem serves as a rather epic call to arms for the album.
I
Damn it all! all this our South stinks peace.
You whoreson dog, Papiols, come! Let's to music!
I have no life save when the swords clash.
But ah! when I see the standards gold, vair, purple, opposing
And the broad fields beneath them turn crimson,
Then howls my heart nigh mad with rejoicing.
II
In hot summer have I great rejoicing
When the tempests kill the earth's foul peace,
And the lightnings from black heav'n flash crimson,
And the fierce thunders roar me their music
And the winds shriek through the clouds mad, opposing,
And through all the riven skies God's swords clash.
III
Hell grant soon we hear again the swords clash!
And the shrill neighs of destriers in battle rejoicing,
Spiked breast to spiked breast opposing!
Better one hour's stour than a year's peace
With fat boards, bawds, wine and frail music!
Bah! there's no wine like the blood's crimson!
IV
And I love to see the sun rise blood-crimson.
And I watch his spears through the dark clash
And it fills all my heart with rejoicing
And pries wide my mouth with fast music
When I see him so scorn and defy peace,
His lone might 'gainst all darkness opposing.
V
The man who fears war and squats opposing
My words for stour, hath no blood of crimson
But is fit only to rot in womanish peace
Far from where worth's won and the swords clash
For the death of such sluts I go rejoicing;
Yea, I fill all the air with my music.
VI
Papiols, Papiols, to the music!
There's no sound like to swords swords opposing,
No cry like the battle's rejoicing
When our elbows and swords drip the crimson
And our charges 'gainst "The Leopard's" rush clash.
May God damn for ever all who cry "Peace!"
VII
And let the music of the swords make them crimson!

Hell grant soon we hear again the swords clash!
Hell blot black for always the thought "Peace!"
(Pound, E., & Taylor, C. (1994). Sestina: Altaforte : A poem. Portland, Me.: Logomachist Press.)
That Ezra Pound followed theoretical futurism into a fanatical and treasonous devotion to
fascism cannot be ignored. “Watermelon Ascot” is rife with subtle allusions to politics and it’s
effects on the decline of society. The poem above, glorifying war and death, is no exception.
[2] A play on the line from Pound’s poem above, seemingly a modernization of “Let’s to music!”
as well.
[3] Half-past is a generally accepted term that means about 30 minutes past any hour of the day.
Contextually one could surmise that it means something akin to “It’s half past time to get
started”. I’m more inclined to think it might be referring to the decline of society as in the
previous track, society being “halfway to the end” perhaps. The nature of the vocals in this song
makes it hard to determine if any one line is referring to the one that follows. For example, this
line may somehow refer to “half past Carrie Nation”, but it is doubtful. Aaron Weiss has stated
in interviews that some of his lyrics on Pale Horses are done for sound and effect alone, and
have no real intended meaning. Perhaps this is one of those.
[4] Carrie Nation was a radical member of the temperance movement in

America, opposing the distribution of alcohol before Prohibition was
enacted. From her page on Wikipedia:
She is particularly noteworthy for attacking alcohol-serving

establishments (most often taverns) with a hatchet.
Nation was a relatively large woman, almost 6 feet (180 cm) tall and
weighing 175 pounds (79 kg). She described herself as "a bulldog running
along at the feet of Jesus, barking at what He doesn't like", and claimed a
divine ordination to promote temperance by destroying bars.
The spelling of her first name varies; both Carrie and Carry are considered correct. Official
records say Carrie, which Nation used most of her life; the name Carry was used by her father in
the family Bible. Upon beginning her campaign against liquor in the early 20th century, she
adopted the name Carry A. Nation, saying it meant "Carry A Nation for Prohibition”.
She began her temperance work in Medicine Lodge by starting a local branch of the Woman's
Christian Temperance Union and campaigning for the enforcement of Kansas' ban on the sales
of liquor. Her methods escalated from simple protests to serenading saloon patrons with hymns
accompanied by a hand organ, to greeting bartenders with pointed remarks such as, "Good
morning, destroyer of men's souls." She also helped her mother and her daughter who had
mental health problems.
Dissatisfied with the results of her efforts, Nation began to pray to God for direction. On June 5,
1900, she felt she received her answer in the form of a heavenly vision. As she described it: The
next morning I was awakened by a voice which seemed to me speaking in my heart, these words,
"GO TO KIOWA," and my hands were lifted and thrown down and the words, "I'LL STAND BY
YOU." The words, "Go to Kiowa," were spoken in a murmuring, musical tone, low and soft, but
"I'll stand by you," was very clear, positive and emphatic. I was impressed with a great
inspiration, the interpretation was very plain, it was this: "Take something in your hands, and
throw at these places in Kiowa and smash them."
Responding to the revelation, Nation gathered several rocks – "smashers", she called them – and
proceeded to Dobson's Saloon on June 7. Announcing "Men, I have come to save you from a
drunkard's fate", she began to destroy the saloon's stock with her cache of rocks. After she
similarly destroyed two other saloons in Kiowa, a tornado hit eastern Kansas, which she took as
divine approval of her actions.
Alone or accompanied by hymn-singing women she would march into a bar, and sing and pray
while smashing bar fixtures and stock with a hatchet. Her actions often did not include other
people, just herself. Between 1900 and 1910, she was arrested some 30 times for "hatchetations",
as she came to call them. Nation paid her jail fines from lecture-tour fees and sales of souvenir
hatchets.
Aaron Weiss here seems to be identifying the theme of this song in some way with Carrie
Nation’s life. Taking this line together with other references, I get the sense that in “Watermelon
Ascot”, Weiss is setting up a house of cards that he will spend the rest of the album toppling.
The nature of this house of cards seems to be general problems of society, institutionalism,
technocracy, war, religious dogma, and even personal crises.
Of the “cut glass”:

In addition to her hatchet paraphernalia, Nation also marketed glassware that promoted her
crusade’s agenda of moral purity. She advertised “The Nation’s Water Bottle” in her newspaper.
They could be ordered in plain or imitation cut-glass, with the engraving: “Oh, let me drink as
Adam drank,” with a hatchet and “Carrie Nation” underneath.
(Giggie, J. (2002). Faith in the Market: Religion and the Rise of Urban Commercial Culture. New Brunswick, N.J.:
Rutgers University Press.)
“Cut glass” is glass that has been decorated entirely by hand by use of rotating wheels.
[5] In sociology, a “caste” is a rigid system of social distinctions, an endogamous and hereditary
social group limited to persons of the same rank, occupation, economic position, etc., and having
mores distinguishing it from other such groups. In Hinduism specifically, “caste” any of the
social divisions into which Hindu society is traditionally divided, each caste having its own
privileges and limitations, transferred by inheritance from one generation to the next. Being a
member of the “have-caste” may indicate some measure of privilege over a “not-have caste”. In
this case the group is identified with children of the prohibition movement, most likely referring
back to Carrie Nation again. Children were also a common theme in ant-liquor propaganda of
the time.
[6] “Across a dark bar” is probably a final allusion to the Carrie Nation hatchet attacks. “Lack of
concentration camp” is probably addressing another sociological problem, perhaps in regards to
modern youth culture attention spans, as well as being a play on the term “concentration camp”.
[7] That this camp is “of self harm” seems to identify a further problem stemming from the lack
of attention, that of afflicting self harm (possibly through cutting) in order to get the attention
that a self-harmer feels that they lack. If this refers back again to Carrie Nation, it would indicate
perhaps that her actions did more harm than good.
[8] Emanuel H. Bronner was the maker of Dr. Bronner's castile soap.
Bronner, whose parents were killed in the Holocaust, promoted a belief
in the goodness and unity of humanity.
Bronner’s Wikipedia article continues:
He started his business making products by hand in his home. The

product labels are crowded with statements of Bronner's philosophy,
which he called "All-One-God-Faith" and the "Moral ABC". Many of
Bronner's references came from Jewish and Christian sources, such as the Shema and the
Beatitudes; others from poets such as Rudyard Kipling. They became famous for their
idiosyncratic style, including hyphens to join long strings of words and the liberal use of
exclamation marks. In 1947, while promoting his "Moral ABC" at the University of Chicago,
Bronner was arrested and committed to a mental hospital in Elgin, Illinois, from which he
escaped after shock treatments.
Note that the lyrics as presented in the booklet seem to follow a similar pattern to the Dr.
Bronner’s soap jar labels. They reference Jewish and Christian values heavily, along with poetry,
and include hyphenated strings of words (most notably in this song).
[9] The full title of Bronner’s manifesto is The Moral ABC of Astronomy’s Eternal All-One-God
Faith Unites the Human Race For With Gun & Bomb We’re All-One or None! All One! by Dr.
E.H. Brenner, Essene Rabbi and Soapmaker with help from Ralph Bronner. uniting the human
race into "all-one" by following something called the "Moral ABC". For many years, nobody
knew quite what the Moral ABC was, but as of May 2014 the labels explain it as apparently a
syncretic quasi-religious text compiled by Bronner himself. It seems clear that, at least with
“Watermelon Ascot”, Aaron Weiss is recreating his own Bronner-esque soap-bar sermon around
the themes on the album. If this song is indeed a parody of that style, some of the more
tenuously explained lyrics may simply be nonsense phrases included to mimic The Moral ABC
and Bronner’s particular brand of madness.
[10] Something being open “as a bank vault” would indicate exactly the opposite in a play on
irony. Perhaps referencing the rather muddied waters of the lyrics of this song, or of the Moral
ABC mentioned above.
[11] In the Bible, Lot's wife is a figure first mentioned in Genesis 19. The Book of Genesis
describes how she became a pillar of salt after she looked back at Sodom. She is called "Ado" or
"Edith" in some Jewish traditions, but is not named in the Bible. She is also referred to in the
New Testament, in Luke.
Wikipedia continues:
The narrative of Lot's wife begins in Genesis 19 after two angels arrived in Sodom, at eventide,
and were invited to spend the night at Lot's home. As dawn was breaking, Lot's visiting angels
urged him to get his family and flee, so as to avoid being caught in the impending disaster for the
iniquity of the city. Lot delayed, so the angels took hold of his hand, his wife's hand and his
daughters and brought them out of the city. The command was given, "Flee for your life! Do not
look behind you, nor stop anywhere in the Plain; flee to the hills, lest you be swept away." Lot
objected to the idea of fleeing to the hills and requested safe haven at a little town nearby. The
request was granted and the town became known as Zoar. Traveling behind her husband, Lot's
wife looked back, and became a pillar of salt.
And the text itself:
15 With the coming of dawn, the angels urged Lot, saying, “Hurry! Take your wife and your two
daughters who are here, or you will be swept away when the city is punished.” 16 When he
hesitated, the men grasped his hand and the hands of his wife and of his two daughters and led
them safely out of the city, for the Lord was merciful to them. 17 As soon as they had brought
them out, one of them said, “Flee for your lives! Don’t look back, and don’t stop anywhere in the
plain! Flee to the mountains or you will be swept away!” 18 But Lot said to them, “No, my lords,
[b] please! 19 Your[c] servant has found favor in your[d] eyes, and you[e] have shown great
kindness to me in sparing my life. But I can’t flee to the mountains; this disaster will overtake me,
and I’ll die. 20 Look, here is a town near enough to run to, and it is small. Let me flee to it—it is
very small, isn’t it? Then my life will be spared.” 21 He said to him, “Very well, I will grant this
request too; I will not overthrow the town you speak of. 22 But flee there quickly, because I
cannot do anything until you reach it.” (That is why the town was called Zoar.) 23 By the time
Lot reached Zoar, the sun had risen over the land. 24 Then the Lord rained down burning sulfur
on Sodom and Gomorrah—from the Lord out of the heavens. 25 Thus he overthrew those cities
and the entire plain, destroying all those living in the cities—and also the vegetation in the land.
26 But Lot’s wife looked back, and she became a pillar of salt. - Genesis 19:15-26
And as is spoken of by Christ in Luke:
29 But the day Lot left Sodom, fire and sulfur rained down from heaven and destroyed them all.
30 “It will be just like this on the day the Son of Man is revealed. 31 On that day no one who is
on the housetop, with possessions inside, should go down to get them. Likewise, no one in the
field should go back for anything. 32 Remember Lot’s wife! 33 Whoever tries to keep their life
will lose it, and whoever loses their life will preserve it. - Luke 17:29-33
If my suspicions prove true, and Aaron Weiss is putting forth a soap jar-style rant against the
society that will be shortly torn apart by pale horses and apocalypses, then the destruction of
Sodom is an apropos allusion.
[12] Clay mouse here may simply be a rhyming device. There is one intriguing use of the term
in Walking the Wisdom Path by Swami Aseshananda:
Christ reached that state of consciousness and said to his disciples, “I and my Father are one.”
Here, “I” is not the personal being, and “Father” is not the personal God. The “Father” is the
ground of existence we call Nirvana Brahman in India. Therefore, jiva, the individual soul,
cannot become one with Ishvara; a clay mouse can never become one with a clay elephant. In
manifestation there will always be a distinction between the individual soul and the universal
soul.
(Aseshananda, S. (2014). The Path To Enlightenment. In Walking the Wisdom Path: Lectures in the Jnana Marga.
Honoka'a, Hawaii: SRV Associations.)
I have high doubts as to whether this is what Aaron Weiss is referencing, but it was intriguing
enough for me to include it here. More likely than not, “mouse” is used here because they are
generally small and frail animals.
[13] Potter’s house is a term originating in the old testament book of Jeremiah.
This is the word that came to Jeremiah from the Lord: 2 “Go down to the potter’s house, and
there I will give you my message.” 3 So I went down to the potter’s house, and I saw him working
at the wheel. 4 But the pot he was shaping from the clay was marred in his hands; so the potter
formed it into another pot, shaping it as seemed best to him. 5 Then the word of the Lord came to
me. 6 He said, “Can I not do with you, Israel, as this potter does?” declares the Lord. “Like clay
in the hand of the potter, so are you in my hand, Israel. - Jeremiah 18:1-6
Also, it should be noted that in the lyric booklet

“potter’s house” is preceded by the crossed out lyric in
capital letters: “Potter’s House”. Potter’s House is the
name of one of the largest megachurches in the U.S.
founded by T.D. Jakes, a prominent prosperity gospel
preacher, which renders some illumination to the lines
that follow.
[14] Bait-and-switch is a form of fraud used in retail

sales but also employed in other contexts. First,
customers are "baited" by merchants' advertising
products or services at a low price, but when customers
visit the store, they discover that the advertised goods
are not available, or the customers are pressured by
sales people to consider similar, but higher priced items. That this is used to describe a “hell
pitch” brings to mind the typical prosperity gospel message, as espoused by T.D. Jakes and
others.
Of the prosperity gospel, from Wikipedia:
Prosperity theology (sometimes referred to as the prosperity gospel, the health and wealth
gospel, or the gospel of success) is a Christian religious doctrine that financial blessing is the
will of God for Christians, and that faith, positive speech, and donations to Christian ministries
will increase one's material wealth. Based on non-traditional interpretations of the Bible, often
with emphasis on the Book of Malachi, the doctrine views the Bible as a contract between God
and humans: if humans have faith in God, he will deliver his promises of security and prosperity.
Confessing these promises to be true is perceived as an act of faith, which God will honor.
The doctrine emphasizes the importance of personal empowerment, proposing that it is God's
will for his people to be happy. The atonement (reconciliation with God) is interpreted to include
the alleviation of sickness and poverty, which are viewed as curses to be broken by faith. This is
believed to be achieved through visualization and positive confession, and is often taught in
mechanical and contractual terms.
[15] Dutch Blitz is a fast-paced, family oriented, action card

game played with a specially printed deck. The game was
created by Werner Ernst George Muller, a German immigrant
from Bucks County, Pennsylvania. The game is very popular
among the Pennsylvania Amish and Dutch community, and
among Christian groups in the United States and Canada
(primarily in Dutch and German communities). That Weiss
compares the “bait and switch hell pitch” to a Christian
oriented children’s game is pretty damning.
[16] This is probably referring to Aaron Weiss’ new marriage, and specifically to his wife. Venus
is a goddess of love, and Idaho, from where his wife hails, is called the Gem State. This
relationship will become a major theme on this album, and is emblematic of the “personal
apocalypses” Weiss is exploring throughout.
[17] Blank slate comes from John Locke's philosophy regarding the epistemological question of
the foundations of knowledge. Tabula rasa refers to the epistemological idea that individuals are
born without built-in mental content and that therefore all knowledge comes from experience or
perception. Proponents of tabula rasa generally disagree with the doctrine of Innatism which
holds that the mind is born already in possession of certain knowledge. Generally, proponents of
the tabula rasa theory also favor the "nurture" side of the nature versus nurture debate when it
comes to aspects of one's personality, social and emotional behavior, knowledge and sapience.
(from Wikipedia)
This line is also a play on the term “clean slate”. If you are given a clean slate, you can start
something again, and all of the problems caused by you or other people in the past will be
forgotten. Taken together in a single phrase the result seems to be a way of saying that Aaron
Weiss no longer feels he can “know” anything for certain, and is starting over from scratch.
Interviews have indicated as much, but another possibility is that “cleaning a blank slate” is
oxymoronic, as there is nothing more to clean. Perhaps this refers to “over-doing” something, or
overthinking. Perhaps it has more to do with his in-laws, as we shall discuss in the next
annotation.
[18] To be “straight-laced” is to be excessively strict in conduct or morality, or puritanical. That

it is described as “metamorphic” brings to mind a complete change into being this way. It is also
possible that this line is a descriptor of the following line’s ideas. Aaron Weiss has indicated that
his wife’s family was less than welcoming to him due to his not being a member of a “certain
religion” and them insisting he become a part of their faith. I think this string of lines following
the nod to his wife as the “Venus of the Gem State” may well be referencing that.
[19] The Latter Day Saint movement (also called the LDS movement or LDS restorationist
movement) is the collection of independent church groups that trace their origins to a Christian
primitivist movement founded by Joseph Smith in the late 1820s. Collectively, these churches
have over 15 million members. The vast majority of adherents belong to The Church of Jesus
Christ of Latter-day Saints (LDS Church), with their predominant theology being Mormonism.
The LDS Church self-identifies as Christian. A minority of Latter Day Saint adherents, such as
members of the Community of Christ, believe in traditional Protestant theology, and have
distanced themselves from some of the distinctive doctrines of Mormonism. Other groups include
the Remnant Church of Jesus Christ of Latter Day Saints, which supports lineal succession of
leadership from Smith's descendants, and the more controversial Fundamentalist Church of
Jesus Christ of Latter-Day Saints, which defends the practice of polygamy. (from Wikipedia)
If his in-laws are being referenced here, it would seem that they may be Mormons.
[20] “Speed it up a notch” is a common phrase, but in light of a later reference to the band
R.E.M. we should note that the phrase appears in their song “It’s the End of the World As We
Know It”, which mewithoutYou has covered live. It obviously fits into the apocalyptic themes of
the album. Knot, the nautical unit of speed, is used here instead of notch
[21] This entire section, starting with “speed it up a notch” is phrased to reflect lyrics from the
R.E.M. song mentioned above. An excerpt containing the relevant portion:
That's great, it starts with an earthquake

Birds and snakes, an aeroplane
And Lenny Bruce is not afraid
Eye of a hurricane, listen to yourself churn
World serves its own needs, don't mis-serve your own needs
speed it up a notch, speak, grunt, no strength
The ladder start to clatter with fear of height, down height
[22] Refusing meat and dairy may be a reference to vegansim. Perhaps it is denoting a religious
fast as well, such as Lent or Ramadan, but I doubt that. Another possibility is that it is a
reference to scripture, especially as it relates to Aaron Weiss’ reticence to admit to having any
real spiritual knowledge. In this case, going from meat back to milk:
12 In fact, though by this time you ought to be teachers, you need someone to teach you the
elementary truths of God’s word all over again. You need milk, not solid food! - Hebrews 5:12
3 Brothers and sisters, I could not address you as people who live by the Spirit but as people who
are still worldly—mere infants in Christ. 2 I gave you milk, not solid food, for you were not yet
ready for it. Indeed, you are still not ready. - 1 Corinthians 3:1-2
[23] Cows and milk being placed next to R.E.M. would seem to indicate that a joke is at play
based on a recent study that found playing R.E.M.’s “Everybody Hurts” for dairy cows caused
them to give more milk.
From Modern Farmer:
The 2001 University of Leicester study reported that songs like ‘Everybody Hurts’ by REM and
Simon & Garfunkel’s ‘Bridge Over Troubled Water‘ soothed cows enough to produce the most
milk, while such Y2K Euro club classics like Mousse T vs. Hot N Juicy’s ‘Horny’ failed to
produce such positive lactational results.
(O’Brien, A. (2014, February 10). “Milking to Music”. Retrieved June 22, 2015, from http://modernfarmer.com/
2014/02/milking-music/)
[24] The contrast between the “paper cow” and “living cow” seems to indicate the start of
another repeating theme on the album, that of artificiality versus the truth. Much like the
description of manna as “photocopied” below, a paper cow is no replacement for the living
animal, no matter how closely the message they speak reads on paper; a paper cow will never
give meat or milk. Whether Aaron Weiss took “Make it so” from Captain Picard on Star Trek is
debatable, but considering that both the Thundercats and Nick Fury make appearances later, it is
not outside of the realm of possibility.
[25] A red dwarf is a small and relatively cool

star. Red dwarfs are by far the most common
type of star in the Milky Way, at least in the
neighborhood of the Sun, but because of their
low luminosity, individual red dwarfs cannot
easily be observed. From Earth, not one is
visible to the naked eye. Proxima Centauri, the
nearest star to the Sun, is a red dwarf, as are
twenty of the next thirty nearest. According to
some estimates, red dwarfs make up three-quarters of the stars in the Milky Way. Stellar models
indicate that red dwarfs less than 0.35 M☉ are fully convective. Hence the helium produced by
the thermonuclear fusion of hydrogen is constantly remixed throughout the star, avoiding a
buildup at the core. Red dwarfs therefore develop very slowly, having a constant luminosity and
spectral type for, in theory, some trillions of years, until their fuel is depleted. Because of the
comparatively short age of the universe, no red dwarfs of advanced evolutionary stages exist.
(from Wikipedia)
Burst here may refer to a “starburst”. In astronomy, starburst is a generic term to describe a
region of space with an abnormally high rate of star formation. It is reserved for truly unusual
objects. More likely, this is poetic usage to denote either that a star is “bursting” (which,
considering the age of a red dwarf, would be trillions of years in the future), or may simply serve
as a description of the star itself.
[26] This emphasizes the idea that “we” have left earth behind and no one recalls “us” any
longer. If not to be taken literally, this is probably indicative of death, as a similar refrain seems
to confirm later. The phrasing may also come from Rabindranath Tagore poem entitled “Clouds
and Waves”. An excerpt:
The folk who live in the waves call out to me--
"We sing from morning till night; on and on we travel and know not where we pass."
I ask, "But, how am I to join you?" They tell me, "Come to the edge of the shore and stand with
your eyes tight shut, and you will be carried out upon the waves."
I say, "My mother always wants me at home in the evening--how can I leave her and go?"
Then they smile, dance and pass by.
But I know a better game than that.
I will be the waves and you will be a strange shore.
I shall roll on and on and on, and break upon your lap with laughter.
And no one in the world will know where we both are.
(Tagore, R. (1913). The Crescent Moon: Child-Poems. New York: Macmillan.)
I was initially hesitant to include this possibility, as the last line is only partially connected to the
line in question. However the fact that in “Blue Hen”, another lyric suggests inspiration in this
song has convinced me that there is some likelihood that Aaron Weiss was inspired, at least in
basic phraseology, by this poem.
[27] 4-H is a global network of youth organizations whose

mission is "engaging youth to reach their fullest potential while
advancing the field of youth development”. In the United States,
the organization is administered by the National Institute of Food
and Agriculture of the United States Department of Agriculture
(USDA). The 4-H name represents four personal development
areas of focus for the organization: head, heart, hands, and
health. The goal of 4-H is to develop citizenship, leadership,
responsibility and life skills of youth through experiential
learning programs and a positive youth development approach. Though typically thought of as
an agriculturally focused organization as a result of its history, 4-H today focuses on citizenship,
healthy living, science, engineering, and technology programs. The 4-H motto is "To make the
best better", while its slogan is "Learn by doing" (sometimes written as "Learn to do by doing”)
(from Wikipedia)
That humans are described as award winning livestock, and pigs no less, seems purposefully
insulting. In light of the manifesto-esque railing against various negative aspects of society, as I
suspect this song is, this is especially damning. We will explore this concept more in a later
annotation when this organization is mentioned again.
[28] Many older churches which contain lead in their roofing have become the target of criminals
looking to steal and sell the valuable commodity.
[29] George Armstrong Custer was a United

States Army officer and cavalry commander
in the American Civil War and the American
Indian Wars. Raised in Michigan and Ohio,
Custer was admitted to West Point in 1858,
where he graduated last in his class. With the
outbreak of the Civil War, Custer was called
to serve with the Union Army. After the Civil
War, Custer was dispatched to the west to
fight in the American Indian Wars and
appointed lieutenant colonel of the U.S. 7th
Cavalry Regiment where he and all his men
were killed at the Battle of the Little Bighorn in 1876 fighting against a coalition of Native
American tribes. The battle is popularly known in American history as "Custer's Last Stand."
Custer and his men were defeated so decisively in this battle that the Battle of the Little Bighorn
has overshadowed all his prior achievements. (from Wikipedia)
[30] Stone-drunk probably refers to being drunk on alcohol, perhaps also under the influence of
drugs; it is a term from where we get the term “stoned”. What exactly is indicated by it’s use as
an adjective for Bighorn, which is a location of a battle, is unclear. In any case, it is no secret
that this particular battle was a disaster for Custer, and this line serves to remind us of that rather
well. Thematically this would indicate that those who engage in war are foolish. Calling a
legendary general out for his fancy feminine dress and his propensity for drunken idiocy would
underscore that quite well.
The Battle of the Little Bighorn, known to Lakota as the Battle of the Greasy Grass, and
commonly referred to as Custer's Last Stand, was an armed engagement between combined
forces of the Lakota, Northern Cheyenne, and Arapaho tribes, against the 7th Cavalry Regiment
of the United States Army. The battle, which occurred June 25–26, 1876, near the Little Bighorn
River in eastern Montana Territory, was the most prominent action of the Great Sioux War of
1876. It was an overwhelming victory for the Lakota, Northern Cheyenne, and Arapaho, led by
several major war leaders, including Crazy Horse and Chief Gall, inspired by the visions of
Sitting Bull). The U.S. 7th Cavalry, including the Custer Battalion, a force of 700 men led by
George Armstrong Custer, suffered a severe defeat. Five of the 7th Cavalry's twelve companies
were annihilated; Custer was killed, as were two of his brothers, a nephew, and a brother-in-law.
The total U.S. casualty count, including scouts, was 268 dead and 55 injured. (from Wikipedia)
[31] A Juliet sleeve is a long, tight sleeve with a puff at the top, inspired by fashions of the Italian
Renaissance and named after Shakespeare's tragic heroine; popular from the Empire period
through the 1820s in fashion, again in the late 1960s under the influence of Zeffirelli's film
Romeo and Juliet.
[32] The identity of the “counter-terror” prophet is left

purposefully ambiguous. After a photo surfaced of Aaron
Weiss himself in a watermelon print ascot and identifying him
as such by the band, it seems that there may be no further
point in identifying possible options as to the prophet’s
identity. More than likely this line is self-referential, Weiss
himself being the authorial “prophet” wearing a silly ascot
that undercuts whatever serious issue he wishes to convey.
That being said, my initial speculations, made prior to the
release of that photo, follow:
Maybe it is Ezra Pound, or any number of other politicians. Perhaps it is Joseph Smith, the
founder and revered “prophet” of the LDS church, who is often depicted wearing an ascot. I find
it most likely that it refers to Dr. Bronner again, as so much of this song seems to be a parody of
his Moral ABC, but one other possibility is British politician William Vernon Harcourt.
From Wikipedia, of Harcourt:
Sir William George Granville Venables Vernon Harcourt was a British lawyer, journalist and
Liberal statesman. He served as Member of Parliament for various constituencies and held the
offices of Home Secretary and Chancellor of the Exchequer under William Ewart Gladstone
before becoming Leader of the Opposition. A talented speaker in parliament, he was sometimes
regarded as aloof and possessing only an intellectual involvement in his causes. He failed to
engender much emotional response in the public and became only a reluctant and disillusioned
leader of his party.
From Wikipedia, of counter-terrorism:

In response to the escalating terror campaign in Britain carried out by the militant Irish Fenians
in the 1880s, the Home Secretary, Sir William Harcourt, established the first counterterrorism
unit ever. The Special Irish Branch was initially formed as a section of the Criminal Investigation
Department of the London Metropolitan Police in 1883, to combat Irish republican terrorism
through infiltration and subversion.
Harcourt envisioned a permanent unit dedicated to the prevention of politically motivated

violence through the use of modern techniques such as undercover infiltration. This pioneering
branch was the first to be trained in counterterrorism techniques.
An ascot is a necktie or scarf with broad ends, tied and arranged so that the ends are laid flat, one
across the other, sometimes with a pin to secure them. Watermelon here is most likely either a
pattern or color of the prophet’s ascot.
[33] In the Hebrew Bible, manna is described twice: once in Exodus 16:1-36 with the full
narrative surrounding it, and once again in Numbers 11:1-9 as a part of a separate narrative. In
the description in the Book of Exodus, manna is described as being "a fine, flake-like thing" like
the frost on the ground. It is described in the Book of Numbers as arriving with the dew during
the night; Exodus adds that manna was comparable to hoarfrost in size, similarly had to be
collected before it was melted by the heat of the sun, and was white like coriander seed. Numbers
describes it as having the appearance of bdellium, adding that the Israelites ground it and
pounded it into cakes, which were then baked, resulting in something that tasted like cakes baked
with oil. Exodus states that raw manna tasted like wafers that had been made with honey. The
Israelites were instructed to eat only the manna they had gathered for each day. Stored manna
"bred worms and stank”: the exception being that stored the day before the Sabbath
(Preparation Day), when twice the amount of manna was gathered. This manna did not spoil
overnight, because, Exodus 16:23-24 states, "This is what the Lord commanded: 'Tomorrow is to
be a day of rest, a holy Sabbath to the Lord. So bake what you want to bake and boil what you
want to boil. Save whatever is left and keep it until morning.' So they saved it until morning, as
Moses said was commanded, and it did not stink or get maggots in it.” (from Wikipedia)
Manna is described as being like coriander seed, and is said to have been crushed in a mortar.
4 The rabble with them began to crave other food, and again the Israelites started wailing and
said, “If only we had meat to eat! 5 We remember the fish we ate in Egypt at no cost—also the
cucumbers, melons, leeks, onions and garlic. 6 But now we have lost our appetite; we never see
anything but this manna!” 7 The manna was like coriander seed and looked like resin. 8 The
people went around gathering it, and then ground it in a hand mill or crushed it in a mortar.
They cooked it in a pot or made it into loaves. And it tasted like something made with olive oil. 9
When the dew settled on the camp at night, the manna also came down. -Numbers 11:4-7
Here we have manna being described as having been photocopied, presumably by this “Counter-
terror prophet”. Again, the theme of artificiality and perception crops up, a photocopy being
bandied about as a genuine “original” gift of sustenance from God may spoil one’s perception
Him. If the ascot-clad prophet is Aaron Weiss himself, then this line because relatively self-
deprecating.
[34] Here the mortar that grinds the false manna is said to be held by a “joke C.I.A.”. A well-
regarded article by Richard Reeves published in the LA Times from 1996 entitled "We Need
Intelligence, Not a Joke CIA” may be the inspiration for this line. The reason that the C.I.A. is
mentioned here at all may have something to do with the agency’s role in media-coverups. If
perception is as overarching a theme as I suspect it is on this album, then a corrupt media would
indeed color the general public’s “perception” of something like a war or a terrorist act.
[35] Coatesville is a city in Chester County, Pennsylvania, United States, approximately 39 miles
west of Philadelphia, where Aaron Weiss grew up. The only connection I can see is a very
tenuous one regarding the steel beams for the World Trade Center being manufactured in this
town, but this only become relevant when one stretches the meaning behind the phrase “counter-
terror” to it’s breaking point.
[36] Ephemeral is defined as lasting for only a short time. It is transitory and short-lived. This is
contrasted by the phrase “everlasting arms”.
[37] This and the following two annotations are placed between the 4 and the H of another
instance of the phrase “4H show”, which was last used to describe humans as blue ribbon pigs
that have won a livestock context.
The frontal lobe, located at the front of the brain, is one of the four major lobes of the cerebral
cortex in the mammalian brain. The function of the frontal lobe involves the ability to project
future consequences resulting from current actions, the choice between good and bad actions (or
better and best), the override and suppression of socially unacceptable responses, and the
determination of similarities and differences between things or events.
The frontal lobe also plays an important part in retaining longer term memories which are not
task-based. These are often memories associated with emotions derived from input from the
brain's limbic system. The frontal lobe modifies those emotions to generally fit socially
acceptable norms. (from Wikipedia)
[38] The Universal Product Code (UPC) is a barcode symbology that is widely used in the
United States, Canada, the United Kingdom, Australia, New Zealand, and in other countries for
tracking trade items in stores.
[39] In the Hebrew Bible, the coat of many colors is the name for the garment that Joseph
owned. The translation and the actual nature of the garment is subject to dispute. It is possible
that the idea of the coat being "of many colors" may mean that it was in fact a patchwork coat of
different materials which may have been of different colors or merely different shades of a single
color. Joseph's father Jacob (also Israel, in Hebrew Bible) favored him and gave Joseph the coat
as a gift; as a result, he was envied by his brothers, who saw the special coat as an indication
that Joseph would assume family leadership. His brothers' suspicion grew when Joseph told
them of his two dreams in which all the brothers bowed down to him. (from Wikipedia)
Describing a “hallucination” in this way possibly suggests a point of view that sees Joseph’s
dreams as hallucination, but I’m inclined to consider it as a more direct reference to perceptions
of society (or perhaps of the brothers as they understood Joseph’s dream prophecies).
Taken all together, the line is still slightly

incoherent, but depending on how one reads it,
themes of societal pressures on behavior (and
thus behavior being a commoditized “product”)
crop up. That this “frontal lobe behavior” is
described in terms of a UPC code would indicate
a de-humanization, or removal of the idea of the
“soul”. In this view each person would be
considered unique, but in a quite a degrading
way: being stamped with some number for
record-keeping purposes. Any inherent value and
worth of a person is removed, which correlates to
the previous reference to humans in today’s society being dubbed “blue ribbon pigs in a 4-H
show”, which is obviously relevant here. Joseph thus become an arbiter (perhaps) of delusions of
grandeur brought on by the message his father was conveying to him. Or, on the other side of
the argument, Joseph’s brothers perceive his dreams to be false because of their own disillusion
(ie, birthright and their age indicating they should be “above” Joseph, while his dreams tell them
they should bow to him). Perhaps “hallucination” here indicates our perception is essentially just
that: a hallucination. This false perception is informed more by our particular perspective and
experience than by “truth". In that case, “iridescent”, defined as showing luminous colors that
seem to change when seen from different angles, makes much more
sense if it is emblematic of our ever shifting perspectives of a
subject.
[40] A hearse is a vehicle for conveying the coffin at a funeral. The

word is placed in a slot where the “burst” of the red dwarf star
appeared earlier. They both probably indicate death, as in that
annotation.
[41] Red Cloud's War (also referred to as the Bozeman War or the
Powder River War) was an armed conflict between the Lakota,
Northern Cheyenne, and Northern Arapaho on one side and the
United States in Wyoming and Montana territories from 1866 to
1868. The war was fought over control of the Powder River Country in north-central Wyoming.
(from Wikipedia)
Here we have a another war-monger on the opposite side, in general terms, from the
aforementioned Custer.
[42] “Buried in Beds” is an in joke that refers to new guitarist Brandon Beavers former band
“Buried Beds”.
[43] “Eight-straight-B/buffalo show” references the sentence “Buffalo buffalo Buffalo buffalo
buffalo buffalo Buffalo buffalo”, a grammatically correct sentence in American English, used as
an example of how homonyms and homophones can be used to create complicated linguistic
constructs. It has been discussed in literature, in various forms, since 1967 when it appeared in
Dmitri Borgmann's Beyond Language: Adventures in Word and Thought. The sentence uses three
distinct meanings of the word buffalo: the city of Buffalo, New York; the somewhat uncommon
verb to buffalo, meaning "to bully or intimidate"; and the American buffalo (a species of bison).
Paraphrased, the sentence can be parsed to mean, "Bison from Buffalo, that bison from Buffalo
bully, themselves bully bison from Buffalo.” (from Wikipedia)
The “show” may be concerning a concert played by mewithoutYou in Buffalo, New York. The
sentence as a concept further emphasizes the rather shaky way we define words, and how
malleable language is, which in turn affects our perception of an object or person or concept
being described.
[44] Leaning on the Everlasting Arms is a hymn published in 1887 with music by Anthony J.
Showalter and lyrics by Showalter and Elisha Hoffman. Showalter said that he received letters
from two of his former pupils saying that their wives had died. When writing letters of
consolation, Showalter was inspired by the phrase in the Book of Deuteronomy 33:27 "The
eternal God is thy refuge, and underneath are the everlasting arms” (from Wikipedia)
What a fellowship, what a joy divine,

What a blessedness, what a peace is mine,
Leaning on the everlasting arms.
Refrain:
Leaning, leaning,
Safe and secure from all alarms;
Leaning, leaning,
Oh, how sweet to walk in this pilgrim way,
Oh, how bright the path grows from day to day,
What have I to dread, what have I to fear,

Leaning on the everlasting arms?
I have blessed peace with my Lord so near,
(White, B., & Jackson, G. (1968). The Sacred Harp. Nashville: Broadman.)
As the album proper begins, we find ourselves in the middle of what seems to be a manifesto
styled after the conspiracy-addled rambling sermons found on Dr. Bronner’s soap jars. In the
confusing jumbles of puns and wordplay we have set before us a house of cards ready to topple
in apocalyptic disaster. Rebels and anarchists of years past, prophets and arbiters of fraudulent
faith systems, soldiers and American Indians of wars long past all weave together to convey the
sense that human societies, as a whole, are damaging themselves as they pressure humans into
changing their behaviors, becoming little more than prize pigs, product to a corrupt system that
preys on our perceptions of truth and reality. And yet, there may be hope, as the song ends with
an old hymn that reminds the audience to lean on God, rather than the culture of man.
D-Minor
[note: This song is a “sequel” to the track “C-Minor” on the album Brother, Sister. That song
also follows a relationship, in that case one that was in the process of ending, and the
emotional and spiritual fallout that followed. Here we find a relationship beginning, and the
fallout of that situation as it relates to Aaron Weiss’ current mindset.]
[1] The fern here is probably a corsage, or maybe a bouquet or other wedding accoutrement. It
being “borrowed” might be a play on the popular tradition of including “something borrowed”
on a bride’s wedding outfit. That it has a cigarette burn in it indicates its level of shabbiness.
[2] The n.b. stands for “nota bene”, an Italian and Latin phrase meaning "note well”.
[3] A celery boat is an hors d’oeuvre; celery stalks are filled with some other food, usually
peanut butter. Another element adding to the relatively inexpensive ceremony.
[4] Shape notes are a music notation designed

to facilitate congregational and community
singing. The notation, introduced in 1801,
became a popular teaching device in American
singing schools. Shapes were added to the note
heads in written music to help singers find
pitches within major and minor scales without
the use of more complex information found in key signatures on the staff. Shape notes of various
kinds have been used for over two centuries in a variety of music traditions, mostly sacred but
also secular, originating in New England, practiced primarily in the Southern region of the
United States for many years, and now experiencing a renaissance in other locations as well.
The syllables and notes of a shape note system are relative rather than absolute; they depend on
the key of the piece. The first note of a major key always has the triangular Fa note, followed
(ascending) by Sol, La, etc. The first note of a minor key is always La, followed by Mi, Fa, etc.
(from Wikipedia)
[5] That the horn music is automatic suggests a certain level of artificiality. Perhaps it was a pre-
recorded song.
[6] Henry Dircks was an English engineer who is considered to have been the main designer of
the projection technique known as Pepper's ghost. It is named after John Henry Pepper who
implemented a working version of the device in 1862. Pepper's ghost is an illusion technique
used in theatre, haunted houses, dark rides, and magic tricks. It has a long history, dating into
the 16th century, and remains widely performed today. Pepper realized that the method could be
modified to make it easy to incorporate into existing theatres. Pepper first showed the effect
during a scene of Charles Dickens's The Haunted Man and the Ghost's Bargain, to great success.
Pepper's implementation of the effect tied his name to it permanently. Though he tried many
times to give credit to Dircks, the title "Pepper's ghost" endured. (adapted from various
Wikipedia articles)
Interestingly, this is not the first time Pepper’s

ghost has been used as a mewithoutYou lyric.
In “Fox’s Dream of the Log Flume”, a
disastrous memory of a past failed
relationship haunts the character of Bear “like
a fiberglass ghost”. The use is similarly
applicable here, as the ghost of past
relationships, regrets, and mistakes hang over
the ceremony as the “spectreworks” provided
by the company called Pepper and Dircks’
Bargain Ghost and Haunted Man, in a pun on
the Dickens play.
[7] Cape Henlopen State Park is a Delaware state park on 5,193 acres on Cape Henlopen in
Sussex County, Delaware. This will not be the last time Delaware is mentioned on the album, as
it plays heavily into the track “Blue Hen”.
[8] The line itself is, in my opinion, pretty clearly about the consummation of the marriage; an
act performed - apparently - awkwardly and in the woods.
[9] “Jumping from the frying pan into the fire” is an idiom with the general meaning of escaping
a bad situation for a worse situation. It was made the subject of a 15th-century fable that
eventually entered the Aesopic canon. Here we have the frying pan being associated with Aaron
Weiss’ celibacy. This is probably a partial callback to “C-Minor” on which Aaron Weiss sings:
I'm still (technically) a virgin

After 27 years
Which never bothered me before
What's maybe 50 more?
Obviously, going from being a man three decades celibate to having your first sexual encounter
with your wife taking place on a forest floor must be quite an affecting experience. The fires
being “premature” indicates that Aaron was not properly prepared for this level of intimacy.
There has been some indication in interviews that this is a reference to a humiliating incidence of
premature ejaculation, and it may well be, but it also works in the general emotional sense.
[10] This is a desperate plea that no more marital responsibilities (or perhaps sexual
awkwardness) be bestowed upon the singer, it would seem. There is a slight chance that this is a
play on the song “I Got Rhythm”, but as the phrase, “Who could ask for anything more?” is very
common, I strongly suspect that it is just a coincidence.
[11] The “unshrunk patch” is a biblical reference, from Matthew:
But no one puts a patch of unshrunk cloth on an old garment; for the patch pulls away from the
garment, and a worse tear results. - Matthew 9:16
Essentially, we have here described the inherent dangers of the new marriage. If one person isn’t
properly prepared to be invested in such a serious and taxing relationship, this “unshrunk patch”
of a pairing can make matters worse.
[12] This is a line quite disparaging of the possible longevity of the relationship. “Campaign
badge” probably refers to promotional badges for political election campaigns, which are fairly
fleeting. Match could be meant as “matchstick”, as matches are obviously short-lived and burn
out in a matter of seconds. It also could simply mean the pairing of he and his wife, as it lies on
the edge of the bellows. The language here seems to be saying that this marriage has a strong
likelihood of ending long before it began, especially if there is not honesty and fidelity in the
relationship. This will be explored in more depth below. Any way you cut it, taken together with
the earlier “confirming divorce before the marriage began” conveys a certain sense of risk in the
act of marriage; heartbreak, if it is to happen in marriage, will be quite severe.
[13] A bellows or pair of bellows is a device

constructed to furnish a strong blast of air. The
simplest type consists of a flexible bag comprising
a pair of rigid boards with handles joined by
flexible leather sides enclosing an approximately
airtight cavity which can be expanded and
contracted by operating the handles, and fitted
with a valve allowing air to fill the cavity when
expanded, and with a tube through which the air is
forced out in a stream when the cavity is compressed. It has many applications, in particular
blowing on a fire to supply it with air. (from Wikipedia)
An unshrunk patch on the edge of a bellows, which would endure constant stress, has a much
better chance of tearing apart than not.
[14] A negative pressure ventilator, often referred to colloquially as an iron lung, is a form of
medical ventilator that enables a person to breathe when normal muscle control has been lost or
the work of breathing exceeds the person's ability. (from Wikipedia)
That the iron lung of “our language” is deflated due to this marriage’s position as an ill-prepared
disaster waiting to happen may have something to do with pinning down the exact nature and
definition of any one word, causing a lack of confidence in Aaron Weiss’ ability to say anything
meaningful or helpful.
[15] The “rectangle" note is probably a callback to the earlier triangle note in shape note singing.
Here it is a note left by the singer for his wife to find. This line brings to mind a sharp contrast to
lyrics from “C-minor”:
Open wide my door, my door, my Lord

(open wide my door)
To whatever makes me love You more
(open wide my door)
While there's still light to run towards
Where there we see an open door - something of an opportunity - here we see just the opposite.
The marriage has fixed something that was broken - the “fence” - and left the singer trapped
inside a situation he was not prepared for.
[16] Officially, the band has stated that this song is about “Aaron once again [exploring] how his
sexuality and beliefs are intertwined, this time trying to reconcile his monastic ideals and
disillusioned romanticism with his new marriage.” Thus far, this theme has been pretty clear.
Aaron, the narrator, has gotten into a situation that all his idealistic fantasies, be they about
romance or sex, could not prepare him for. Now he finds himself unable to flee back to his
former tendency to become a proto-monastic hermit.
[17] This line is a reworking of a text from Matthew, most closely resembling the King James
Version:
Take therefore no thought for the morrow: for the morrow shall take thought for the things of
itself. Sufficient unto the day is the evil thereof. - Matthew 6:34
Essentially, “take it one day at a time”. The line continues with a pun, based on the change from
the word “evil” to “misfortune”. The “misfortune” being the “fortune” that can be spent while
seeking a resilient love in the relationship. It being a “word like love” bears some mention, as
the end of the song indicates that “God” is simply a “word like G-d”. This concept will be
discussed at length below.
[18] Being “impeccably chaste as a priest” refers to the vow of celibacy that Catholic priests
must take upon entering the priesthood. The line is hyperbolic, because the only person who will
probably have less sex than a priest is a long-dead priest. The narrator reassures a mutual trust:
while away, he will remain faithful and trust that his wife will as well. This honesty and fidelity
is the only way the marriage will be able to succeed. As Aaron Weiss is a traveller by necessity,
this assurance to his wife is especially poignant.
[19] While a Deadwood map probably refers to the area of the Boise Natural Forest in Idaho, or
the city in South Dakota, I can’t help but wonder if the definition of “deadwood” as a useless
person has any bearing on the usage here.
[20] The Jyllands-Posten Muhammad cartoons controversy (or Muhammad cartoons crisis)
began after the Danish newspaper Jyllands-Posten published 12 editorial cartoons on 30
September 2005, most of which depicted Muhammad. The newspaper announced that this was an
attempt to contribute to the debate about criticism of Islam and self-censorship. Muslim groups
in Denmark complained, and the issue eventually led to protests around the world, including
violent demonstrations and riots in some Muslim countries.
(from Wikipedia)
One notable cartoon depicted Muhammad wearing a bomb

in his turban, thus the “dynamite hat”. That Aaron Weiss
intends to return to his wife as “harmless” as this cartoon is
up to interpretation. Once again, perception comes into
play. From certain perspectives this cartoon was indeed
harmless. Obviously, to devout Muslims, this was not the
case. So that begs the question: does he return harmless as
he claims, or not? Perhaps this then is a reference to the
perspective his in-laws have of him, as they all live in Ohio
and (as mentioned in the annotations to “Watermelon
Ascot”) did not approve of his religious leanings.
[21] The repeated refrain here brings to mind the famous quote “God is Dead”.
"God is dead”, (also known as the death of God) is a widely quoted statement by German
philosopher Friedrich Nietzsche. It first appears in Nietzsche's 1882 collection The Gay Science,
in sections 108 (New Struggles), 125 (The Madman), and for a third time in section 343 (The
Meaning of our Cheerfulness). It is also found in Nietzsche's classic work Thus Spoke
Zarathustra (German: Also sprach Zarathustra), which is most responsible for popularizing the
phrase. The idea is stated in "The Madman" as follows:
God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the
murderers of all murderers? What was holiest and mightiest of all that the world has yet owned
has bled to death under our knives: who will wipe this blood off us? What water is there for us to
clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not
the greatness of this deed too great for us? Must we ourselves not become gods simply to appear
worthy of it? - Nietzsche, The Gay Science, Section 125, tr. Walter Kaufmann
Although the statement and its meaning is attributed to Nietzsche it is important to note that this
was not a unique position as Georg Wilhelm Friedrich Hegel pondered the death of God, first in
his Phenomenology of Spirit where he considers the death of God to 'not [be] seen as anything
but an easily recognized part of the usual Christian cycle of redemption'.[1] Later on Hegel
writes about the great pain of knowing that God is dead 'The pure concept, however, or infinity,
as the abyss of nothingness in which all being sinks, must characterize the infinite pain, which
previously was only in culture historically and as the feeling on which rests modern religion, the
feeling that God Himself is dead, (the feeling which was uttered by Pascal, though only
empirically, in his saying: Nature is such that it marks everywhere, both in and outside of man, a
lost God), purely as a phase, but also as no more than just a phase, of the highest idea.'[2] Of
course the spirit in which it is intended is a verily Nietzsche manifestation, however it is
important to consider the material that gave rise to this idea. (from Wikipedia)
To my mind, these lines convey a certain tongue in cheek nod to Nietzche, while maintaining a
serious take on the mindset of the narrator. To have so completely diverted his course from a
single-minded pursuit of eremitic faith and replaced it, so to speak, with this marriage could very
well instigate something of a “death of God” in his perspective. It may even not be his marriage,
so much, that is the cause of this “death” but merely the silence from God he is getting in return
for sincerely seeking spiritual truths. Perhaps God is, for the time being, “dead to him”. It
should be mentioned that Aaron uses “God” here rather than “G-d”. G-d is what he has always
used on mewithoutYou albums when referring to the actual deity, and he will do so later on Pale
Horses. To me, this signifies that this is more representative of a crisis of faith than of a genuine
“death of God”. Anyone can say that God has died, but that rarely changes the reality of God.
Saying “God is dead” is like turning your back on the ocean while standing on the beach and
proclaiming that there is no such thing as an ocean. It doesn’t change the fact that the ocean is
there, but if you aren’t going to face it or ever look in it’s direction again, it may as well be gone
from your perspective. This is not the first time that someone has made the claim that God is
dead, and it certainly won’t be the last. I tend to doubt that this effects the reality of God all that
much.
“Death of God” theology may also have it’s place here. Relevant excerpts from Wikipedia:
Death of God theology is a predominately Christian theological movement, origination in the

1960's in which God is posited as having ceased to exist, often at the crucifixion. It can also refer
to a theology which includes a disbelief in traditional theism, especially in light of increasing
secularism in parts of the West. The Death of God movement is sometimes technically referred to
as "theothanatology," deriving from the Greek theos (God) and thanatos (death). The main
proponents of this radical theology included the Christian theologians Gabriel Vahanian, Paul
Van Buren, William Hamilton, John A.T. Robinson, Thomas J. J. Altizer, John D. Caputo, the
rabbi Richard L. Rubenstein, and Peter Rollins.
The theme of God's "death" became considerably more explicit in the theosophism of the 18th
and 19th century mystic William Blake. In his intricately engraved illuminated books, Blake
sought to throw off the dogmatism of his contemporary Christianity and, guided by a lifetime of
vivid visions, examine the dark, destructive, and apocalyptic undercurrent of theology. Most
notably, Blake refused to view the crucifixion of Jesus as a simple bodily death, and rather, saw
in this event a kenosis, a self-emptying of God. As Altizer writes, Blake "celebrates a cosmic and
historical movement of the Godhead that culminates in the death of God himself.
In the 19th century, Death of God thought entered philosophical consciousness through the work
of German philosopher Georg Wilhelm Friedrich Hegel. Drawing upon the mysticism of Jakob
Böhme and the Idealism of Johann Gottlieb Fichte and Friedrich Wilhelm Joseph Schelling,
Hegel sought to revise Immanuel Kant's Idealism through the introduction of a dialectical
methodology. Adapting this dialectic to the chief theological problem, the nature of God, Hegel
argued that God (as Absolute or Father) is radically negated by the concrete incarnation of God
(as Christ or Son). This negation is subsequently itself negated at the Crucifixion of Jesus,
resulting in the emergence of the Holy Spirit, God as both concrete (the church) and absolute
(spiritual community). In Hegelian thought, therefore, the death of God does not result in a strict
negativity, but rather, permits the emergence of the full revelation of God: Absolute
Consciousness.
In 1961, Gabriel Vahanian's The Death of God was published. Vahanian argued that modern
secular culture had lost all sense of the sacred, lacking any sacramental meaning, no
transcendental purpose or sense of providence. He concluded that for the modern mind "God is
dead". In Vahanian's vision a transformed post-Christian and post-modern culture was needed to
create a renewed experience of deity.
[22] Referring to God as nothing more than a “capitalized three lettered sound” reinforces the
idea that it is not G-d who is dying, but only a certain perception of Him. Once again we also
find the idea that language is insufficient, at least in it’s ability to describe G-d. “God” is just a
word, and slave to the subjective perception of each individual. G-d is everlasting.
[23] To whom exactly the narrator is pleading is unclear, but the most likely candidates are either
God (G-d) or his wife.
Aaron Weiss here recounts his recent marriage to his wife in Idaho, with inexpensive decorations
and music, under a haze of the past. After an awkward first sexual encounter in a forest in
Delaware, Weiss wonders if perhaps he has gotten in over his head as the requirements (both
sexual and romantic) are quite different from his expectations. Are he and his wife still a good
match, or will the relationship inevitably dissolve? Struggling with his monastic tendencies, he
feels somewhat trapped. Nevertheless he leaves a note for her, announcing his intent to be
faithful and to trust her when they are apart. Still, the sense that he has replaced a single-minded
zeal for the monastic spiritual life with his new marriage brings about a certain “death” for the
“God” that he served for so long, or at least for his perception of that God. Is God still out there,
watching over Aaron with grace? Or is Aaron alone? The song ends with an urgent plea for help
in his time of need.
Mexican War Streets
[1] This line has it’s origin in The Sacred Harp.
Sacred Harp singing came into being with the 1844

publication of Benjamin Franklin White and Elisha
J. King’s The Sacred Harp. It was this book, now
distributed in several different versions, that came to
be the shape note tradition with the largest number of
participants. King died soon after the book was
published, and White was left to guide its growth. He
was responsible for organizing singing schools and
conventions at which The Sacred Harp was used as
the songbook. (from Wikipedia)
Thy hymn from which the line takes it’s phrase is entitled “Wondrous Love”:
What wondrous love is this!

Oh, my soul, oh my soul!
That caused the Lord of bliss
To bear the dreadful curse
For my soul?
When I was sinking down,

Sinking down, Sinking down,
Beneath God’s righteous frown
Christ laid aside His crown
For my soul.
To God and to the Lamb,

I will sing; I will sing;
Who is the great I Am,
While millions join the theme,
I will sing.
And when from death I’m free

I’ll sing on; I’ll sing on;
I’ll sing and joyful be,
Throughout eternity
I’ll sing on.
[2] “Temporal” here probably means both pertaining to or concerned with the present life or this
world, and to being temporary. That the temporal “bridge” is burned suggests death, perhaps
even suicide; burning a bridge is usually a thought out action, as the idiom “burning your
bridges” implies.
[3] The “stock” of an anchor is a horizontal arm that is set at right angles to the arms and flukes
of the lower part of the anchor. The line suggests being anchored in a place beyond the
aforementioned burned temporal bridge.
[4] This line conveys a certain finality or timelessness in death. Time stands still in the realm of
the dead.
[5] Here we have Aaron questioning to what extent our thoughts can be called “free”. This has
already been touched on in “Watermelon Ascot”, where our behavior was compared, seemingly,
to being a product of the society in which we live. To him, it seems like the same is true of
thought. Quotes from Aaron seem to indicate that this line deal with, at least partially, the idea
that thoughts and beliefs are only free to the extent we allow them to be within a group, be it
social or religious or political. Loyalty and devotion to such groups will naturally direct a
person’s mind and shape (some would say distort) one’s thoughts, and causing reason to be
abandoned in favor of confirmation bias and headstrong defensiveness. This, then, could be the
“trap” that will catch us by the tails. That Aaron wishes to remain discreet can be confirmed time
and again in interviews, where he claims a lack of confidence in telling anyone what “truth” is.
[6] “Sugar in the cane” and “candles are low” bears certain similarities to a wisdom song from
Chanakya, an Indian teacher, philosopher, economist, jurist and royal advisor:
[As] fragrance in flower, oil in sesame seeds, fire in wood (araNi wood), ghee (fat) in milk, sugar
in sugarcane, so see the Supreme Divine in the body by the power of discrimination.
Even if that is not the source of the line’s phrasing, I think that the theme is close to it’s intent.
As sugar is the essence of sugarcane, so the flame is, in some sense, the essence of a candle. The
candles are low here, nearly burnt out, suggesting that this “divine essence” may be fleeing that
which contains it. Possibly Aaron Weiss? It should be noted that “sugar in the cane” can also
mean that the sugarcane is ready to be harvested, and thus the “time is near”, which would be
similar to “candles are low”.
[7] The South Side Flats is a neighborhood in Pittsburgh, Pennsylvania's South Side area. It is
located just south of the Monongahela River. The neighborhood has one of the City of
Pittsburgh’s largest concentrations of 19th century homes which has prompted outsiders to call
the neighborhood the City’s Georgetown. It includes many bars and restaurants as well as
residences. The main throughway in the South Side Flats is East Carson Street. This street is
home to a significant portion of Pittsburgh's nightlife. (from Wikipedia)
[8] The Mexican War Streets, originally known as

the "Buena Vista Tract", is a historic district in the
Central Northside neighborhood of Pittsburgh,
Pennsylvania, in the United States. The district is
densely filled with beautifully restored row houses,
community gardens and tree-lined streets and
alleyways. The area dates from 1848, around the
time of the Mexican–American War, and consists
largely of row houses, mostly Victorian-era. In the
late 19th century, Allegheny, Pennsylvania (later
annexed by Pittsburgh), became known for its
stately homes, occupied by some of the area's wealthy families. One such area became known as
the Mexican War Streets. These streets were laid out between 1848 and 1855 by Alexander Hays
on land owned by General William Robinson, who later became mayor of the city of Allegheny. A
number of the streets are named after battles and generals of the Mexican–American War,
including Buena Vista Street, Monterey Street, Palo Alto Street, Resaca Place, Sherman Avenue,
and Taylor Avenue. Fremont Street (currently Brighton Place) had been named in recognition of
John C. Frémont. (from Wikipedia)
[9] With whom the “first fight” was had is unclear. Perhaps Aaron Weiss is speaking of a fight
with his wife, but I tend to doubt it. If that is indeed the case, then this portion of the song begins
to speak of an extreme reluctance to enter into the marriage, even to the point of (metaphorical or
literal) suicide. I believe that this particular theory has more holes in it than not, but I will
attempt to track that line of reasoning where it differs from my own as the song continues. There
is indication that at least of a portion of the song deal with his relationship to his parents, so
perhaps this is a reference to them. One major possibility indicates a struggle with some other
childhood friend or girlfriend, as it takes place in their “contemptible youth”. Perhaps it is even
some sort of past existential spiritual crisis, a battle with God, or even with the concept of “true
love” or celibacy, but I doubt this.
[10] White Nights is a short story by Fyodor Dostoevsky. It tells of a an unnamed narrator who
meets and falls in love with a woman named Nastenka, who ultimately rebuffs his romantic
advances.
The final section is a brief afterword that relates a letter which Nastenka sends him apologizing
for hurting him and insisting that she would always be thankful for his companionship. She also
mentions that she would be married within a week and hoped that he would come. The narrator
breaks into tears upon reading the letter. Matryona, his maid, interrupts his thoughts by telling
him she's finished cleaning the cobwebs. The narrator notes that though he'd never considered
Matryona to be an old woman, she looked far older to him then than she ever did before, and
briefly wonders if his own future is to be without companionship and love. He however refuses to
despair… (from Wikipedia)
The story ends with this quote:
"But that I should feel any resentment against you, Nastenka! That I should cast a dark shadow
over your bright, serene happiness! ...That I should crush a single one of those delicate blooms
which you will wear in your dark hair when you walk up the aisle to the altar with him! Oh no —
never, never! May your sky be always clear, may your dear smile be always bright and happy,
and may you be for ever blessed for that moment of bliss and happiness which you gave to
another lonely and grateful heart ... Good Lord, only a moment of bliss? Isn't such a moment
sufficient for the whole of a man's life?”
(Dostoyevsky, F., & Phillips, W. (1946). The Short Stories of Dostoevsky,. New York: The Dial Press.)
This lends some credence to the idea that Aaron Weiss is referring to some former love interest,
perhaps even the infamous Amanda, with whom he was briefly engaged. One can’t help but see
some parallels in his situation to that of Dostoevsky’s narrator. As the song continues into
recounting an apparent suicide attempt, perhaps he, too, received a letter informing him that the
old flame with whom he had fought on the Mexican War Streets has moved on to a marriage. If
the opposing theory holds true, that the individual he speaks of is his current wife, this line
would indicate an attempt to be relieved of the marriage, using the logic in the quote from White
Nights as a way to get out of the situation.
[11] That the narrator here is waiting with a “stone in his hand” brings to mind the idiom “casting
the first stone” as in being the first to condemn or blame a wrongdoer. This idiom, of course, has
it’s origin in the gospel of John:
So when they continued asking him, he lifted up himself, and said unto them, He that is without
sin among you, let him first cast a stone at her. - John 8:7
It has been suggested that this is an allusion to the common trope of waiting outside of
someone’s window with a pebble, ready to throw it into the window to wake up someone
(usually a love interest) sleeping within. Perhaps this is the case, but to my mind there is very
little to support this assumption.
[12] “Nature had another plan” reminds me of the common saying “God has a plan for you”,
although obviously inverted. While some interpretation can be gleaned as to the use of nature
here, I believe it is probably most solidly explained as simply some version of “it was not meant
to be”. In the case that Aaron is speaking of his current wife, perhaps this indicates that his
hesitance to get married and give up a celibate lifestyle was cast aside by “nature”, whose plan
carried him along with it. There is some evidence to support this claim in interviews, as Aaron
Weiss has expressed sentiments along those lines.
[13] Here a “surrogate”, in psychiatry, is a person who is a substitute for someone else,
especially in childhood when different persons, such as a brother or teacher, can act as substitutes
for the parents. That Aaron here identifies the other plan of nature with the creation of a self
surrogate, suggests an attempt at removing himself from a situation at a psychological level,
perhaps in order to gain some sense of objectivity to the situation.
[14] The idea of this “surrogate” is place in the settled remnants of “innumerable lives” of other
people. I get the sense that this conveys a certain hesitance on the part of the narrator to continue
an existence past this event. To feel as though you are just going through the motions, as it were,
floating along in a numb continued life as some sort of replacement self seems a dark place to be
at. One may wish to live a life of obscurity, or no longer live at all. This could also be a desire
to live vicariously, perhaps, through someone else’s life. Perhaps his ex girlfriend’s new lover or
some other equivocal individual that is in a more “positive” place, perhaps only in the sense that
these other innumerable lives around him do not have his same worries. The lives may also
represent some other possible realities in which he could take part. One surrogate self being the
Aaron Weiss who lives a celibate eremitic lifestyle, while he himself gets married and gives that
up instead. In such a case, here we would find him weighing the options, as it were.
[15] This line is taken in fragments from the poem People by Yevgeny Yevtushenko:
No people are uninteresting.

Their fate is like the chronicle of planets.
Nothing in them is not particular,

and planet is dissimilar from planet.
And if a man lived in obscurity

making his friends in that obscurity
obscurity is not uninteresting.
To each his world is private,

and in that world one excellent minute.
And in that world one tragic minute.

These are private.
In any man who dies there dies with him

his first snow and kiss and fight.
It goes with him.
There are left books and bridges

and painted canvas and machinery.
Whose fate is to survive.
But what has gone is also not nothing:

by the rule of the game something has gone.
Not people die but worlds die in them.
Whom we knew as faulty, the earth’s creatures

Of whom, essentially, what did we know?
Brother of a brother? Friend of friends?

Lover of lover?
We who knew our fathers

in everything, in nothing.
They perish. They cannot be brought back.

The secret worlds are not regenerated.
And every time again and again

I make my lament against destruction.
(Yevtushenko, Y., & Gulland, R. (1962). Selected Poems. New York: Dutton.)
[16] The West End Bridge is a steel bowstring

arch bridge over the Ohio River in Pittsburgh,
Pennsylvania, approximately one mile below
the confluence of the Allegheny and
Monongahela Rivers. (from Wikipedia)
[17] Karma means action, work or deed; it

also refers to the spiritual principle of cause
and effect where intent and actions of an
individual (cause) influence the future of that
individual (effect). Good intent and good deed
contribute to good karma and future happiness,
while bad intent and bad deed contribute to bad karma and future suffering. (from Wikipedia)
Karma would definitely come into play when contemplating suicide, as it will soon become clear
that Aaron Weiss, as the song’s narrator, is doing. It should also be noted that in interviews he
has talked about karma in regards to a sort of inherited cause and effect. That is, what
predispositions - emotionally, mentally, spiritually - he has inherited. It would seem that at least
a portion of this song is in some way reflecting Aaron’s relationship with his parents. That his
parents brought him up very religious, from varying sources, and that they spent some time in
mental institutions in the past would certainly be a heavy burden if he were to worry about some
kind of an inherited propensity for that sort of thing. Once again, how much of his thought and
action can be considered “free” if so much of it depends on the subjective perspective he has
inherited?
[18] As the sugar has dried from the cane and the candles have melted, it seems likely that the
“essence” of Aaron has gone out. Perhaps it is merely a poetic way of saying “the time for
decision is past”.
[19] Another element of his fear of inheriting his parent’s mistakes has to do with their past drug
abuse. Apparently Aaron Weiss’ parents were both put into a mental hospital due to psychedelic
drug abuse. Aaron and his brother Mike, however, rejected that lifestyle in favor of being a part
of the “straight-edge” movement. This line is perhaps indicating a rejection of drugs as an option
to combat the depression and suicidal tendencies. It may also be emblematic of a rejection of
what he has inherited from his parents in general. The latter become more interesting and
poignant when seen in the light of the final track, “Rainbow Signs”, in which Aaron becomes his
father. As this moment happens immediately after coming down from his suicidal heights,
perhaps it is a rejection of suicide as well.
[20] “Red letter edition” Bibles are those in which words spoken by Jesus, commonly only while
he was on the Earth, are printed in red ink. Thus Aaron is pining to meet Christ.
[21] This is possibly a reference to Charon in Greek mythology. From Wikipedia:
In Greek mythology, Charon or Kharon is the ferryman of Hades who carries souls of the newly
deceased across the rivers Styx and Acheron that divided the world of the living from the world
of the dead. A coin to pay Charon for passage, usually an obolus or danake, was sometimes
placed in or on the mouth of a dead person.
That Aaron wishes to meet Christ “with a coin in his teeth” is probably indicating that his wish to
kill himself would separate him from Christ, and that he would rather die properly and go to
meet his Maker than risk damnation. Thus to come down from the bridge is to make a
determined choice to continue living and seek Christ, or at least a spiritual existence.
[22] This line, especially seen in conjunction with the scriptural reference in the next line, may
be a slight against organized religion. I get the sense that it may even be a condemnation
specifically against evangelical Christianity, which we have already encountered in previous
tracks. Here we have religious devotion described as the result of sadness and societal need,
rather than of people seeking truth. It is loud and desperate, but amounts merely to social routine
and nothing more.
[23] The above is lent some credence when put beside this verse from Deuteronomy:
15 But Jeshurun [Israel] waxed fat, and kicked: thou art waxen fat, thou art grown thick, thou art
covered with fatness; then he forsook God which made him, and lightly esteemed the Rock of his
salvation. - Deuteronomy 32:15
[24] The preceding lines evoke the imagery of the West End Bridge allegorically, as a method of
bridging an ocean of distance. This could be the distance between the living and the dead, or
between the present and the past, or something else entirely. Much of this song seems to detail a
very real turning point in Aaron Weiss’ life, one where he determined to move past a situation
and, to some extent, embrace life. This decision would increase the distance between life and
death, past regrets and present triumphs, ever more immense.
Another possibility is that this line directly indicates a further condemnation of religious
gatherings. That people would chose to come together for mutual benefit and social routine is
made worse when considering that for all the close-knit faith communities they try to establish,
very little distance between people is bridged. People remain emotionally and spiritually
isolated, while performing certain social rituals that attempt to indicate otherwise.
“Carnegie Steel” is a reference to the Carnegie Steel Company, a steel producing company
created by Andrew Carnegie to manage business at his steel mills in the Pittsburgh, Pennsylvania
area in the late 19th century.
[25] “Representation” can mean many things, but taken in conjunction with earlier lines in the
song, may be identifying the concept of “social representation”.
A social representation is a stock of values, ideas, metaphors, beliefs, and practices that are
shared among the members of groups and communities.
The term social representation was originally coined by Serge Moscovici in 1961, in his study on
the reception and circulation of psychoanalysis in France. It is understood as the collective
elaboration "of a social object by the community for the purpose of behaving and
communicating". They are further referred to as "system of values, ideas and practices with a
twofold function; first, to establish an order which will enable individuals to orient themselves in
their material and social world and to master it; and secondly to enable communication to take
place among the members of a community by providing them with a code for social exchange
and a code for naming and classifying unambiguously the various aspects of their world and
their individual and group history". In his study, Moscovici sought to investigate how scientific
theories circulate within common sense, and what happens to these theories when they are
elaborated upon by a lay public. For such analysis, Moscovici postulated two universes: the
reified universe of science, which operates according to scientific rules and procedures and gives
rise to scientific knowledge, and the consensual universe of social representation, in which the
lay public elaborates and circulates forms of knowledge which come to constitute the content of
common sense.
Moscovici's pioneering study described how three segments of French society in the 1950s, i.e.
the urban-liberal, the Catholic, and the communist milieus, responded to the challenge of
psychoanalytic ideas. Moscovici found that communication processes, the contents, and their
consequences differed across the three social segments. Moscovici identified propaganda as the
typical communication of the communist milieu, whereby communication is ordered
systematically emphasising incompatibility and conflict. The intention is to generate negative
stereotypes. Propagation was the typical form of the Catholic segment, identified as didactic and
well-ordered but with the intention to make limited concessions to a subgroup of Catholics with
affinities to psychoanalysis, and simultaneously, to set limits to the acceptance within the
established orthodoxy of the Church. Diffusion was typical of urban-liberal milieus, whereby
communication was merely intended to inform people about new opportunities, with little
resistance to psychoanalysis.
Moscovici described two main processes by which the unfamiliar is made familiar: anchoring
and objectification. Anchoring involves the ascribing of meaning to new phenomena – objects,
relations, experiences, practices, etc. - by means of integrating it into existing worldviews, so it
can be interpreted and compared to the "already known". In this way, the threat that the strange
and unfamiliar object poses is being erased. In the process of objectification something abstract
is turned into something almost concrete.
Social representations, therefore, are depicted as both the process and the result of social
construction. In the socio-cognitive activity of representation that produces representations,
social representations are constantly converted into a social reality while continuously being re-
interpreted, re-thought, re-presented.
Moscovici's theorisation of social representations was inspired by Émile Durkheim's notion of

collective representations. The change from collective representations to social representations
has been brought about by the societal conditions of modernity. (from Wikipedia)
The idea of social communities and religious rituals in light of “social representation” theory
definitely fits into the earlier condemnation of such.
[26] This concept of signs may further explore the subjective perceptions as they affect an
individual’s faith. That “signs” in a faith community may be outright falsities (more on this later,
especially in “Red Cow” and “Rainbow Signs”), or if not false, merely instances that are
subjectively defined as “signs” is illuminated by Jean-Paul Sartre in his essay Existentialism and
Human Emotion:
“When I was a prisoner, I knew a rather remarkable young man who was a Jesuit. He had
entered the Jesuit order in the following way: he had had a number of very bad breaks; in
childhood, his father died, leaving him in poverty, and he was a scholarship student at a
religious institution where he was constantly made to feel that he was being kept out of charity;
then, he failed to get any of the honors and distinctions that children like; later on, at about
eighteen, he bungled a love affair; finally, at twenty-two, he failed in military training, a childish
enough matter, but it was the last straw.
This young fellow might well have felt that he had botched everything. It was a sign of
something, but of what? He might have taken refuge in bitterness or despair. But he very wisely
looked upon all this as a sign that he was not made for secular triumphs, and that only the
triumphs of religion, holiness, and faith were open to him. He saw the hand of God in all this,
and so he entered the order. Who can help seeing that he alone decided what the sign meant?
Some other interpretation might have been drawn from this series of setbacks; for example, that
he might have done better to turn carpenter or revolutionist. Therefore, he is fully responsible for
the interpretation. Forlornness implies that we ourselves choose our being. Forlornness and
anguish go together.
As for despair, the term has a very simple meaning. It means that we shall confine ourselves to
reckoning only with what depends upon our will, or on the ensemble of probabilities which make
our action possible. When we want something, we always have to reckon with probabilities. I
may be counting on the arrival of a friend. The friend is coming by rail or street-car; this
supposes that the train will arrive on schedule, or that the street-car will not jump the track. I am
left in the realm of possibility; but possibilities are to be reckoned with only to the point where
my action comports with the ensemble of these possibilities, and no further. The moment the
possibilities I am considering are not rigorously involved by my action, I ought to disengage
myself from them, because no God, no scheme, can adapt the world and its possibilities to my
will. When Descartes said, "Conquer yourself rather than the world," he meant essentially the
same thing.”
(Sartre, J. (1971). Existentialism and Human Emotion. Secaucus, N.J.: Citadel.)
[27] The full text of this James Joyce quote, which comes from the notoriously inscrutable
Ulysses, is as follows:
Part. The moment is now. Where then? If Socrates leave his house today, if Judas go forth
tonight. Why? That lies in space which I in time must come to, ineluctably.
My will: his will that fronts me. Seas between.
(Joyce, J. (1992). Ulysses (Modern library ed.). New York: Modern Library.)
From the Sparknotes on this chapter:
Episode Nine corresponds to Odysseus’s trial-by-sea in which he must sail between Scylla, the
six-headed monster situated on a rock, and Charybdis, a deadly whirlpool. The concept of
negotiating two extremes plays out several times within the episode, most notably in the Plato-
Aristotle dichotomy that Stephen mentions. Like Odysseus, Stephen sails closer to Scylla, and
thus Stephen’s thoughts and theories owe more to Aristotle’s grounded, material, logical sense of
the world (symbolized by the rock) than to Plato’s sense of unembodied concepts or ideals
(symbolized by the whirlpool).
This alignment explains why Stephen grounds Shakespeare’s work in the lived reality of
Shakespeare’s life, whereas A.E. separates the man from the eternal ideas expressed in his work.
Like Odysseus, Stephen cannot sail too close to Scylla’s rock, though, and the threat of extreme
materialism is represented by Buck and his physically based humor. Stephen also has to
negotiate between his desire for acceptance from literary men such as Eglinton and A.E. and his
disdain for such men and their movement, the Irish Literary Revival. Stephen is scornful of A.E.’s
mysticism and Eglinton’s superiority, but he is also bitterly sad at not being considered for A.E.’s
compilation of young Irish poets or for the gathering at Moore’s house.
(Ulysses (SparkNotes Literature Guide). (n.d.).)
It would seem that, like the characters in Ulysses, Aaron Weiss is discussing a distance between
two extremes. These may be the extremes of viewpoint between the religious community and
those outside of it, the distance between life and death, or the distance between individuals
within a community (faith-based/social, etc.) due to subjective experience. Perhaps all of these,
or none of them. Context suggests at least one of these may be close to the mark.
[28] “Those who precede” is an interesting line. It may be a general allusion to “those that have
gone before”; in other words, those who have built up an environment (ie a system of religious
belief) that colors our perceptions. More directly, it may refer to Aaron Weiss’ parents, their will
and belief systems affecting his own present state.
[29] The metaphor here is of a seismometer, an instrument

that measures and records details of earthquakes, such as
force and duration.
[30] The vibrations of “petrified men” is compared to the

vibrations recorded by a seismometer and etched by its
swinging pens onto a printout. This suggests that the
thoughts of others (perhaps opinions of peers, perhaps
thought from the intelligence and philosophers of the past,
perhaps another allusion to Aaron Weiss’ parents) are a
factor in influencing Aaron’s current state of mind. That
they are “petrified” plays on the use of the word, one being a state of fear, the other of
petrification of formerly living things into stone, furthering the geological metaphor.
[31] The “underground plates” phrase is utilizing “tectonic plates”, massive, irregularly shaped
slabs of solid rock that compose the earth’s crust, as a metaphor for Aaron’s ever-drifting state of
mind. A second level of metaphor is suggested in that, much like the earth itself, the human skull
is formed of bone “plates”. This reading may well render the entire last portion of the song a
metaphorical comment on Aaron’s mental health and perceptions. Note also that, in some sense,
continental drift does indeed bridge an ocean between two land masses.
[32] That the movements of these “underground plates” neither bridges nor widens this oceanic
distance between two extremes of thought suggests that, for now, Aaron’s mind is in stasis in
regards to his perceptions, moving neither one way or the other, accepting a state somewhere in
between. I am reminded of a line from the previous album that alludes to a similar state of mind.
From “Fox’s Dream of the Log Flume”:
So right now I think it’s pretty obvious that there’s no God

And there’s definitely a God!
In the first half of the song, Aaron Weiss recounts his mindset as he prepares to jump off of the
West End Bridge that spans the Ohio River Pittsburgh, Pennsylvania. He contemplates the
nature of “free” thought and the finality of death. As he looks down at the water, he remembers
vividly a fight he had with an individual in the Mexican War Streets district of Pittsburgh. He
recalls trying to rid them from his thoughts, but was unsuccessful. Inexorably drawn to the
option of suicide, he faces a decision: try to live on as others go about their lives as some numb
automaton, make a decision to move on and live a productive life, or end everything he’s ever
known by leaping from the bridge. Instead, he notices the beauty of the autumnal hills in the
distance and makes a decision to reject suicide in favor of a path that may end in meeting Christ
upon a more proper death.
In the second half of the song, Aaron considers the social constructs of religious communities.
Just how much of faith is determined by groupthink and subjective perception? How many faith
communities are brought together through social need rather than a search for truth? Where once
he stood at a pivotal moment of life on a literal bridge, he now stands on a bridge overlooking
the oceanic distance between two extremes of thought: that God is true, and that what he
experiences of God is a subjective interpretation of objective experiences brought on by what he
has inherited by his circumstances, society, and upbringing. In the end, he turns to neither side,
choosing to weather the tempest somewhere in between.
Red Cow
[1] Here we have the first of many instances throughout this song that explores aspects of early
Judaism, specifically the Exodus account from the pentateuch. A “Red Sea flood” is a reference
to the crossing of the Red Sea by the Israelites that were fleeing Pharaoh’s army.
God chooses Moses to lead the children of Israel out of slavery in Egypt and into the land of
Canaan, which God has promised to them. The Egyptian pharaoh agrees to their departure, and
they travel from Ramesses to Succoth and then to Etham on the edge of the desert, led by a pillar
of cloud by day and a pillar of fire by night. There God tells Moses to turn back and camp by the
sea at Pi-hahiroth, between Migdol and the sea, directly opposite Baal-zephon.
Crossing the Red Sea, a wall painting from the 1640s in Yaroslavl, Russia
God causes the pharaoh to pursue the Israelites with chariots, and he overtakes them at Pi-
hahiroth. When the Israelites see the Egyptian army they are afraid, but the pillar of fire and the
cloud separates the Israelites and the Egyptians. At God's command Moses holds his staff out
over the water, and throughout the night a strong east wind divides the sea, and the Israelites
pass through with a wall of water on either side. The Egyptians pursue, but at daybreak God
clogs their chariot-wheels and throws them into a panic, and with the return of the water the
pharaoh and his entire army are destroyed (see Psalm 136:15). When the Israelites see the
power of God they put their faith in God and in Moses, and sing a song of praise to the Lord for
the crossing of the sea and the destruction of their enemies. (This song, at Exodus 15, is called
the Song of the Sea).
The narrative contains at least three and possibly four layers. In the first layer (the oldest), God
blows the sea back with a strong east wind, allowing the Israelites to cross on dry land; in the
second, Moses stretches out his hand and the waters part in two walls; in the third, God clogs the
chariot wheels of the Egyptians and they flee (in this version the Egyptians do not even enter the
water); and in the fourth, the Song of the Sea, God casts the Egyptians into tehomat, the mythical
abyss. (from Wikipedia)
From the text:
21 And Moses stretched out his hand over the sea; and the Lord caused the sea to go back by a
strong east wind all that night, and made the sea dry land, and the waters were divided. 22 And
the children of Israel went into the midst of the sea upon the dry ground: and the waters were a
wall unto them on their right hand, and on their left. 23 And the Egyptians pursued, and went in
after them to the midst of the sea, even all Pharaoh's horses, his chariots, and his horsemen. 24
And it came to pass, that in the morning watch the Lord looked unto the host of the Egyptians
through the pillar of fire and of the cloud, and troubled the host of the Egyptians, 25 And took off
their chariot wheels, that they drave them heavily: so that the Egyptians said, Let us flee from the
face of Israel; for the Lord fighteth for them against the Egyptians. 26 And the Lord said unto
Moses, Stretch out thine hand over the sea, that the waters may come again upon the Egyptians,
upon their chariots, and upon their horsemen. 27 And Moses stretched forth his hand over the
sea, and the sea returned to his strength when the morning appeared; and the Egyptians fled
against it; and the Lord overthrew the Egyptians in the midst of the sea. 28 And the waters
returned, and covered the chariots, and the horsemen, and all the host of Pharaoh that came into
the sea after them; there remained not so much as one of them. 29 But the children of Israel
walked upon dry land in the midst of the sea; and the waters were a wall unto them on their right
hand, and on their left. 30 Thus the Lord saved Israel that day out of the hand of the Egyptians;
and Israel saw the Egyptians dead upon the sea shore. 31 And Israel saw that great work which
the Lord did upon the Egyptians: and the people feared the Lord, and believed the Lord, and his
servant Moses. - Exodus 14:21-31
[2] Cornhusk here is probably a description of the yellowing dawn sky.
[3] Elkhorn here may be indicating the Elkhart River in Nebraska, or the Fremont and Elkhorn
Valley Railroad of the same state. Either would work because both rivers and trains “run”,
however I am inclined to think it is that latter, as much of the imagery of this song comes from a
train trip Aaron Weiss and his new wife took through Nebraska on their honeymoon.
[4] A “psalm” here is probably the generic form, meaning a sacred song, rather than a specific
reference to any of the 150 sacred songs, lyric poems, and prayers that together constitute a book
(Psalms) of the Old Testament. It seems this might be a song of the railroad, sung to the speed of
a locomotive engine.
[5] Again we encounter a Pale Horse, seen here as a looming presence of catastrophe waiting on
a withdrawn railroad. We can pause a moment to explore an aspect of the theme of “pale horses”
on the album. Throughout many of the tracks we can see that the symbol of death, of
“catastrophe” is seen on two levels: the literal apocalypse and the personal apocalypse. Aaron
Weiss is showing us apocalypses and armageddons on both a worldwide scale (atomic war,
technocracy, political conspiracies) and at a personal level (crises of faith and doubt, crumbling
marriages, attempted suicide, the loss of a loved one). As we move further into the album, the
two levels of apocalypse will become increasingly intertwined until they reach a combined
crescendo in the final track, which we will discuss in the proper place.
[6] That the train is clanging “loudward on” suggests an increasing intensity of sound. Death
growing ever closer, as Aaron bids his own train on its way, perhaps in an attempt to outrun the
end, although this is mostly contextual conjecture.
[7] The red heifer, also

known as the red cow,
was a cow brought to the
priests as a sacrifice
according to the Hebrew
Bible, and its ashes were
used for the ritual
purification of a Tumat
HaMet ("the impurity of
death"), that is, an
Israelite who had come
into contact with a
corpse.
According to Numbers
19:2: "Speak unto the
children of Israel, that
they bring thee a red heifer without spot, wherein is no blemish, and upon which never came
yoke".
The Book of Numbers stipulates that the cow must be red in color, without blemish, and it must
not have been used to perform work (Numbers 19:2). The heifer is then ritually slaughtered
(Numbers 19:3) and burned outside of the camp (Numbers 19:3–6). Cedar wood, hyssop, and
wool or yarn dyed scarlet are added to the fire, and the remaining ashes are placed in a vessel
containing pure water (Numbers 19:9).
In order to purify a person who has become ritually contaminated by contact with a corpse,
water from the vessel is sprinkled on him, using a bunch of hyssop, on the third and seventh day
of the purification process (Numbers 19:18–19).
The priest who performs the ritual then becomes ritually unclean, and must then bathe himself
and his clothes in a ritual bath. He is deemed impure until evening.
In the Book of Daniel is a reference to a Red Heifer. In Daniel 12:10, God tells Daniel that in the
last days, "many shall be purified and made white"; a reference to the purification ritual of the
Red Heifer, "Though your sins be as scarlet, they shall be as white as snow" (Isa 1:18, Num
19:6). The analogy appears to relate to a partner of the returning End Time messiah.
The existence of a red heifer that conforms with all of the rigid requirements imposed by halakha
is a biological anomaly.[clarification needed] The animal must be entirely of one color, and
there is a series of tests listed by the rabbis to ensure this; for instance, the hair of the cow must
be absolutely straight (to ensure that the cow had not previously been yoked, as this is a
disqualifier). According to Jewish tradition, only nine Red Heifers were actually slaughtered in
the period extending from Moses to the destruction of the Second Temple. Mishnah Parah
recounts eight, stating that Moses prepared the first, Ezra the second, Simon the Just and
Yochanan the High Priest prepared two each, and Elioenai ben HaQayaph and Hanameel the
Egyptian prepared one each (Mishna Parah 3:5).
The absolute rarity of the animal, combined with the detailed ritual in which it is used, have
given the Red Heifer special status in Jewish tradition. It is cited as the prime example of a ḥok,
or biblical law for which there is no apparent logic. Because the state of ritual purity obtained
through the ashes of a Red Heifer is a necessary prerequisite for participating in Temple service,
efforts have been made in modern times by Jews wishing for biblical ritual purity (see tumah and
taharah) and in anticipation of the building of The Third Temple to locate a red heifer and
recreate the ritual. However, multiple candidates have been disqualified, as late as 2002. (See
the "Temple Institute" section below.)
The non-canonical Epistle of Barnabas (8:1) explicitly equates the Red Heifer with Jesus. In the
New Testament, the phrases "without the gate" (Hebrews 13:12) and "without the
camp" (Numbers 19:3, Hebrews 13:13) have been taken to be not only an identification of Jesus
with the Red Heifer, but an indication as to the location of the crucifixion. This is the thesis of
Ernest L. Martin in his 1984 book Secrets of Golgotha.
Some Fundamentalist Christians believe that the Second Coming of Jesus Christ cannot occur
until the Third Temple is constructed in Jerusalem, which requires the appearance of a red heifer
born in Israel. Clyde Lott, a cattle breeder in O'Neill, Nebraska, United States, is attempting to
systematically breed red heifers and export them to Israel to establish a breeding line of red
heifers in Israel in the hope that this will bring about the construction of the Third Temple and
ultimately the Second Coming of Jesus Christ. (from Wikipedia)
There are a number of interesting themes we can extract from the information above. First, the
apocalyptic: the Red Cow here may be used as a symbol of the end times, and the return of the
Messiah. For many Christians, this means armageddon and the return of Christ. That a
Nebraskan fundamentalist farmer is trying to breed perfect red heifer’s in order to ship them to
Israel and jumpstart the Christian apocalypse can not go unmentioned in light of the repeated
themes on the album and the setting of this particular song’s imagery. Certainly the later
condemnation of religious tribal groupthink in this song is in some ways relevant to a man so
blind to outside logic that he would be willing to create a cattle breeding program with such an
odd end goal.
Another theme that I think is equally important when considering the place of the red cow in the
album is it’s role in the purification ritual for a Jew who has come into contact with a corpse. I
contend that much of this album, especially on the “personal apocalypse level” stems from the
death of Aaron Weiss’ father. This loss - this “pale horse” - looms large over the second half of
the album, like a sinister train on a withdrawn rail. It only stands to reason that in some ways,
Aaron may be seeking a refuge from the emotional and spiritual fallout of his father’s death; a
“red cow” to cleanse his soul after coming into contact with his pale horse.
One other aspect to consider is that in Vasily Kafanov’s artwork inspired by the album, a red
heifer is a repeated motif, often paired with the blue hen. This, to me (along with the hooves
divided line) indicates that there is something in the imagery that Aaron has used to personify
himself thematically within the songs.
[8] That Aaron identifies himself as a “steadfast son” so shortly after claiming that he is waiting
on a “red cow” to my mind lends credence to my theory about his father’s death. The reference
to his thoughts being divided (between faith and doubt, perhaps) like hooves is a nod to Jewish
dietary law.
The distinction between cloven and uncloven hooves is highly relevant for dietary laws of
Judaism (Kashrut), as set forth in the Torah and the Talmud. Animals that both chew their cud
(ruminate) and have cloven hooves are allowed (kosher), whereas those that have only one of
these two characteristics are considered unclean animals and Jews are forbidden to eat them.
This rule excludes from the diet the camel because it walks on toes (camel hooves are nails
coming out of toes), and the pig because it has cloven hooves but does not ruminate. (from
Wikipedia)
[9] This line takes it’s phrasing from the hymn “Africa” in the The Sacred Harp:
Now shall my inward joys arise,

And burst into a song;
Almighty love inspires my heart,
And pleasure tunes my tongue.
God, on His thirsty Zion’s hill,

Some mercy drops has thrown;
And solemn oaths have bound His love
To show’r salvation down.
Why do we then indulge our fears,

Suspicions and complaints?
Is He a God, and shall His grace
Grow weary of His saints?
[10] The story of Moses striking a rock in order to bring forth water has it’s source in the
Pentateuch. Moses strikes a rock to produce water for the thirsty Israelites in the desert twice. In
the second instance, God commands him only to speak to the rock and it would bring forth water.
Instead, Moses strikes it in anger and this action proves to be his greatest mistake. He is
forbidden from entering the Promised Land, and dies watching a second generation of Israelites
enter it without him. The two instances, first from Exodus:
1And all the congregation of the

children of Israel journeyed from the
wilderness of Sin, after their journeys,
according to the commandment of the
LORD, and pitched in Rephidim: and
there was no water for the people to
drink. 2Wherefore the people did
chide with Moses, and said, Give us
water that we may drink. And Moses
said unto them, Why chide ye with
me? wherefore do ye tempt the
LORD? 3And the people thirsted
there for water; and the people
murmured against Moses, and said,
Wherefore is this that thou hast brought us up out of Egypt, to kill us and our children and our
cattle with thirst? 4And Moses cried unto the LORD, saying, What shall I do unto this people?
they be almost ready to stone me. 5And the LORD said unto Moses, Go on before the people, and
take with thee of the elders of Israel; and thy rod, wherewith thou smotest the river, take in thine
hand, and go. 6Behold, I will stand before thee there upon the rock in Horeb; and thou shalt
smite the rock, and there shall come water out of it, that the people may drink. And Moses did so
in the sight of the elders of Israel. 7And he called the name of the place Massah, and Meribah,
because of the chiding of the children of Israel, and because they tempted the LORD, saying, Is
the LORD among us, or not? - Exodus 17:1-7
And the second time, from Numbers:
1Then came the children of Israel, even the whole congregation, into the desert of Zin in the first
month: and the people abode in Kadesh; and Miriam died there, and was buried there. 2And
there was no water for the congregation: and they gathered themselves together against Moses
and against Aaron. 3And the people chode with Moses, and spake, saying, Would God that we
had died when our brethren died before the LORD! 4And why have ye brought up the
congregation of the LORD into this wilderness, that we and our cattle should die there? 5And
wherefore have ye made us to come up out of Egypt, to bring us in unto this evil place? it is no
place of seed, or of figs, or of vines, or of pomegranates; neither is there any water to drink.
6And Moses and Aaron went from the presence of the assembly unto the door of the tabernacle of
the congregation, and they fell upon their faces: and the glory of the LORD appeared unto them.
7And the LORD spake unto Moses, saying, 8Take the rod, and gather thou the assembly together,
thou, and Aaron thy brother, and speak ye unto the rock before their eyes; and it shall give forth
his water, and thou shalt bring forth to them water out of the rock: so thou shalt give the
congregation and their beasts drink. 9And Moses took the rod from before the LORD, as he
commanded him. 10And Moses and Aaron gathered the congregation together before the rock,
and he said unto them, Hear now, ye rebels; must we fetch you water out of this rock? 11And
Moses lifted up his hand, and with his rod he smote the rock twice: and the water came out
abundantly, and the congregation drank, and their beasts also. 12And the LORD spake unto
Moses and Aaron, Because ye believed me not, to sanctify me in the eyes of the children of Israel,
therefore ye shall not bring this congregation into the land which I have given them. 13This is the
water of Meribah; because the children of Israel strove with the LORD, and he was sanctified in
them. - Numbers 20:1-13
[11] The Pharaoh’s spell is what held the Israelites captive in Egypt as slaves. His “spell” of
forced submission due to his role as king and slavemaster is compared to the similar sway that
religious “pictures” hold captive people of faith in the following lines.
[12] The phrase “what picture holds us” is inspired by a quote from Ludwig Wittgenstein from
his Philosophical Investigations:
“A picture held us captive. And we could not get outside it, for it lay in our language and
language seemed to repeat it to us inexorably.”
(Wittgenstein, L. (1953). Philosophical Investigations;. New York: Macmillan.)
Once again we have the limits of language, specifically as it relates to religious and cultural
worldviews, being explored here. Aaron Weiss seems to be saying that a religious label is a
picture that holds the faithful captive. How one must create a linguistic label for faith is
extremely limiting in light of how ill-adapted language is to describing and defining the infinite
attributes of a concept like God. We have, beginning with this line, perhaps Weiss’ harshest
condemnation of organized religion to date. Later he will identify a number of worldviews as
being pictures that hold their adherents captive. Here he compares such a notion - of limiting
oneself to only a Christian or Jewish worldview to the negation of all others (due to hearing only
the captivating language of one’s own tribe) - as a kind of spiritual and mental slavery that limits
free thought.
[13] In the biblical Book of Numbers, the

Nehushtan was a bronze serpent on a pole
which God told Moses to erect to prevent
the Israelites who saw it of dying from the
bites of the "fiery serpents" which God
had sent to punish them for speaking
against God and Moses.
King Hezekiah later instituted a religious

iconoclastic reform and destroyed "the
brazen serpent that Moses had made; for
unto those days the children of Israel did
burn incense to it; [it was called|and he
called it] Nehushtan.”
In the biblical story, following their

Exodus from Egypt, the Israelites set out
from Mount Hor, where Aaron was buried,
to go to the Red Sea. However they had to
detour around the land of Edom (Numbers
20:21, 25). Frustrated and impatient, they
complained against Yahweh and Moses (Num. 21:4-5), and in response God sent "fiery serpents"
among them. For the sake of the ones who were repentant, Moses was instructed by God to erect
a "serpent of bronze" which was used to heal those who looked upon it (Numbers 21:4-9).
The term also appears in 2 Kings 18:4 in a passage describing reforms made by King Hezekiah,
in which he tore down altars, cut down symbols of Asherah, destroyed the Nehushtan, and
according to many Bible translations, gave it that name.
Regarding the passage in 2 Kings 18:4 M. G. Easton noted that "the lapse of nearly one
thousand years had invested the 'brazen serpent' with a mysterious sanctity; and in order to
deliver the people from their infatuation, and impress them with the idea of its worthlessness,
Hezekiah called it, in contempt, 'Nehushtan,' a brazen thing, a mere piece of brass”
In the Gospel of John, Jesus discusses his destiny with a Jewish teacher named Nicodemus and
makes a comparison between the raising up of the Son of Man and the act of the serpent being
raised up by Moses for the healing of the people. (from Wikipedia)
In this small portion of the song we have many allusions to scenes from the Pentateuch, in which
the Israelites complaints against God result in punishment, usually followed thereafter by
deliverance. Whether Aaron Weiss views this as being negative towards the Israelites or to their
God is debatable. One is inclined to think the latter due to the rather damning nature of this song
in it’s view of almost any strongly adhered-to religious conviction. Although, we must also note
that if he is indeed presenting a complaint against a God holding him “captive”, then he might be
condemning his own doubts, comparing his thoughts to the complaints of the wandering
Israelites in a self-aware and self-deprecating way.
[14] The wind blowing backwards probably signifies that the Israelites are being forced to walk
against the wind. It is likely that this also means that they are longing to go back to their former
slavery in Egypt, as is referenced soon.
[15] According to the Bible, the golden calf (‫עֵ גֶּל‬

‫‘ הַ זָהָ ב‬ēggel hazâhâv) was an idol (a cult image)
made by the Israelites during Moses' absence,
when he went up to Mount Sinai. In Hebrew, the
incident is known as ḥēṭ’ ha‘ēggel (‫ )חֵ טְ א הַ עֵ גֶּל‬or
"The Sin of the Calf". It is first mentioned in
Exodus 32:4.
Bull worship was common in many cultures. In

Egypt, whence according to the Exodus narrative
the Hebrews had recently come, the Apis Bull was a
comparable object of worship, which some believe
the Hebrews were reviving in the wilderness;[1]
alternatively, some believe the God of Israel was
associated with or pictured as a calf/bull deity
through the process of religious assimilation and
syncretism. Among the Egyptians' and Hebrews'
neighbors in the Ancient Near East and in the
Aegean, the Aurochs, the wild bull, was widely worshipped, often as the Lunar Bull and as the
creature of El. (from Wikipedia)
And the text itself:
And when the people saw that Moses delayed to come down out of the mount, the people
gathered themselves together unto Aaron, and said unto him, Up, make us gods, which shall go
before us; for as for this Moses, the man that brought us up out of the land of Egypt, we wot not
what is become of him. 2 And Aaron said unto them, Break off the golden earrings, which are in
the ears of your wives, of your sons, and of your daughters, and bring them unto me. 3 And all
the people brake off the golden earrings which were in their ears, and brought them unto Aaron.
4 And he received them at their hand, and fashioned it with a graving tool, after he had made it a
molten calf: and they said, These be thy gods, O Israel, which brought thee up out of the land of
Egypt. 5 And when Aaron saw it, he built an altar before it; and Aaron made proclamation, and
said, To morrow is a feast to the Lord. 6 And they rose up early on the morrow, and offered burnt
offerings, and brought peace offerings; and the people sat down to eat and to drink, and rose up
to play. 7 And the Lord said unto Moses, Go, get thee down; for thy people, which thou
broughtest out of the land of Egypt, have corrupted themselves: 8 They have turned aside quickly
out of the way which I commanded them: they have made them a molten calf, and have
worshipped it, and have sacrificed thereunto, and said, These be thy gods, O Israel, which have
brought thee up out of the land of Egypt. 9 And the Lord said unto Moses, I have seen this
people, and, behold, it is a stiffnecked people: 10 Now therefore let me alone, that my wrath may
wax hot against them, and that I may consume them: and I will make of thee a great nation. 11
And Moses besought the Lord his God, and said, Lord, why doth thy wrath wax hot against thy
people, which thou hast brought forth out of the land of Egypt with great power, and with a
mighty hand? 12 Wherefore should the Egyptians speak, and say, For mischief did he bring them
out, to slay them in the mountains, and to consume them from the face of the earth? Turn from
thy fierce wrath, and repent of this evil against thy people. 13 Remember Abraham, Isaac, and
Israel, thy servants, to whom thou swarest by thine own self, and saidst unto them, I will multiply
your seed as the stars of heaven, and all this land that I have spoken of will I give unto your
seed, and they shall inherit it for ever. 14 And the Lord repented of the evil which he thought to
do unto his people. - Exodus 32:1-14
[16] The “blighted leaves” here refers to Moses’ reaction to seeing the Israelites worshipping the
golden calf as he descended from the mountain. From the text:
15 And Moses turned, and went down from

the mount, and the two tables of the
testimony were in his hand: the tables were
written on both their sides; on the one side
and on the other were they written. 16 And
the tables were the work of God, and the
writing was the writing of God, graven
upon the tables. 17 And when Joshua
heard the noise of the people as they
shouted, he said unto Moses, There is a
noise of war in the camp. 18 And he said,
It is not the voice of them that shout for
mastery, neither is it the voice of them that
cry for being overcome: but the noise of them that sing do I hear. 19 And it came to pass, as soon
as he came nigh unto the camp, that he saw the calf, and the dancing: and Moses' anger waxed
hot, and he cast the tables out of his hands, and brake them beneath the mount. - Exodus
32:15-19
[17] This line has the Israelites pining for Egypt. In context of the song, we see that they are not
satisfied with the new situation, the new “picture” that holds them, instead longing for the picture
that formerly held them captive.
An example of repeated instances of this complaining, from the text:
3The sons of Israel said to them, "Would that we had died by the LORD'S hand in the land of
Egypt, when we sat by the pots of meat, when we ate bread to the full; for you have brought us
out into this wilderness to kill this whole assembly with hunger.” - Exodus 16:3
The inclusion of the frogs highlights the irony of wanting to return to a place condemned to
plague by God. The plague of frogs, from the text:
And the Lord spoke to Moses, “Go to Pharaoh and say to him, ‘Thus says the Lord: “Let My
people go, that they may serve Me. 2 But if you refuse to let them go, behold, I will smite all your
territory with frogs. 3 So the river shall bring forth frogs abundantly, which shall go up and
come into your house, into your bedroom, on your bed, into the houses of your servants, on your
people, into your ovens, and into your kneading bowls. 4 And the frogs shall come up on you, on
your people, and on all your servants.” 5 Then the Lord spoke to Moses, “Say to Aaron, ‘Stretch
out your hand with your rod over the streams, over the rivers, and over the ponds, and cause
frogs to come up on the land of Egypt.’” 6 So Aaron stretched out his hand over the waters of
Egypt, and the frogs came up and covered the land of Egypt. 7 And the magicians did so with
their enchantments, and brought up frogs on the land of Egypt. 8 Then Pharaoh called for Moses
and Aaron, and said, “Entreat the Lord that He may take away the frogs from me and from my
people; and I will let the people go, that they may sacrifice to the Lord.” 9 And Moses said to
Pharaoh, “Accept the honor of saying when I shall intercede for you, for your servants, and for
your people, to destroy the frogs from you and your houses, that they may remain in the river
only.” 10 So he said, “Tomorrow.” And he said, “Let it be according to your word, that you may
know that there is no one like the Lord our God. 11 And the frogs shall depart from you, from
your houses, from your servants, and from your people. They shall remain in the river only.” 12
Then Moses and Aaron went out from Pharaoh. And Moses cried out to the Lord concerning the
frogs which He had brought against Pharaoh. 13 So the Lord did according to the word of
Moses. And the frogs died out of the houses, out of the courtyards, and out of the fields. 14 They
gathered them together in heaps, and the land stank. 15 But when Pharaoh saw that there was
relief, he hardened his heart and did not heed them, as the Lord had said. - Exodus 8:1-15
[18] The pomegranate is a fruit of great importance in the ancient world.
Ancient Egyptians regarded the pomegranate as a symbol of prosperity and ambition. According
to the Ebers Papyrus, one of the oldest medical writings from around 1500 BC, Egyptians used
the pomegranate for treatment of tapeworm and other infections.
Pomegranates were known in Ancient Israel as the fruits which the scouts brought to Moses to
demonstrate the fertility of the "promised land". The Book of Exodus describes the me'il ("robe of
the ephod") worn by the Hebrew high priest as having pomegranates embroidered on the hem
alternating with golden bells which could be heard as the high priest entered and left the Holy of
Holies. According to the Books of Kings, the capitals of the two pillars (Jachin and Boaz) that
stood in front of Solomon's Temple in Jerusalem were engraved with pomegranates. Solomon is
said to have designed his coronet based on the pomegranate's "crown".
It is traditional to consume pomegranates on Rosh Hashana because, with its numerous seeds, it
symbolizes fruitfulness. Also, it is said to have 613 seeds, which corresponds with the 613 mitzvot
or commandments of the Torah. This particular tradition is referred to in the opening pages of
Ursula Dubosarsky's novel Theodora's Gift.
The pomegranate appeared on the ancient coins of Judea. When not in use, the handles of Torah
scrolls are sometimes covered with decorative silver globes similar in shape to
"pomegranates" (rimmonim). Some Jewish scholars believe the pomegranate was the forbidden
fruit in the Garden of Eden. Pomegranates are one of the Seven Species (Hebrew: ‫שבעת המינים‬,
Shiv'at Ha-Minim) of fruits and grains enumerated in the Hebrew Bible (Deuteronomy 8:8) as
being special products of the Land of Israel. The pomegranate is mentioned in the Bible many
times, including this quote from the Songs of Solomon, "Thy lips are like a thread of scarlet, and
thy speech is comely: thy temples are like a piece of a pomegranate within thy locks." (Song of
Solomon 4:3). Pomegranates also symbolize the mystical experience in the Jewish mystical
tradition, or kabbalah, with the typical reference being to entering the "garden of pomegranates"
or pardes rimonim; this is also the title of a book by the 16th-century mystic Moses ben Jacob
Cordovero. (from Wikipedia)
Here, pining for a place with fragrant pomegranate blooms may be seen as somewhat ironic: the
Israelites are identifying their former enslavement with emblems of the “Promised Land” to
which they are fleeing.
[19] Another plague from scriptures, that of locusts:
And the Lord said unto Moses, Go in unto Pharaoh: for I have hardened his heart, and the heart
of his servants, that I might shew these my signs before him: 2 And that thou mayest tell in the
ears of thy son, and of thy son's son, what things I have wrought in Egypt, and my signs which I
have done among them; that ye may know how that I am the Lord. 3 And Moses and Aaron came
in unto Pharaoh, and said unto him, Thus saith the Lord God of the Hebrews, How long wilt thou
refuse to humble thyself before me? let my people go, that they may serve me. 4 Else, if thou
refuse to let my people go, behold, to morrow will I bring the locusts into thy coast: 5 And they
shall cover the face of the earth, that one cannot be able to see the earth: and they shall eat the
residue of that which is escaped, which remaineth unto you from the hail, and shall eat every tree
which groweth for you out of the field: 6 And they shall fill thy houses, and the houses of all thy
servants, and the houses of all the Egyptians; which neither thy fathers, nor thy fathers' fathers
have seen, since the day that they were upon the earth unto this day. And he turned himself, and
went out from Pharaoh. 7 And Pharaoh's servants said unto him, How long shall this man be a
snare unto us? let the men go, that they may serve the Lord their God: knowest thou not yet that
Egypt is destroyed? - Exodus 10:1-7
Describing the locust’s as tender seems a somewhat culinary description and brings to mind the
passage in Leviticus that allows for the consumption of locusts as a “clean” animal:
20All fowls that creep, going upon all four, shall be an abomination unto you. 21Yet these may ye
eat of every flying creeping thing that goeth upon all four, which have legs above their feet, to
leap withal upon the earth; 22Even these of them ye may eat; the locust after his kind, and the
bald locust after his kind, and the beetle after his kind, and the grasshopper after his kind. 23But
all other flying creeping things, which have four feet, shall be an abomination unto you.
- Leviticus 11:20-23
[20] This second half of the song seems to more directly relate to the events of Aaron Weiss’
honeymoon train ride through Nebraska.
[21] “Milk-white tombs” is probably a reference to the “white-washed tombs” mentioned in

scripture. From Wikipedia:
Within Judaism, in which contact with a corpse confers uncleanness (see Numbers 19:11-22 and
Tractate Oholoth in the Mishna), an unmarked grave opens up the possibility that a pious Jew
could become defiled without being aware that it happened. The Jews of early times, therefore,
sought to avoid unmarked graves by two means: clearly designating cemeteries beyond the limits
of their villages and cities, and making graves and tombs obvious by whitewashing them. This is
the background for Jesus' comparison of the Pharisees of his time to white-washed tombs (see
Matthew 23:27-28) and to "unmarked graves, which men walk over without knowing it" (Luke
11:44). Jesus warned that the Pharisees were defiling others by their hypocrisy, misplaced
priorities, and selfish ambition.
[22] The “milk-tank cars”

probably refers to sections of
the train in which Aaron Weiss
and his new wife are traveling
on their honeymoon.
Milk cars are a specialized type

of railroad car intended to
transport raw milk from
collection points near dairy
farms to a processing creamery.
Some milk cars were intended
for loading with multiple cans of milk, while others were designed with a single tank for bulk
loading. Milk cars were often equipped with high-speed passenger trucks, passenger-type buffer
plates, and train signal and steam lines seldom found on conventional refrigerator cars. (from
Wikipedia)
[23] Bailey Yard is the world’s largest railroad classification yard. It sorts, services and repairs
locomotives and cars headed all across North America. Owned and operated by the Union
Pacific Railroad (UP), Bailey Yard is in North Platte, Nebraska. The yard is named after former
Union Pacific president Edd H. Bailey. (from Wikipedia)
North Platte has a passing significance to the earlier track “Watermelon Ascot” in that the Lakota
chief mentioned therein, Red Cloud, was born there.
[24] The sambar is a large deer native to the Indian Subcontinent, southern China and Southeast
Asia. Although it primarily refers to R. unicolor, the name "sambar" is also sometimes used to
refer to the Philippine deer (called the Philippine sambar) and the rusa deer (called the Sunda
sambar). (from Wikipedia)
This line likely refers to a domestic herd of animals in Nebraska.
[25] There may be a slight reference to Yeats’ The Crucifixion of the Outcast here:
'Stay, outcasts, yet a little while,' the crucified one called in a weak voice to the beggars, 'and
keep the beasts and the birds from me.' But the beggars were angry because he had called them
outcasts, so they threw stones and mud at him, and went their way. Then the wolves gathered at
the foot of the cross, and the birds flew lower and lower. And presently the birds lighted all at
once upon his head and arms and shoulders, and began to peck at him, and the wolves began to
eat his feet. 'Outcasts,' he moaned, 'have you also turned against the outcast?’
(Yeats, W. (2010). Works of William Butler Yeats. Boston: MobileReference.com.)
This is probably not what Aaron Weiss is referring to with this line, as the character is not calling
the birds “outcasts”, but rather the people who have left him there to be eaten by them. I find
more thematic resonance, especially in light of the religious tribalism and “pictures that hold us
captive” in Robert William Service’s poem “Grey Gull”, if anything:
'Twas on an iron, icy day

I saw a pirate gull down-plane,
And hover in a wistful way
Nigh where my chickens picked their grain.
An outcast gull, so grey and old,
Withered of leg I watched it hop,
By hunger goaded and by cold,
To where each fowl full-filled its crop.
They hospitably welcomed it,

And at the food rack gave it place;
It ate and ate, it preened a bit,
By way way of gratitude and grace.

It parleyed with my barnyard cock,
Then resolutely winged away;
But I am fey in feather talk,
And this is what I heard it say:
"I know that you and all your tribe

Are shielded warm and fenced from fear;
With food and comfort you would bribe
My weary wings to linger here.
An outlaw scarred and leather-lean,
I battle with the winds of woe:
You think me scaly and unclean...
And yet my soul you do not know,
"I storm the golden gates of day,

I wing the silver lanes of night;
I plumb the deep for finny prey,
On wave I sleep in tempest height.
Conceived was I by sea and sky,
Their elements are fused in me;
Of brigand birds that float and fly
I am the freest of the free.
"From peak to plain, from palm to pine

I coast creation at my will;
The chartless solitudes are mine,
And no one seeks to do me ill.
Until some cauldron of the sea
Shall gulp for me and I shall cease...
Oh I have lived enormously
And I shall have prodigious peace."
With yellow bill and beady eye

This spoke, I think, that old grey gull;
And as I watched it Southward fly
Life seemed to be a-sudden dull.
For I have often held this thought -
If I could change this mouldy me,
By heaven! I would choose the lot,
Of all the gypsy birds, to be
A gull that spans the spacious sea.
(Service, R. (1940). The Complete Poems of Robert Service. New York: Dodd, Mead.)
The safest bet is that this phrase is merely a phonetically pleasing poetic device and means little
more than that in the song. Aaron Weiss has openly admitted that many of his lyrics are included
for their sound alone, or to fill spaces in songs, rather than for any of the mythic importance that
can be ascribed to them by fans.
[26] Here we have Aaron and his wife stumbling across a Marian apparition in the rust of an
open wagon train car.
A Marian apparition is a supernatural appearance by the Blessed Virgin Mary. The figure is
often named after the town where it is reported, or on the sobriquet given to Mary on the
occasion of the apparition. They have been interpreted in religious terms as theophanies.
Marian apparitions sometimes are reported to recur at the same site over an extended period of
time. In the majority of Marian apparitions only one person or a few people report having
witnessed the apparition. Exceptions to this include Zeitoun, Fatima and Assiut where thousands
claimed to have seen her over a period of time. (from Wikipedia)
[27] The figs falling from the sky is an apocalyptic image from the book of Revelation:
13 And the stars of heaven fell unto the earth, even as a fig tree casteth her untimely figs, when
she is shaken of a mighty wind. - Revelation 6:13
The scripture itself references a prophecy from the book of Isaiah:
All the stars in the sky will be dissolved and the heavens rolled up like a scroll; all the starry host
will fall like withered leaves from the vine, like shriveled figs from the fig tree. - Isaiah 34:4
[28] The idea of passive, inarticulate things responding to the gaze of the viewer may indicate a
certain level of the same “subjective perception” already discussed in previous songs. That what
is merely rust for some can become a supernatural image of the Mother of God for others
indicates that much of what one sees in a religious image is brought to it by the viewer. It is, in a
sense, a very dangerous spiritual version of “beauty is in the eye of the beholder”; the danger
being that one may go too far and see an objective reality only in light of one’s subjective
perception as built up by whatever religious “picture” holds one, rather than seeing it for what it
actually is. Thus truth is lost if someone sees only that which they expect to see, as what they are
actually seeing is obscured by their preconceived idea of what they will see.
[29] A “livestock van” probably refers to a cattle-carrying train car.
[30] Garnet sand is a good abrasive, and a common replacement for silica sand in sand blasting.
Alluvial garnet grains which are rounder are more suitable for such blasting treatments. Mixed
with very high pressure water, garnet is used to cut steel and other materials in water jets. For
water jet cutting, garnet extracted from hard rock is suitable since it is more angular in form,
therefore more efficient in cutting. (from Wikipedia)
[31] The previous lines have set up the conditions under which the supposed Marian apparition
has appeared: rust formed on the livestock van and affected by sand and shell-blasting abrasives.
Rust is an iron oxide, usually red oxide formed by the redox reaction of iron and oxygen in the
presence of water or air moisture. (from Wikipedia)
Aaron is attempting to identify the objective truth of the situation (that the image is merely the
result of chemistry and means little else).
[32] Here, the clarity of the Marian apparition is taken to task, as the figure in the rust is barely
even perceptible as human. That people often see such configurations of rust as supernatural
only emphasizes the indictment of subjective religious perception being touted here.
[33] Knock Shrine, in County Mayo, Ireland, is the site of a

nineteenth-century apparition. On the wet Thursday evening of
21 August 1879, at about 8 o'clock, Our Lady, St. Joseph, and
St. John the Evangelist appeared in a blaze of Heavenly light at
the south gable of Knock Parish Church. Behind them and a
little to the left of St. John was a plain altar. On the altar was a
cross and a lamb with adoring angels. The appearance of St
Joseph, St John and the Lamb make the apparition unique in
church history. The Apparition was seen by fifteen people whose
ages ranged from six years to seventy-five and included men,
women and children.
The witnesses described the Blessed Virgin Mary as being

clothed in white robes with a brilliant crown on her head. Over the forehead where the crown
fitted the brow, she wore a beautiful full-bloom golden rose. She was in an attitude of prayer with
her eyes and hands raised towards Heaven. St. Joseph stood on Our Lady's right. He was turned
towards her in an attitude of respect. His robes were also white. St. John was on Our Lady's left.
He was dressed in white vestments and resembled a bishop, with a small mitre. He appeared to
be preaching and he held an open book in his left hand.
The witnesses watched the Apparition in pouring rain for two hours, reciting the Rosary.
Although they themselves were saturated not a single drop of rain fell on the gable or vision.
The altar sculptures at Shrine of Our Lady of Knock, based on the description of the apparition.
Subsequent commissions of enquiry set up by the local Bishop and the Catholic hierarchy in
Ireland formally approved the apparitions as worthy of devotion, and they were officially
recognised by the Catholic church, culminating in the visit of Pope John Paul II in 1979, which
he called the ultimate goal of his pastoral visit to Ireland. Only a fragment of the original gable
wall remains of the old church. A purpose-built Basilica was designed and built to cater for
pilgrims and is served by an international airport, Knock Airport. (from Wikipedia)
The back and forth use of “eyes” in this line suggests, to my mind, that the faithful eyes
witnessing the Knock, Ireland apparition to which this rust-clad vision is being compared were
beset by this same subjective perception that is being critiqued throughout the song. It should be
noted that one of the possible explanations for the Knock apparition involves the use of a Magic
Lantern, a phrase that will become important later on the album. The phrase’s use in “Magic
Lantern Days” may be thematically linked to this alleged forgery of a holy thing, and would
further emphasize the repeated theme of artificiality on the album.
Aaron’s choice of this particular incident may have it’s origin (as I contend does most of the
album) in the chapter entitled “Lotus Eaters” from James Joyce’s Ulysses, in which Leopold
Bloom observes a Catholic Mass and considers the implications of the parishioners:
Then feel all like one family party, same in the theatre, all in the same swim. They do. I’m sure of
that. Not so lonely. In our confraternity. Then come out a bit spreeish. Let off steam. Thing is if
you really believe in it. Lourdes cure, waters of oblivion, and the Knock apparition, statues
bleeding.
[34] The “genocidal man” in this line is probably referring both specifically to Moses, and
perhaps more generally to the concept of fundamentalist faith, or even to God himself. This
theme will be explored later in tracks like “Lilac Queen” and “Rainbow Signs”. God
commanded Moses and the Israelites more than once to conquer various enemy tribes and
slaughter them entirely. An example of such, from Numbers:
12 Then they brought the captives, the booty, and the spoil to Moses, to Eleazar the priest, and to
the congregation of the children of Israel, to the camp in the plains of Moab by the Jordan,
across from Jericho. 13 And Moses, Eleazar the priest, and all the leaders of the congregation,
went to meet them outside the camp. 14 But Moses was angry with the officers of the army, with
the captains over thousands and captains over hundreds, who had come from the battle. 15 And
Moses said to them: “Have you kept all the women alive? 16 Look, these women caused the
children of Israel, through the counsel of Balaam, to trespass against the Lord in the incident of
Peor, and there was a plague among the congregation of the Lord. 17 Now therefore, kill every
male among the little ones, and kill every woman who has known a man intimately. 18 But keep
alive for yourselves all the young girls who have not known a man intimately. 19 And as for you,
remain outside the camp seven days; whoever has killed any person, and whoever has touched
any slain, purify yourselves and your captives on the third day and on the seventh day. 20 Purify
every garment, everything made of leather, everything woven of goats’ hair, and everything made
of wood.” - Numbers 31:12-20
[35] Moses’ truth (or possibly God’s) is questioned here. Is he merely fiction? I would contend
that this line is speaking abstractly as well as literally. The “fiction” here being, once again, the
subjective perception of God. The Ancient Israelites waged war and slaughtered thousands due
to what they believed God was telling them to do. So too do modern faith communities befoul
the truth with a subjective - almost individualistic even - perception of who God is, as indicated
by the fact that there are thousands upon thousands of differing denominations, with at times
vastly different perceptions of the same God, in Protestant American Christendom alone. This
same subjective perception extends to any individual. God is not alone in being misidentified,
misunderstood, and mismanaged by someone’s perception of him. The same can be said of
anyone. Each country demonizes it’s enemies, often refusing to see them as human, preferring
instead to see them as faceless marauders to be gunned down in wartime. This concept will crop
up again in later tracks such as “Lilac Queen”, where the flag of the ISIS terrorist group is used
to symbolize the “enemy” in the media, but more on that in it’s proper place.
[36] In this final line, there can be no doubt that Aaron Weiss intends the “pictures that held us
captive” to be the faith communities and their tribal mentalities. He even goes so far as to extend
the criticism to not only Jews, Christians, and Muslims, but to atheists as well. All of these
worldviews often cause their members to fail to think outside of their own frame of reference,
allowing their subjective reality to define them and separate them from others.
Using imagery culled from a his honeymoon, Aaron Weiss ponders the weighty issues of
subjective reality in religion. He rides the rails beside his new wife somewhere in Nebraska, and
compares himself to the wandering Israelites in the desert soon after crossing the Red Sea. Like
Aaron, they too complained of being held captive to a belief system: that of the Pharaoh. Yet
they pined for the former “safety” of such enslavement when they felt fear and thirst in the arid
desert. Aaron’s thoughts are similarly divided, and he longs to be cleansed of his own ever-
looming Pale Horse with the former assurance his faith gave him - he seeks an existential Red
Cow and the purification it would bring. Will he follow the pattern of his Jewish forefathers,
grumbling against God for being “wronged” (perhaps for having his father taken from him) by
Him, only to be punished and then saved again and again by His hand?
In the second half of the song, Aaron recounts his honeymoon in Nebraska. He and his wife ride
a train through the wilderness, viewing sambar antelope and outcast birds, passing through the
North Platte rail yard behind milk-bearing train cars. Aaron tends to read into these mundane,
but beautiful events. Is there actually some hidden meaning to everything he sees? Are the
shooting stars he watches with his wife the apocalyptic unripe figs of The Book of Revelation, or
are they just mere meteorites burning up in the Nebraska sky? Maybe such subjective thoughts
abut passive objects are keeping him from truly being “free”. At one stop, they notice a spot of
rust on a livestock car that bears a passing resemblance to images of the Virgin Mary. Is this
supernatural, or is this just iron oxide? Do Aaron’s eyes see an apparition like the one in Knock,
Ireland? Or is this just a roughly human blemish on a metal railcar? As he looks at this possible
apparition, Aaron considers one of the many pictures that holds him, that of Judaism. Was Moses
genocidal? Was he even real? What is reality, anyway? So many pictures hold Aaron in their
sway, like a captive Israelite in Egypt. Jew? Christian? Muslim? Atheist? There seems to be
no way of knowing for sure.
Dorothy
[1] Krishna is considered the supreme deity, worshipped across

many traditions of Hinduism in a variety of different
perspectives. Krishna is recognized as the eighth incarnation
(avatar) of Lord Vishnu, and one and the same as Lord Vishnu
one of the trimurti and as the supreme god in his own right.
Krishna is the principal protagonist with Arjuna in the Bhagavad
Gita also known as the Song of God, which depicts the
conversation between the Royal Prince Arjuna and Krishna
during the great battle of Kurukshetra 5000 years ago where
Arjuna discovers that Krishna is God and then comprehends his
nature and will for him and for mankind. In present age Krishna
is one of the most widely revered and most popular of all Indian
divinities. (from Wikipedia)
The opening lines to “Dorothy” are connected to the lines that

close out the album, with both emphasizing similar situations in a dream (the sandals, the
reference to college, a desire to meet his father). Both this song, and the closing section of
“Rainbow Signs” deal with Aaron Weiss having imagined conversations with some version of his
father.
[2] Candle-burning as an offering to Krishna is a common practice across many sects of

Hinduism. One can perhaps point to Aaron’s companion in his dream, most likely his wife,
buying a candle for a sacred act out of guilt, rather than devotion, as an action of some
significance. While it is true that this would be thematically relevant, I am not convinced that
there is any second layer of meaning in this particular instance. It is far more likely that this is
just Aaron recounting a moment when his wife actually did purchase a Krishna candle because
she felt too guilty to deny the boy in robes and sandals that was trying to sell it to her.
[3] “Sister Margaret” refers to Sister Margaret McKenna. McKenna is an American Medical
Mission Sister and anti-militarist activist. Raised in Hackensack, New Jersey, she earned her
PhD in the origins and religious thought of Christianity from the University of Pennsylvania. In
the 1970s, McKenna began participating in non-violent civil disobedience with the Plowshares
Movement, sometimes being arrested or imprisoned for her actions. Her activism has continued
through recent years.
In 1989, McKenna helped to found New Jerusalem Laura, a North Philadelphia addiction
treatment center that strives to help people recover from substance abuse without the use of
medication, by substituting community service, discussion, and Bible study as routes to recovery.
(from Wikipedia)
Aaron Weiss has worked with Sr. Margaret in the

past, even going so far as to be arrested with her
during a protest at the Pentagon, which he recounts
in the song “Timothy Hay” on the album It's All
Crazy! It's All False! It's All a Dream! It's Alright:
I touched her back,

She was lying face down
The dew turned to frost in her eyes
Me and Sr. Margaret on the Pentagon lawn
With our wrists in a plastic tie
[4] This is the first direct mention we have on the

album about the passing of Aaron Weiss’ father. It
is an event that informs the entirety of Pale Horses
and will loom large over the second half of the
album. In my opinion, the death of Elliot Weiss is
the “pale horse” from which all of the other
catastrophes on the album spring. For Aaron, the
death of his father is his own personal apocalypse.
[5] This indicates that Aaron’s father never met his wife, and further emphasizes the idea that the
person with him in the dream - she who purchased the candle out of guilt - is his wife. The wife
and the father are characters that inform almost every track on the album in some way.
[6] While not an entirely important distinction, the flipping of locales for the second half of the
song from “near Virgina” to “Maryland” may indicate that this takes place in and around
Washington D.C. It is interesting to note that there has been a long-standing border dispute
between the two states as well. More than likely, this subtle switch means nothing other than the
fact that “near Virginia” fit better than “in Maryland” to the music, and the liner notes are then
clarifying a more exact location.
[7] “Rebuking Satan” is a common turn of phrase throughout Jewish and Christian scripture.
From Zechariah in the Old Testament:
The LORD said to Satan, "The LORD rebuke you, Satan! The LORD, who has chosen Jerusalem,
rebuke you! Is not this man a burning stick snatched from the fire?” - Zechariah 3:2
[8] “Satan, get behind me” also has it’s origin in scripture, this time from the gospels:
Jesus turned and said to Peter, "Get behind me, Satan! You are a stumbling block to me; you do
not have in mind the concerns of God, but merely human concerns.” - Matthew 16:33
Any number of Christian songs and hymns could contain the lyrics “Satan get behind me”, and
so there is no sure way to determine what song Aaron Weiss was joining the band in singing.
[9] The faithfulness here is ironic probably due to the fact that Aaron Weiss seems to be in a
crisis of faith and doubt, as previous songs have explored. To ponder the existence of God and
severely doubt Him, while at the same time joining in a faithful hymn about rebuking Satan with
the power of God would probably cause some sense of bitter irony in Weiss.
[10] As “Rainbow Signs” will confirm, the “Elliott” here is Elliot Weiss, Aaron’s father.
Recounted in this line is Aaron seeing someone at this gathering who looks very much like his
recently deceased father, which sends him into a moment of quiet, bitter despair.
[11] That “Satan” is speaking these words indicates that they are not to be trusted. After all, as
we read above, Satan has in mind not the concerns of God, but of men. This may even be a
temptation of sorts. Here we have Satan reminding Aaron that he has been abandoned by his
father, in a way. Certainly his father’s untimely demise could bring up such feelings, even to the
point of misdirected anger toward him.
[12] The “cry” that Satan is goading Aaron Weiss into pondering come from Christ during His
crucifixion. From Matthew:
45Now from the sixth hour there was darkness over all the land unto the ninth hour. 46And about
the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say,
My God, my God, why hast thou forsaken me? - Matthew 27:45-46
It is the only saying that appears in more than one Gospel, and is a quote from King David in
Psalm 22:1. This saying is taken by some as an abandonment of the Son by the Father. Other
theologians understand the cry as that of one who was truly human and who felt forsaken. Put to
death by his foes, very largely deserted by his friends, he may have felt also deserted by God.
Others point to this as the first words of Psalm 22 and suggest that Jesus recited these words,
perhaps even the whole psalm, "that he might show himself to be the very Being to whom the
words refer; so that the Jewish scribes and people might examine and see the cause why he
would not descend from the cross; namely, because this very psalm showed that it was appointed
that he should suffer these things."
Theologian Frank Stagg points to what he calls "a mystery of Jesus' incarnation: "...he who died
at Golgotha (Calvary) is one with the Father, that God was in Christ, and that at the same time
he cried out to the Father”. (from Wikipedia)
Christ’s words are compared to Aaron’s own feelings toward his father, that he has been
“forsaken” by him.
[13] The juxtaposition of his father’s name, “Elliott” next to the word “Eloi” reinforces the idea
that Satan’s temptation here is to get Aaron to despair and feel forsaken by his own father, much
as Christ seemed to do near His death.
Aaron Weiss recounts a dream he has had recently. In it, he is with his wife on his college
campus observing Hindu devotees singing songs and lighting candles - which they are also
selling - to Hare Krishna. Aaron’s wife buys a candle out of guilt, and suddenly the boy from
whom she purchased the candle changes form and becomes an old friend of Aaron’s, Sister
Margaret. Startled, Aaron nonetheless pleads with the apparition to take the form of his dead
father so that he can finally introduce him to his new wife.
Later, Aaron is in Maryland singing a gospel hymn about rebuking Satan with a gathering of
Christian faithful. He is musing on the irony of a person of doubt such as himself singing songs
of such concrete faith, when he notices that one of his fellow singers bears a striking
resemblance to his father. Suddenly it seems as if Satan is right there beside him, reminding him
that he feels abandoned in the wake of his father’s death. “Have you thought much about that
cry?” Satan asks, comparing his situation to that of Christ’s on the cross, abandoned by his own
Father in a time of need. It is left unclear if the realization that Christ went through a similar
situation causes despair or comfort.
Blue Hen
[1] The lighthouse here may refer to an actual building near Delaware bay (where much of the
song’s “narrative”, if it can be called that, takes place. There are two lighthouses directly off of
Cape Henlopen, which will be mentioned shortly. One intriguing possibility involves a nearby
lighthouse that was destroyed by fire, as seems to be hinted at in the song.
The original Mispillion Lighthouse was

built in 1831. The second Mispillion
Lighthouse was a 65 feet (20 m) square
cylindrical wood tower rising from one
corner of a 2-story Gothic style wood
keeper's house and was built in 1873. It
served until 1929, when it was deactivated
and replaced by a steel skeleton tower that
had originally served at Cape Henlopen.
Over many year's of private ownership and
neglect, the lighthouse had fallen into an
extreme state of disrepair, and was
considered by Lighthouse Digest magazine to be America's Most Endangered Lighthouse. After a
fire started by lightning destroyed most of the tower portion of the lighthouse, the remains of the
lighthouse were sold in 2002. A replica of the lighthouse was rebuilt at Shipcarpenter Square in
Lewes, Delaware, in 2004 using what was left of the structure of the old lighthouse, and based on
the original plans. The new owners also added a substantial addition during reconstruction, used
as their living quarters. The steel skeletal tower remains at the original location but is not active
or open to the public. (from Wikipedia)
[2] “Sound” in this context is a relatively narrow passage of water between larger bodies of
water or between the mainland and an island.
[3] “Ostrich” here is not the bird, per se, but a person who refuses to face reality or accept facts.
To “bury one’s head in the sand” is to ignore or hide from obvious signs of danger. (This alludes
to an ostrich, which is believed incorrectly to hide its head in a hole in the ground when it sees
danger.)
[4] The Soap Box Derby is a youth soapbox car racing program which has been run in the
United States since 1934. World Championship finals are held each July at Derby Downs in
Akron, Ohio. Cars competing in this and related events are unpowered, relying completely upon
gravity to move. (from Wikipedia)
[5] A “black bolt-lightning” soapbox car may refer

to a 1973 scandal at the national race in Akron,
Ohio involving an infamous “cheater car” that
was rigged to win using electromagnets. The
“cheater car” was a black car with a distinctive
lightning bolt decal along the side.
Many of these images seem to be evocative, in

some sense, of a nostalgic past. Local landmarks
like bodies of water and famously burned
lighthouses, in addition to children’s soap box
derbies and long-remembered music suggest that nostalgia here is coming up against the ever
encroaching possibility of death, the “man with a sickle in his hand”.
[6] This line from Shakespeare’s Macbeth comes from Act 3, scene 2.
LADY MACBETH
Naught’s had, all’s spent,

Where our desire is got without content.
'Tis safer to be that which we destroy
Than by destruction dwell in doubtful joy.
How now, my lord! Why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy

Should be without regard. What’s done is done.
(Shakespeare, W. (n.d.). The Tragedy of Macbeth. Champaign, Ill.: Project Gutenberg.)
A modern translation would be essentially, “If you can’t fix it, you shouldn’t give it a second
thought. What’s done is done.” Perhaps this is a response, of sorts, to the various images of
nostalgia in the first part of the song.
[7] This phrase come from a passage in 1 Corinthians. The entire passage:
50Now this I say, brethren, that flesh and blood cannot inherit the kingdom of God; neither doth
corruption inherit incorruption. 51Behold, I shew you a mystery; We shall not all sleep, but we
shall all be changed, 52In a moment, in the twinkling of an eye, at the last trump: for the trumpet
shall sound, and the dead shall be raised incorruptible, and we shall be changed. 53For this
corruptible must put on incorruption, and this mortal must put on immortality. 54So when this
corruptible shall have put on incorruption, and this mortal shall have put on immortality, then
shall be brought to pass the saying that is written, Death is swallowed up in victory. 55O death,
where is thy sting? O grave, where is thy victory? 56The sting of death is sin; and the strength of
sin is the law. 57But thanks be to God, which giveth us the victory through our Lord Jesus Christ.
- 1 Corinthians 15:50-57
[8] A “Sunfish” sailboat is a personal size, beach launched sailing dinghy utilizing a pontoon
type hull carrying a lateen sail mounted to an un-stayed mast. (from Wikipedia)
[9] String art, or pin and thread art, is characterized by an arrangement of colored thread strung
between points to form abstract geometric patterns or representational designs such as a ship's
sails, sometimes with other artist material comprising the remainder of the work. Thread, wire,
or string is wound around a grid of nails hammered into a velvet-covered wooden board.
String art has its origins in the 'curve stitch' activities invented by Mary Everest Boole at the end
of the 19th Century to make mathematical ideas more accessible to children. It was popularised
as a decorative craft in the late 1960s through kits and books. (from Wikipedia)
These images constitute a continuation of the song narrator’s (presumably Aaron Weiss’)
question, “Death where is thy sting?” Is it to be found in these innocent nostalgic images of a
seashore childhood?
[10] Host desecration is a form of sacrilege in Christianity (most frequently identified as such in
the traditions of Anglicanism, Eastern and Oriental Orthodoxy, Lutheranism, and Catholicism)
involving the mistreatment or malicious use of a consecrated host—the sacred bread used in the
Eucharistic service or Mass. In Catholicism, where the host is held to have become the body of
Jesus Christ, host desecration is among the gravest of sins. Intentional host desecration is not
only a mortal sin but also incurs the penalty of excommunication latae sententiae. Throughout
history, a number of groups have been accused of desecrating the Eucharist, often with grave
consequences due to the spiritual importance of the consecrated host.
Accusations against Jews were a common pretext for massacres and expulsions throughout the
Middle Ages in Europe. Similar accusations were made in witchcraft trials; witch-hunter's
guides such as the Malleus Maleficarum refer to hosts as being objects of desecration by
witches. It is part of many descriptions of the Black Mass, both in ostensibly historical works and
in fiction. (from Wikipedia)
A Black Mass is a ritual characterized by the inversion of the Traditional Latin Mass celebrated
by the Roman Catholic Church. The history of such rituals is unclear before the modern era. The
Black Mass was allegedly celebrated during the Witches' Sabbath. (from Wikipedia)
In context, it would seem that the narrator is asking if the power of death dwells in such
practices. There may also be some slight nod to the infamous Witches’ Sabbath from Macbeth.
Another possible inspiration, at least in part, is in James Joyce’s Ulysses, in a portion that holds
numerous lyrical inspirations for the album. Leopold Bloom observes and considers the
implications of a eucharistic ritual at a Catholic mass:
Women knelt in the benches with crimson halters round their necks, heads bowed. A batch knelt
at the altarrails. The priest went along by them, murmuring, holding the thing in his hands. He
stopped at each, took out a communion, shook a drop or two (are they in water?) off it and put it
neatly into her mouth. Her hat and head sank. Then the next one. Her hat sank at once. Then the
next one: a small old woman. The priest bent down to put it into her mouth, murmuring all the
time. Latin. The next one. Shut your eyes and open your mouth. What? Corpus: body. Corpse.
Good idea the Latin. Stupefies them first. Hospice for the dying. They don’t seem to chew it: only
swallow it down. Ulysses 140 of 1305 Rum idea: eating bits of a corpse. Why the cannibals
cotton to it.
[11] Cape Henlopen is the southern cape of the Delaware Bay along the Atlantic coast of the
United States. It lies in the state of Delaware, near the town of Lewes. Off the coast on the bay
side are two lighthouses, called the Harbor of Refuge Light and the Delaware Breakwater East
End Light. (from Wikipedia)
[12] Camp Arrowhead is a religious campground in Lewes, Delaware.
[13] It is unclear what the “saltwater spring/summer” refers to. Spring would suggest a water
source, but summer a season. Perhaps this is a reference to scripture:
7Every sea creature, reptile, bird, or animal is tamed and has been tamed by man, 8but no man
can tame the tongue. It is a restless evil, full of deadly poison.j 9We praise ourk Lord and Father
with it, and we curse men who are made in God’s likeness with it.l 10Praising and cursing come
out of the same mouth. My brothers, these things should not be this way. 11Does a spring pour
out sweet and bitter water from the same opening? 12Can a fig tree produce olives, my brothers,
or a grapevine produce figs? Neither can a saltwater spring yield fresh water. - James 3:7-12
[14] Here begins the response to Aaron Weiss’ narrator from the character of Death. It is a
similar, albeit much darker, narrative style to that used in the song “The Angel of Death Came to
David’s Room” on the album It’s All Crazy! It’s All False! It’s All A Dream! It’s Alright.
[15] Being “nominally” alive suggests that Death considers Aaron alive in name only. He, like
all men, is just awaiting his time of death.
[16] The phrase in this line is probably a nod (as is a later line) to a song by Bob Dylan. In this
case it is “Boots Of Spanish Leather”. Relevant excerpt:
So take heed, take heed of the western wind

Take heed of the stormy weather
And yes, there’s something you can send back to me
Spanish boots of Spanish leather
The phrasing is twisted to include a description of the boots as a “consolation” prize, a prize
given to a competitor who narrowly fails to win or who finishes last. The boots are made of
“Spanish Inquisition eyes” rather than leather.
The Tribunal of the Holy Office of the Inquisition, commonly known as the Spanish Inquisition,
was established in 1478 by Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile.
It was intended to maintain Catholic orthodoxy in their kingdoms and to replace the Medieval
Inquisition, which was under Papal control.
The Spanish Inquisition is often cited in literature and history as an example of Catholic
intolerance and repression. Modern historians have tended to question earlier and possibly
exaggerated accounts concerning the severity of the Inquisition. Although records are
incomplete, estimates of the number of persons charged with crimes by the Inquisition range up
to 150,000, with 2,000 to 5,000 people executed. (from Wikipedia)
The use of “eye”, to my mind, is probably closest in definition to a look, glance, or gaze. Thus
the boots here are poetically a “consolation prize made up of a focus on religious intolerance”
perhaps. It is, admittedly a shaky explanation. More than likely, we are dealing with more of
Aaron’s poetic descriptions meaning very little beyond the pleasant or fitting sound they make in
the song.
[17] An obvious denigration of

Aaron Weiss’ place as a rock
band vocalist, in particular his
style of movement on stage.
[18] “Presbyter” in the New

Testament refers to a leader in
local Christian congregations,
presbyter referring to ordinary
elders and episkopos referring
exclusively to the office of
bishop. In modern Catholic and
Orthodox usage, it is thus
distinct from bishop and
synonymous with priest. In
mainline Protestant usage, the
term is however not seen as
referring to a member of the priesthood and terms such as minister, pastor and elder are used.
(from Wikipedia)
A presbyter of time suggests that those who seek religious answers (a possible explanation for
the “stale communion”) from Aaron Weiss are merely servants to time, similar to the earlier
“nominally alive” line.
[19] Here we have the very essence of nostalgia pushing back against the approaching threat of
death. The childhood images beg to be reproduced in some way in order to combat the advance
of time and age.
 
[20] Nostalgic stories here act as a kind of
protection against a metaphorical storm. In
this particular case, the story involves the
wreck of the Ice Boat No. 3, sheltering
young Aaron Weiss and his cousins, even
from where it rests on the ocean floor.
“Sheltered from the storm” may be yet
another allusion to a Bob Dylan song,
“Shelter From the Storm”.
City Ice Boat No. 3, commonly known as

Ice Boat No. 3 or just No. 3, was a
municipal sidewheel icebreaker built in
1873 to assist in keeping Philadelphia's
waterways free of ice during the winter months. The vessel was also used for occasional
excursions and other duties through the rest of the year.
During the Spanish–American War, Ice Boat No. 3 was briefly commissioned into the U.S. Navy
as the coastal patrol vessel USS Arctic, before returning to her normal duties under her original
name. Ice Boat No. 3 was sunk in a collision with an underwater obstruction in February 1905.
(from Wikipedia)
[21] Corinthian here probably means “given to luxury”, thus these individuals wear ostentatious
headgear. By all accounts, an excessive accoutrement.
[22] “Couches of ivory” probably comes from a passage in the Old Testament book of Amos that
condemns complacency in the face of oncoming death:
1Woe to you who are complacent in Zion,

and to you who feel secure on Mount Samaria,
you notable men of the foremost nation,
to whom the people of Israel come!
2Go to Kalneh and look at it;
go from there to great Hamath,
and then go down to Gath in Philistia.
Are they better off than your two kingdoms?
Is their land larger than yours?
3You put off the day of disaster
and bring near a reign of terror.
4You lie on beds adorned with ivory
and lounge on your couches.
You dine on choice lambs
and fattened calves.
5You strum away on your harps like David
and improvise on musical instruments.
6You drink wine by the bowlful
and use the finest lotions,
but you do not grieve over the ruin of Joseph.
7Therefore you will be among the first to go into exile;
your feasting and lounging will end.
-Amos 6:1-7
[23] Badgers are a primarily nocturnal animal, hence the simile here.
[24] This line serves as both a continuation of the themes of artificiality on the album and as a
play on the phrase “making friends”.
[25] The two lines here seem to indicate a focal point to life, i.e. it’s end in death. The concentric
circles even indicate something like the phrase “circling the drain”. Statues of “permanence”
emphasizes that this final stage of life is one from which there is no return.
[26] An interesting self-deprecation spoken through the character of Death. Obviously it seems
as though Aaron Weiss’ lyrics foster quite a lot of research and discussion among fans of the
band, but it seems that his self criticism here concerns what he feels is a lack of thought in the
words he sings. Food for thought.
[27] A mast aft rig, alternately referred to as aft-mast rig, is a sailboat sail-plan that uses a
single mast set in the aft half of the hull. (from Wikipedia)
[28] “Straw-short bricks” is likely taken from an account in Exodus 5:
Afterward Moses and Aaron went in and told Pharaoh, “Thus says the Lord God of Israel: ‘Let
My people go, that they may hold a feast to Me in the wilderness.’”
2 And Pharaoh said, “Who is the Lord, that I should obey His voice to let Israel go? I do not
know the Lord, nor will I let Israel go.”
3 So they said, “The God of the Hebrews has met with us. Please, let us go three days’ journey
into the desert and sacrifice to the Lord our God, lest He fall upon us with pestilence or with the
sword.”
4 Then the king of Egypt said to them, “Moses and Aaron, why do you take the people from their
work? Get back to your labor.” 5 And Pharaoh said, “Look, the people of the land are many
now, and you make them rest from their labor!”
6 So the same day Pharaoh commanded the taskmasters of the people and their officers, saying,
7 “You shall no longer give the people straw to make brick as before. Let them go and gather
straw for themselves. 8 And you shall lay on them the quota of bricks which they made before.
You shall not reduce it. For they are idle; therefore they cry out, saying, ‘Let us go and sacrifice
to our God.’ 9 Let more work be laid on the men, that they may labor in it, and let them not
regard false words.”
10 And the taskmasters of the people and their officers went out and spoke to the people, saying,
“Thus says Pharaoh: ‘I will not give you straw. 11 Go, get yourselves straw where you can find
it; yet none of your work will be reduced.’” 12 So the people were scattered abroad throughout
all the land of Egypt to gather stubble instead of straw. 13 And the taskmasters forced them to
hurry, saying, “Fulfill your work, your daily quota, as when there was straw.” 14 Also the
officers of the children of Israel, whom Pharaoh’s taskmasters had set over them, were beaten
and were asked, “Why have you not fulfilled your task in making brick both yesterday and today,
as before?”
15 Then the officers of the children of Israel came and cried out to Pharaoh, saying, “Why are
you dealing thus with your servants? 16 There is no straw given to your servants, and they say to
us, ‘Make brick!’ And indeed your servants are beaten, but the fault is in your own people.”
17 But he said, “You are idle! Idle! Therefore you say, ‘Let us go and sacrifice to the Lord.’ 18
Therefore go now and work; for no straw shall be given you, yet you shall deliver the quota of
bricks.” 19 And the officers of the children of Israel saw that they were in trouble after it was
said, “You shall not reduce any bricks from your daily quota.”
20 Then, as they came out from Pharaoh, they met Moses and Aaron who stood there to meet
them. 21 And they said to them, “Let the Lord look on you and judge, because you have made us
abhorrent in the sight of Pharaoh and in the sight of his servants, to put a sword in their hand to
kill us.” - Exodus 5:1-21
[29] The preceding lines are somewhat of an inversion of the opening lines. Nostalgic images of
a lighthouse and spring days are replaced by blackened shells and slumbering winters. Death is
having his victory, overtaking the nostalgia of childhood with the dystopia of the end. The
phrase “break on your lap” may come from Rabindranath Tagore’s “Clouds and Waves”:
[30] The Delaware Blue Hen is a landrace variety of chicken that was
adopted on April 14, 1939, as the state bird of Delaware. The University
of Delaware mascot, known as YoUDee, is also modeled after the bird.
While it is not a currently recognized chicken breed, the fame of the Blue
Hen can be traced back to the American Revolutionary War: Colonel
John Haslet's 1st Delaware Regiment (later the 198th Signal Battalion),
which reported for duty near the outset of the war in January 1776, were
nicknamed "the Blue Hen's Chickens," though they were more commonly
known as "the Fighting Delawares."
Within the regiment, the second company was composed of men from Kent County and was under
the command of Capt. John Caldwell, who was an avid fan and owner of gamecocks. The troops
often amused themselves by staging cock fights with a variety known as the Kent County blue
hen, recognizable for its blue plumage. The renown of these chickens spread rapidly during the
time when cock fighting was a popular form of amusement, and the "blue hen's chickens"
developed quite a reputation for ferocity and fighting success. (from Wikipedia)
It seems that Aaron Weiss is identifying himself, or at least the narrator in the song, with the state
of Delaware. Perhaps he was born there are spent a significant portion of his childhood in the
state, which would render the nostalgic images set along it’s Cape Hanlopen coast at the
beginning of the song more comprehensible.
[31] Mastodon, here, probably is a person of immense size, power, influence. Perhaps what
every human considers themselves at some point in their youth: invincible and unable to be
overcome by death. Here the “mastodon shadow” is “divided by zero”, rendering self-
importance during life meaningless at death.
In mathematics, division by zero is division where the divisor (denominator) is zero. Such a
division can be formally expressed as a/0 where a is the dividend (numerator). In ordinary
arithmetic, the expression has no meaning, as there is no number which, multiplied by 0, gives a
(assuming a≠0), and so division by zero is undefined. Since any number multiplied by zero is
zero, the expression 0/0 also has no defined value and is called an indeterminate form.
Historically, one of the earliest recorded references to the mathematical impossibility of
assigning a value to a/0 is contained in George Berkeley's criticism of infinitesimal calculus in
The Analyst ("ghosts of departed quantities”). (from Wikipedia)
[As this song seems more “narrative” driven than others, I will attempt to recreate what I believe
to be going on in the song with what is something of a short story adaptation of Blue Hen.
Forgive the indulgence, but it was the best way I could see to convey the song overall. - Dave]
Aaron Weiss gives us glimpses of a long departed but fondly remembered childhood along
Delaware’s Hanlopen coastline. Among the images that flash before us are famous lighthouses,
soap box derby races, and music. And yet, beneath all of these fond recollections, we are
reminded that with every day, Death draws near. Nothing can be done about it, and perhaps we
should disregard such thoughts, as Lady Macbeth once advised her doomed husband.
“Death, where is thy sting?” Aaron asks. Does Death hold sway even over pleasant childhood
activities like sailing and making string art at a camp in Delaware? Or does Death find it’s home
where one might expect: in unholy desecrations of sacred things? Maybe the answer is that
Death finds itself in everything, the great unifier of both the wicked and the saintly. Death
himself then speaks, condemning this questioning his power, and begins to dismantle that which
gives Aaron comfort.
“Your’e only technically alive. One day, you’ll be mine. Look at you, dancing on stage and
doling out ‘wisdom’ about faith while nonetheless careening forward on a collision course with
me.” Not to be outdone, Aaron fires back with stronger, fonder memories of a “purer” moment
in time. He tells Death of playing with his cousins on the swings, of seeing rabbits in the grass,
of being kept warm by listening to the story of the legendary Ice Boat wreck.
“Is it too much to ask to reproduce the past?” Aaron asks. But as he continues to attempt to push
back the encroaching “storm” of death with nostalgia, his logic begins to falter. Like the
Israelites of old, he has always focused on fleeting luxuries and comfort than on preparing
himself for his own eventual end. He made friends, but what good are friends when the
conversation is between oneself and Death? “You know where to find us,” Aaron affirms,
beginning to feel defeated. “Worshipping at shrines of nostalgia and our youth, joyfully
celebrating a past that we can never get back, while nonetheless converging on our permanent
end. Death… where is thy sting?”
Sensing that his victim’s defeat is near, Death condemns Aaron’s hubris. “You ought to put more
thought into what you bravely sing! I’ll show you exactly where my victory is. The spring of
your youth will be overcome by winter. The lighthouse you loved as a child will be blackened
cinders. I will crash over your childhood by the sea like a wave, and what remains of you will
dissolve at my door like salt in the rain.” Death then mockingly reassures him. “I will make
sure your life is given honor when you are gone. That’s what is so important to you, isn’t it - not
becoming meaningless in my victory over you? Well don’t worry, Aaron. I’ll make sure that
your family is comforted by equally meaningless words.”
Death has had his victory. Dystopia triumphs over nostalgia. The Pale Horse is nigh.
Lilac Queen
[1] Here we have three images that likely indicate the end of the world. Rockets may refer to
weapons, possibly those of mass destruction (a concept we will soon explore in full), though a
case can be made for the use of the word in the “space travel” sense, as it is positioned next to
the phrase “comet streams” which is also indicative of space. I prefer the former, as it
contextually lends weight to lines that follow. A comet can destroy the earth, as can manmade
weaponry, and in the final case, raging weather and violent seas.
[2] Yet another Sacred Harp line, here from hymn 49B, entitled “Mear":
Will God forever cast us off?

His wrath forever smoke
Against the people of His love,
His little chosen flock.
Think of the tribes so dearly bought

With the Redeemer’s blood,
Nor let Thy Zion be forgot,
Where once Thy glory stood.
Where once Thy churches prayed and sang

Thy foes profanely rage;
Amid Thy gates their ensigns hang,
And there their host engage.
And still to heighten our distress,

Thy presence is withdrawn;
Thy wonted signs of pow’r and grace
Thy pow’r and grace are gone.
No prophet speaks to calm our grief,

But all in silence mourn;
Nor know the hour of our relief,
The hour of Thy return.
Obviously there is much in the hymn that is thematically significant both to the present track and
the album as a whole. The hymn is sung from the point of view of the world-weary faithful who
face the end of all things, and watch as their churches are overthrown by their foes. They lament
of the removal of God’s presence from the earth, and sing of their hope for His return. Joined
together with the previous images of destruction in the prior lines, we have in place Aaron Weiss’
mindset: this is all going to end.
[3] Pontius Pilate’s infamous hand-washing takes place in the gospels, during the trial of Christ:
19While Pilate was sitting on the

judge’s seat, his wife sent him this
message: “Don’t have anything to do
with that innocent man, for I have
suffered a great deal today in a dream
because of him.” 20But the chief
priests and the elders persuaded the
crowd to ask for Barabbas and to have
Jesus executed. 21“Which of the two
do you want me to release to you?”
asked the governor. “Barabbas,” they
answered. 22“What shall I do, then,
with Jesus who is called the Messiah?” Pilate asked. They all answered, “Crucify him!”
23“Why? What crime has he committed?” asked Pilate. But they shouted all the louder, “Crucify
him!” 24When Pilate saw that he was getting nowhere, but that instead an uproar was starting,
he took water and washed his hands in front of the crowd. “I am innocent of this man’s blood,”
he said. “It is your responsibility!” 25All the people answered, “His blood is on us and on our
children!” 26Then he released Barabbas to them. But he had Jesus flogged, and handed him
over to be crucified. -Matthew 27:19-26
The use of the phrase here is a poetic way of presenting the idiom “washing one’s hands of it”, to
end one's association with someone or something. This phrase in itself likely owes it’s origin to
the scene with Pontius Pilate. In context, Aaron Weiss is washing his hands of the “end”, both of
himself and of the world. It is the seed of an apathy towards death and destruction that will grow
ever more clear as we progress through the first half of this song.
[4] The Sacred Harp gives us this line, from the hymn “Wood Street”:
When we our wearied limbs to rest

Sat down by proud Euphrates’ stream:
We wept with doleful thoughts oppressed,
And Zion was our mournful theme.
Our harps that when with joy we sung

Were wont their tuneful parts to bear,
With silent strings neglected hung,
On willow trees that withered there.
Here the hymn’s line is used to indicate Aaron’s death, “proud Euphrates’ stream” in the original
context being the silent, mournful rest of those who have reached their end. Aaron washing his
hands in such a stream indicates that his apathy stems from the fact that he will probably meet
his end long before the world meet’s its own, and that if all of this is going to be destroyed, what
really matters?
[5] A further emphasis is added to the previous notion, as Aaron intones that he will be long gone
before any of this comes to pass.
[6] The apocalyptic images of the end increase in intensity, with the first an allusion to an
announcement of war. The quote paraphrased in the lyrics comes from The Gulf War Did Not
Take Place by Jean Baudrillard:
On the slopes of Courchevel, the news from the Gulf War is relayed by loudspeakers during the
intensive bombardments. Did the others over there, the Iraqis in the sand bunkers receive the
snow reports from Courchevel?
(Baudrillard, J. (1995). The Gulf War Did Not Take Place. Indiana University Press.)
Courchevel is the name of a ski resort located in

the commune of Saint-Bon-Tarentaise in the
French Alps, in the Tarentaise Valley, Savoie,
Rhône-Alpes region, France country. (from
Wikipedia)
[7] “All moon-rides lifts are full” refers to the

ski lifts at the resort, and their operation under
moonlight for night rides, during which the
“tolling bells” are warning of the outbreak of
war.
[8] Death arrives on the scene in the aftermath of war, as indicated by the third Sacred Harp
reference, from the hymn “Calvary”:
My thoughts, that often mount the skies,

Go, search the world beneath,
Where nature all in ruin lies,

And owns, her sovereign — Death!
[9] Cladding is the outer layer of the fuel rods, standing between the coolant and the nuclear
fuel. It is made of a corrosion-resistant material with low absorption cross section for thermal
neutrons, usually Zircaloy or steel in modern constructions, or magnesium with small amount of
aluminium and other metals for the now-obsolete Magnox reactors. Cladding prevents
radioactive fission fragments from escaping the fuel into the coolant and contaminating it. (from
Wikipedia)
The Three Mile Island accident was

a partial nuclear meltdown that
occurred on March 28, 1979, in one
of the two Three Mile Island nuclear
reactors in Dauphin County,
Pennsylvania, United States. It was
the worst accident in U.S.
commercial nuclear power plant
history. The incident was rated a
five on the seven-point International
Nuclear Event Scale: Accident With
Wider Consequences.
The accident began with failures in the non-nuclear secondary system, followed by a stuck-open
pilot-operated relief valve in the primary system, which allowed large amounts of nuclear
reactor coolant to escape. The mechanical failures were compounded by the initial failure of
plant operators to recognize the situation as a loss-of-coolant accident due to inadequate
training and human factors, such as human-computer interaction design oversights relating to
ambiguous control room indicators in the power plant's user interface. In particular, a hidden
indicator light led to an operator manually overriding the automatic emergency cooling system
of the reactor because the operator mistakenly believed that there was too much coolant water
present in the reactor and causing the steam pressure release.
The accident crystallized anti-nuclear safety concerns among activists and the general public,
resulted in new regulations for the nuclear industry, and has been cited as a contributor to the
decline of a new reactor construction program that was already underway in the 1970s. The
partial meltdown resulted in the release of unknown amounts of radioactive gases and
radioactive iodine into the environment. Dire predictions were made by anti-nuclear movement
activists; however epidemiological studies analyzing the rate of cancer in and around the area
since the accident, determined there was a small statistically non-significant increase in the rate
and thus no causal connection linking the accident with these cancers can be made. Cleanup
started in August 1979, and officially ended in December 1993, with a total cleanup cost of
about $1 billion. (from Wikipedia)
A nuclear meltdown has occurred in Aaron’s hypothetical apocalypse.
[10] Spent fuel pools (SFP) are storage pools for spent fuel from nuclear reactors. They are
typically 40 or more feet (12 m) deep, with the bottom 14 feet (4.3 m) equipped with storage
racks designed to hold fuel assemblies removed from the reactor. A reactor's pool is specially
designed for the reactor in which the fuel was used and situated at the reactor site. An away-
from-reactor, Independent Spent Fuel Storage Installation (ISFSI), such as the one located at the
Morris Operation, is also sometimes used. (from Wikipedia)
[11] “Fell” here is using the archaic meaning of the word: fierce; cruel; dreadful; savage;
destructive; deadly. “Fell repose” indicates death: the death of Aaron Weiss, the death of the
world. Here Aaron wonders whether he will finally end his useless, endless talk (“never-ending
clever complaining” being curbed?) when he finally dies.
[12] Being “born of a thought of mine” may not have direct referential correlation to any one
quote or idea, but I get the sense that this line, when taken in context with the other lines in this
section of the song - all deal with subjective interpretations of both Aaron Weiss and his wife -
that this is detailing what Aaron thinks of himself. He has an image of himself, born of his own
thoughts, that directs how he acts in a number of ways - as do we all. How much of this image is
genuine, and how much of it is only wishful play-acting to direct one’s thoughts and actions, and
at what point is the line drawn between “who we are” and “who we think we are”?
[13] The Islamic State of Iraq and the

Levant (ISIL), also known as the
Islamic State of Iraq and Syria or the
Islamic State of Iraq and ash-Sham
(ISIS), or simply Islamic State (IS), is
a Salafi jihadi extremist militant
group and self-proclaimed caliphate
and Islamic state which is led by
Sunni Arabs from Iraq and Syria. As
of March 2015, it has control over
territory occupied by ten million
people in Iraq and Syria, as well as
limited territorial control in Libya
and Nigeria. The group also operates
or has affiliates in other parts of the world including southeast Asia. (from Wikipedia)
The Pashtun tradition of using a black flag with a white shahada (Islamic creed) inscription as a
military ensign, harking back to the 18th-century Hotaki Empire, were adopted by the Taliban,
and thence by Al-Qaeda in the 1990s. This usage was adopted by the global jihadism movement
in the early 2000s, and in the 2010s by the Islamic State of Iraq and the Levant.
A black flag with the shahada inscribed in white appeared on jihadist websites from at least
2001. (Reported on Flags of the World by Santiago Tazon on 17 November 2001: "I have found
in several 'hard Islamic' websites the symbol of a white Taliban flag crossed with its inverted
colour version (probably identified as Al-Qaeda flag): black background with shahada in white.
I do not know if this flag is recognised by Al-Qaeda; but it is normally flying in pro-Al-Qaeda
sites.")
Even though the historical black banner did not have any inscription, this variant is commonly
known as al-rāya (the banner) or as rayat al-ʻuqab (banner of the eagle) after the hadith
tradition, and some western observers have dubbed it the black flag of jihad.
Some variant designs depict the second phrase of the shahada in the form of the historical seal of
Muhammad. The white circle represents the ring-shaped seal, and encloses the three words, ‫محمد‬
‫( رسول اهلل‬muḥammadur rasūlu-llāh, "Muhammad is the prophet of God"). Inside the seal, they
are written from bottom-to-top rather than the usual top-to-bottom order for text in the Arabic
alphabet. (from Wikipedia)
Aaron describing himself as the ISIS flag design denotes a possible perception his wife could
have of him, metaphorically speaking. This is not to say that his wife by any means may
consider him an Islamic extremist, but that her perception of him may be born more from certain
subjective perceptions, images, and signifiers that she identifies him with, rather than the person
he actually is. This section of the song has Aaron trading subjective insults and compliments
between he and his wife, pondering how each may be seen in the eyes of the other and through
what subjective interpretational lenses. The “ISIS Flag” is meant here both as a joke - a way of
causing the listener to be taken aback - and also as a nod to how modern media works on our
own public perceptions. The ISIS flag is an image, perhaps the central image, we have in
understanding what the jihadist group ISIS is. It is an image, used by news media and those who
wave the flag alike, to signify an extremist terrorist group. Often, American media will use such
an image to instill a sense of dread in viewers with skewed, fear mongering reports to garner
ratings (thus creating a further subjective lens through which we are forced to view ISIS). But
the flag itself is merely a sign, not what it signifies.
[14] The Lilac Festival is the name of various

festivals which celebrate the Lilac, most of which
include the crowning of a young local girl as the
year’s “Lilac Queen”. Aaron is pronouncing his
appreciation of his wife, dubbing her his Lilac
Queen, and emphasizing her imagined royalty by
giving her an empire in which to bathe.
[15] While “still-birth” usually refers to an infant

born dead, here the use of “stillborn” as an
adjective for Aaron’s own heart makes the meaning much closer to it’s other definition:
ineffectual from the beginning; abortive; fruitless. Once again we may have a perception of
Aaron, born of fruitless emoting.
[16] “Werewolf King” is a mysterious

image to be presented in this manner, and
while the descriptions point outward,
suggesting that Aaron as narrator is
speaking of his wife, I contend that there is
a possibility the context has been flipped
and this is either Aaron describing himself,
or speaking as his wife describing him.
The most salient argument for this is that a
woman would not be labeled a “king” in
any case. That being said, what exactly is
the “Werewolf King”. It has been
suggested that King Nebuchadnezzar could
fit the description, with certain far-reaching
folkloric theories proposing that his time of
beast-like insanity makes him the first “werewolf”, but I find this argument rather tenuous. A far
more likely candidate, in my opinion, is found in Greek mythology, especially in Ovid’s
Metamorphoses.
In Greek mythology, Lycaon was a king of Arcadia, son of Pelasgus and Meliboea, who in the
most popular version of the myth tested Zeus by serving him the roasted flesh of a guest from
Epirus in order to see whether Zeus was truly omniscient. In return for these gruesome deeds
Zeus transformed Lycaon into the form of a wolf, and killed Lycaon’s fifty other sons with
lightning bolts; the youngest son, Nyctimus, was restored to life. (from Wikipedia)
Certainly there is an important thematic element to be seen here, as King Lycaon (perhaps Aaron,
perhaps his wife) tempts the wrath of his god by attempting to expose him as a fraud. This could
be rendered quite relevant for the themes on Pale Horses, as much of the lyrics concerning
Aaron’s own doubt and his criticisms of various images of God, could be seen as doing just that.
[17] A disputed line here, which carries some danger of one reading too much into it. The
involvement of a ring may in fact indicate that the Werewolf King is Aaron’s wife, and the
sapphire ring her engagement ring. On the other hand, this could well be a reference to the fact
that Aaron’s wife is not the first woman he proposed to. He has “peddled his ring” to other
buyers before. This would constitute an image his wife would have that could define his
character in her eyes. Both fine enough argument, but for the sake of completeness, let us
explore the symbolism across various cultures of sapphires and what it could mean if it is not
merely an image of Mrs. Weiss’ wedding ring.
The magnificent and holy Sapphire, in all its celestial hues, is a stone of wisdom and royalty, of
prophecy and Divine favor. It is forever associated with sacred things and considered the gem of
gems, a jewel steeped in the history and lore of nearly every religion. To the ancient and
medieval world, Sapphire of heavenly blue signified the height of celestial hope and faith, and
was believed to bring protection, good fortune and spiritual insight. It was a symbol of power
and strength, but also of kindness and wise judgment.
In Hebrew lore, King Solomon and Abraham both wore talismans of Sapphire, and the Law given
to Moses on the Mount was said to be engraved on tablets of Sapphire. The Greeks wore it for
wisdom at Delphi when seeking answers from the Oracle at Apollo’s Shrine. Buddhists believed
it brought devotion and spiritual enlightenment, and the Hindus considered Sapphire as one of
the “great gems” used in offerings in the temples for worship and to align astrological
influences. In Christianity it was used in ecclesiastical rings, and was cherished by kings and
nobility for its powers of protection and insight.
(Sapphire Meanings and Uses. (n.d.). Retrieved July 16, 2015.)
If the ring is an engagement ring, peddling it around would imply something of an irreverent
attitude toward their marriage. If the ring denotes further implied symbolism, perhaps either
Aaron or his wife can be seen as attempting to sell any of the concepts signified by sapphires as
listed above. Certainly Aaron may fit the bill here, as the repeated self-criticisms of his own
“spiritually wise rock star” status indicate, in addition to the fact that he has proposed to two
separate women.
[18] In what can only be seen as a joke, Aaron uses the names of villains from the cartoon
Thundercats as emblems of oncoming doom. First is Hammerhand:
Captain Hammerhand first appeared in the episode

The Terror of Hammerhand. He and his companions,
the Berserkers, were trying to capture unicorns from
the unicorn forest, luckily Snarf was there to step in
and help and protected several unicorns but was then
captured himself. Taken out to sea Hammerhand was
holding Snarf and a baby unicorn captive. Using the
Sword of Omens' "Sight Beyond Sight" ability, Lion-
O saw Snarf was in trouble and went to rescue them.
After a battle with the Thundercats Hammerhand and
his band of Berserkers were sunk by a whirlpool.
Mumm-Ra later raised Hammerhand from his watery grave so that he can occupy the cloned
body of Panthro. Lion-O managed to defeat the imposter with help from the Sword of Omens'
powers. Hammerhand in Panthro's body returned to Mumm-Ra and destroyed the cloning
machine in anger before abandoning the body.
Hammerhand later returned to the living with a new bunch of pirates when Mumm-Ra hired them
to capture Lynx-O, Pumyra, Bengali, and two Berbils who had crashed on an island following
the destruction of Thundera. (from the Thundercats Wiki)
[19] Ibid. (Latin, short for ibidem, meaning "in the same place") is the term used to provide an
endnote or footnote citation or reference for a source that was cited in the preceding endnote or
footnote. (from Wikipedia)
Thus, Vultureman also hails from Thundercats:
Vultureman is a Mutant mechanic and inventor.

He didn't arrive on Third Earth with the other
mutants, but appeared later. Vultureman provided
transportation in the form of his Flying Machine
and numerous other inventions.
In many ways the brains behind the Mutant's

operations, Vultureman's skill with all things
electrical, mechanical, and chemical marks him
out as the most intelligent of the group. He is most
dangerous behind the cockpit of his Flying
Machine or a SkyCutter. Vultureman is a crafty
opportunist who serves as chief inventer and his skills with both machines and science make him
frequently indispensable, but he is more often than not blamed when his devices or machines fail
to live up to Slithe’s expectations (In one episode, he grew tired of this and activated a hidden
self-destruct mechanism in every single machine and vehicle the Mutants used, telling them that
if his work was really so bad, then "See how you do without them!"). As befits a scientist,
Vultureman is inquisitive and open-minded, frequently leaving him odd-man-out among his more
barbaric peers.
Vultureman's ambitious nature is evident by the number of times he has broken ranks with the
Mutants, either going solo or joining up with the ThunderCats' other enemies, such as the
Lunataks. Much later, he decides to work for his own gains, and he often strikes solo deals with
Mumm-Ra. (from the Thundercats Wiki)
[20] That Aaron compares his “wisdom” to slobbered out oatmeal may link this to the idea of the
peddled sapphire ring - Aaron drooling a doled out, patented, bland gruel of wisdom to those
who wish to partake of it (i.e. the fans, me).
[21] Stolid here means not easily stirred or moved mentally; unemotional; impassive. Boots
standing firm on such a floor would have quite a bit of sure footing. It is, in point of fact, nearly
the exact opposite of the next metaphor, which utilizes imagery of restless waves approaching
unknown shores. There is some indication that the language for the “foreign shores”, or at least a
partial inspiration for the imagery, comes again from Rabindranath Tagore’s “Clouds and
Waves”:
[22] The closing lines come from the poem “Endless Time” by Rabindranath Tagore:
Time is endless in thy hands, my lord.

There is none to count thy minutes.
Days and nights pass and ages bloom and fade like flowers.
Thou knowest how to wait.
Thy centuries follow each other perfecting a small wild flower.
We have no time to lose,

and having no time we must scramble for a chance.
We are too poor to be late.
And thus it is that time goes by

while I give it to every querulous man who claims it,
and thine altar is empty of all offerings to the last.
At the end of the day I hasten in fear lest thy gate be shut;
but I find that yet there is time.
(Tagore, R., & Vetter, H. (2011). The Heart of God: Prayers of Rabindranath Tagore. Boston: Tuttle Publishing.)
These final thoughts bring the song back to it’s original premise: Aaron’s attitude in the face of
the end of days. The quote from the poem suggests something of an awakening from apathy, a
shift in focus towards preparedness in light of God’s plan.
Aaron Weiss presents the listener with foreboding images of the inevitable destruction of earth.
Perhaps it will be in the fiery collision with a comet, perhaps through the explosions of manmade
weaponry, or perhaps at the behest of a raging sea. Faced with these possibilities, Aaron washes
his hands of the matter. Better to remain apathetic toward the coming end, both of the world and
of himself in death, than to dwell on it. After all, he will likely be long, long gone. Perhaps the
end will be brought about by a war, one announced via alarms on the slopes of the ski resort
Courchevel, to the horrified patrons that fill the night-traveling ski lifts, as the Gulf War once
was. Perhaps Death will come at behest of a nuclear meltdown, like the one on Three-Mile
Island.
“It’s all the same to me,” Aaron ponders. “I’ll be long, long gone…” Perhaps he will finally end
his never-ending useless talk when he finally enters that fell repose of death.
In the second half of the song, Aaron shifts focus to the concept of images and perception, as it
applies to he and his wife. Subjective images run rampant for both of them. Aaron plays up to
images he has of himself, and his wife may well have an opinion of him born of a sign that
indicates Aaron, rather than of Aaron himself, in the same way that the ISIS flag is both
representative of the jihadists and yet not the jihadists themselves. Aaron praises his wife as a
beautiful Lilac Queen, and yet perhaps denigrates her (or himself) as one who blatantly tests
God, like the Werewolf King Lycaon of Greek myth. These images may be moot, however, as the
song brings us back around to imagery of the end of the world. Despite this coming destruction
and reign of terror, Aaron still travels the world sharing his same useless wisdom. He seems to
be of two minds, both desiring to be sure of thought, and restlessly approaching unknown
territory, and he runs back and forth between these attitudes while the end nonetheless
approaches. At the conclusion, he quickens his pace, hastening toward God, his death, the end,
and maybe even faith, all the while hoping and praying that he will not be shut out of his
Creator’s grace.
Magic Lantern Days
[1] This a play on a phrase from the bible, commonly associated with prophecies referenced
during the nativity narrative of the life of Christ. The original prophecy, from the old testament
book of Isaiah:
6 For unto us a Child is born,

Unto us a Son is given;
And the government will be upon His shoulder.
And His name will be called
Wonderful, Counselor, Mighty God,
Everlasting Father, Prince of Peace.
7 Of the increase of His government and peace
There will be no end,
Upon the throne of David and over His kingdom,
To order it and establish it with judgment and justice
From that time forward, even forever.
The zeal of the Lord of hosts will perform this.
- Isaiah 9:6-7
The prophecy is quoted by angels to shepherds in the nativity narrative:
8And there were in the same country shepherds abiding in the field, keeping watch over their
flock by night. 9And, lo, the angel of the Lord came upon them, and the glory of the Lord shone
round about them: and they were sore afraid. 10And the angel said unto them, Fear not: for,
behold, I bring you good tidings of great joy, which shall be to all people. 11For unto you is born
this day in the city of David a Saviour, which is Christ the Lord. 12And this shall be a sign unto
you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger. 13And suddenly
there was with the angel a multitude of the heavenly host praising God, and saying, 14 Glory to
God in the highest, and on earth peace, good will toward men. - Luke 2:8-14
In these opening lines we have a theme that will become apparent as the song goes on. The
infant Christ in the nativity narrative is replaced by a wholly different object of worship: a
nuclear bomb. I will make an argument at relevant points throughout this song that the “bomb”
here is not merely representative of a nuclear weapon of mass destruction, but is indicative of a
larger subservience and worship by society of technological might and advancement. The world
presented in “Magic Lantern Days” is a not too distance future technocratic dystopia, as we shall
see.
[2] The pebble-bed reactor (PBR) is a graphite-moderated, gas-cooled nuclear reactor. It is a

type of very-high-temperature reactor (VHTR), one of the six classes of nuclear reactors in the
Generation IV initiative. The basic design of pebble-bed reactors features spherical fuel elements
called pebbles. These tennis ball-sized pebbles are made of pyrolytic graphite (which acts as the
moderator), and they contain thousands of micro-fuel particles called TRISO particles. These
TRISO fuel particles consist of a fissile material (such as 235U) surrounded by a coated ceramic
layer of silicon carbide for structural integrity and fission product containment. In the PBR,
thousands of pebbles are amassed to create a reactor core, and are cooled by a gas, such as
helium, nitrogen or carbon dioxide, which does not react chemically with the fuel elements.
This type of reactor is claimed to be passively safe; that is, it removes the need for redundant,
active safety systems. Because the reactor is designed to handle high temperatures, it can cool by
natural circulation and still survive in accident scenarios, which may raise the temperature of
the reactor to 1,600 °C. Because of its design, its high temperatures allow higher thermal
efficiencies than possible in traditional nuclear power plants (up to 50%) and has the additional
feature that the gases do not dissolve contaminants or absorb neutrons as water does, so the core
has less in the way of radioactive fluids. (from Wikipedia)
That this reactor core is “to the sky ascending” ascribes yet another aspect of Christ/savior
language to nuclear power and highly advanced technology.
The Ascension of Jesus is the Christian teaching found in the New Testament that the resurrected
Jesus was taken up to Heaven in his resurrected body, in the presence of eleven of his apostles,
occurring 40 days after the resurrection. In the biblical narrative, an angel tells the watching
disciples that Jesus' second coming will take place in the same manner as his ascension.
The canonical gospels include two brief descriptions of the ascension of Jesus in Luke 24:50-53
and Mark 16:19. A more detailed account of Jesus' bodily Ascension into the clouds is then given
in the Acts of the Apostles (1:9-11). (from Wikipedia)
[3] The use of both “sea” and “mouth” here implies a “sea mouth”, that part of a river, estuary or
lagoon which broadens out as it meets the sea. In other words that the “atomic sea” has it’s
origins where the lyrics imply (discussed shortly). It should be noted that the play on words is
further flipped because the “mouth” is also said to have “lips” in the next line. In any event, the
implication is clear: this powerful nuclear savior has it’s origin in one of a couple of places,
depending on what version of the song you are hearing. As recorded, the song names Oakridge,
Tennessee, which implies it’s ties to the
infamous Manhattan Project:
Oak Ridge National Laboratory (ORNL) is a

multiprogram science and technology national
laboratory managed for the United States
Department of Energy (DOE) by UT-Battelle.
ORNL is the largest science and energy national
laboratory in the Department of Energy system
by acreage. ORNL is located in Oak Ridge,
Tennessee, near Knoxville. ORNL's scientific
programs focus on materials, neutron science, energy, high-performance computing, systems

biology and national security.
ORNL partners with the state of Tennessee, universities and industries to solve challenges in
energy, advanced materials, manufacturing, security and physics.
The laboratory is home to several of the world's top supercomputers including the world's
second most powerful supercomputer ranked by the TOP500, Titan, and is a leading neutron
science and nuclear energy research facility that includes the Spallation Neutron Source and
High Flux Isotope Reactor. ORNL hosts the Center for Nanophase Materials Sciences, the
BioEnergy Science Center, and the Consortium for Advanced Simulation of Light-Water
Reactors.
The town of Oak Ridge was established by the Army Corps of Engineers as part of the Clinton
Engineer Works in 1942 on isolated farm land as part of the Manhattan Project. (from
Wikipedia)
The Manhattan Project was a research and

development project that produced the first
nuclear weapons during World War II. It was led
by the United States with the support of the
United Kingdom and Canada. From 1942 to
1946, the project was under the direction of
Major General Leslie Groves of the U.S. Army
Corps of Engineers; physicist J. Robert
Oppenheimer was the director of the Los Alamos
National Laboratory that designed the actual
bombs. The Army component of the project was
designated the Manhattan District; "Manhattan"
gradually superseded the official codename,
Development of Substitute Materials, for the
entire project. Along the way, the project
absorbed its earlier British counterpart, Tube
Alloys. The Manhattan Project began modestly in 1939, but grew to employ more than 130,000
people and cost nearly US$2 billion (about $26 billion in 2015 dollars). Over 90% of the cost
was for building factories and producing the fissile materials, with less than 10% for
development and production of the weapons. Research and production took place at more than
30 sites across the United States, the United Kingdom and Canada. (from Wikipedia)
Reportedly, when playing a show in Washington D.C., the lyrics were changed live to replace
Oakridge with “Washington D.C.” itself. This would seem to imply that Aaron Weiss renders an
extended blame for the mismanagement of nuclear power and/or the worship of such power and
technology with the government.
[4] A bishop (English derivation from the New Testament Greek ἐπίσκοπος, epískopos,
"overseer", "guardian") is an ordained or consecrated member of the Christian clergy who is
generally entrusted with a position of authority and oversight.
Within the Roman Catholic, Eastern Orthodox, Oriental Orthodox, Anglican, Old Catholic and
Independent Catholic churches and in the Assyrian Church of the East, bishops claim apostolic
succession, a direct historical lineage dating back to the original Twelve Apostles. Within these
churches, bishops are seen as those who possess the full priesthood and can ordain clergy –
including other bishops. Some Protestant churches including the Lutheran and Methodist
churches have bishops serving similar functions as well, though not always understood to be
within apostolic succession in the same way. One who has been ordained deacon, priest, and
then bishop is understood to hold the fullness of the (ministerial) priesthood, given responsibility
by Christ to govern, teach and sanctify the Body of Christ, members of the Faithful. Priests,
deacons and lay ministers cooperate and assist their bishop(s) in shepherding a flock. (from
Wikipedia)
In light of the fact that Christian savior language is being applied to destructive technology here,
it is interesting to note that it is the clergy that can claim direct succession to the original
Christian apostles who give us (I would broadly apply the term “society” here) this warning.
[5] Bedford cord, named after the town of Bedford in England, is a durable fabric that resembles
corduroy. The weave has faint lengthwise ridges, but without the filling yarns that make the
distinct wales characteristic of corduroy. It can have the appearance of narrow-width stripes
with thin lines between.
Because of its stiff construction, it is often used in upholstery or in outerwear that does not
require draping. Trousers made with Bedford cord are sometimes called "Bedford cords.” (from
Wikipedia)
[6] The bishops’ warning here serves in the place of something akin to the popular idiom,
originating in Christian scripture, of “pride going before a fall”.
Pride goeth before destruction, and a haughty spirit before a fall. - Proverbs 16:18
It is humanity’s pride and hubris that Aaron Weiss, in the voice of Christian clergy, warns will be
that which thwarts any victories we may have had.
[7] Deep Blue was a chess-playing computer developed by IBM. It is known for being the first
piece of artificial intelligence to win both a chess game and a chess match against a reigning
world champion under regular time controls.
Deep Blue won its first game

against a world champion on
February 10, 1996, when it
defeated Garry Kasparov in game
one of a six-game match. However,
Kasparov won three and drew two
of the following five games,
defeating Deep Blue by a score of
4–2. Deep Blue was then heavily
upgraded, and played Kasparov
again in May 1997. Deep Blue won
game six, therefore winning the six-
game rematch 3½–2½ and
becoming the first computer system to
defeat a reigning world champion in a match under standard chess tournament time controls.
Kasparov accused IBM of cheating and demanded a rematch. IBM refused and retired Deep
Blue.
Development for Deep Blue began in 1985 with the ChipTest project at Carnegie Mellon
University. This project eventually evolved into Deep Thought, at which point the development
team was hired by IBM. The project evolved once more with the new name Deep Blue in 1989.
(from Wikipedia)
Here, our pride is metaphorically compared once again to technology, in this case the artificially
intelligent computer Deep Blue, which defeats our fully “humble” in his humanity Kasparov.
This further emphasizes both that this prideful veneration of the “bomb” denotes a more
generalized worship of technology, and that there is a continued theme of artificiality on the
album. Mechanical - and even robotic surrogates - are explored later in this song and on bonus
tracks like “Chapelcross Town”. Other instances where I contend that artificiality, sometimes on
a metaphorical or emotional/psychological level, is presented as a negative antithesis of living
“truth” include the “surrogate selves” of “Mexican War Streets” and the “Living Cow vs. Paper
Cow” and “photocopied manna” lines from “Watermelon Ascot”.
In this line, too, we see that our own natural tendencies (thoughts) imparts this destructive pride
that will be our undoing. It is, in other words, our own fault.
[8] These lines serve as a loose adaptation of the poem “Alone With Everybody” by Charles
Bukowski:
the flesh covers the bone

and they put a mind
in there and
sometimes a soul,
and the women break

vases against the walls
and the men drink too
much
and nobody finds the
one
but keep
looking
crawling in and out
of beds.
flesh covers
the bone and the
flesh searches
for more than
flesh.
there's no chance
at all:
we are all trapped
by a singular
fate.
nobody ever finds

the one.
the city dumps fill

the junkyards fill
the madhouses fill
the hospitals fill
the graveyards fill
nothing else
fills.
(Klonsky, M. (1973). Shake the Kaleidoscope; a New Anthology of Modern Poetry. New York: Pocket Books.)
There is a certain sense of existential longing that is inherent in human nature for something
more than merely “flesh” to fill the void, as Bukowski puts it. This analysis of Bukowski’s poem
illuminates some of its relevant themes:
“Alone With Everybody” is not meant to be apocalyptic or depressing. Like a doctor, Bukowski
carefully dissects the aspects of a society misled by its own depravity. The title, “Alone With
Everybody” has a double meaning. First, it could be taken to mean that there is an individual
who is isolated even though he is among a huge group or crowd. The second meaning could be
that everyone is isolated and the feeling of aloneness is mutual. Bukowski knew the initial
ambiguity that his title would bring, and he used it to mix both dread and seclusion before the
poem even begins. […]
He [the narrator of the poem] knows that we trying to find something beyond the physical, but he
is not sure what exactly that is. He is content at leaving this certain void at “the one” and is
certain that we will not find it, even while:
the city dumps fill

the junkyards fill
the madhouses fill
the hospitals fill
the graveyards fill
and our lives continue to fill with monotony, even though trash and death counts rise. The last
line of the poem is “nothing else/fills.” This is the most ironic statement in the poem, because it
is obvious that there are plenty of things that will fill up. But this is a different usage of “fill.” In
“city dumps fill” we know that it is something physical that is filling up the city dumps, but in the
last line it is implied that nothing physical will ever give us what we need, or we will never be
filled with anything that will matter.
(Analysis of Bukowski's "Alone With Everybody" (2005, February 6). Retrieved July 18, 2015.)
[9] The Chernobyl disaster (also referred to

as Chernobyl or the Chernobyl accident)
was a catastrophic nuclear accident that
occurred on 26 April 1986 at the Chernobyl
Nuclear Power Plant in Ukraine (then
officially the Ukrainian SSR), which was
under the direct jurisdiction of the central
authorities of the Soviet Union. An
explosion and fire released large quantities
of radioactive particles into the
atmosphere, which spread over much of the
western USSR and Europe.
The Chernobyl disaster was the worst nuclear power plant accident in history in terms of cost
and casualties. It is one of only two classified as a level 7 event (the maximum classification) on
the International Nuclear Event Scale, the other being the Fukushima Daiichi nuclear disaster in
2011. The battle to contain the contamination and avert a greater catastrophe ultimately
involved over 500,000 workers and cost an estimated 18 billion rubles.[3] During the accident
itself, 31 people died, and long-term effects such as cancers are still being investigated. (from
Wikipedia)
Here the year given is 1985, rather than 1986 when the Chernobyl disaster actually occurred.
This perhaps implies that the individual to whom our narrator is speaking, has a heart which is a
disaster waiting to happen, so to speak. The heart, too, is un-fillable in congruity with the
Bukowski poem’s themes. Neither the narrator (Aaron Weiss being an obvious candidate for this
identity) nor all the time in the world will fill this empty heart. To my mind, this would imply
that the individual to whom the narrator speaks is Aaron Weiss’ wife. This effectively renders
the line as something of a reminder: Aaron’s love will not be enough to make her whole, no
matter how much time is given it; there must be something more to fill up that void. Perhaps this
is God, but perhaps there is another explanation. The answer is left fairly ambiguous.
[10] “Children of the morning” here refer to stars, as in the hymn that will be discussed shortly.
In the hymn after which this section of the song is modeled, the word “sons” is used instead of
children. One interesting note that, to me, affirms this song as a worshipful hymn which a
hypothetical society is using to venerate technological power over that of God, is contained in
another marked difference between the two versions. Weiss phrases the line as “brightest and
best are the children of the morning”, where the original - directed at the star that leads the Magi
to the nativity of Christ - uses “brightest and best of the sons of the morning”. This would imply
that this new variation removes any room for there to be something beyond this “star” (the bomb,
read to me as generalized technological advancement and power) to worship. It is the brightest
and best thing in the narrator’s universe, as opposed to merely the brightest and best of the stars
in the sky, leaving an infinite amount of room for there to be a Creator worthy of worship.
[11] These lines are adapted from a hymn originating in The Southern Harmony, and Musical
Companion.
The Southern Harmony is a shape note hymn and tune book compiled by William Walker. The
book was released in 1835 under the full title of The Southern Harmony, and Musical
Companion. It is part of the larger tradition of shape note singing. (from Wikipedia)
The particular hymn in question is no. 132, entitled “Brightest and Best of the Stars”, and is
written from the point of view of the “wise men” known from Christ’s nativity narrative:
Brightest and best of the stars of the morning,

Dawn on our darkness, and lend us thine aid;
Star of the East, the horizon adorning,
Guide where our infant Redeemer is laid.
Cold on His cradle the dew-drops are shining,

Low lies His head with the beasts of the stall;
Angels adore Him in slumber reclining,
Maker and Monarch and Saviour of all.
Say, shall we yield Him, in costly devotion,

Odours of Edom, and offerings divine?
Gems of the mountain, and pearls of the ocean,
Myrrh from the forest, and gold from the mine?
Vainly we offer each ample oblation,

Vainly with gifts would His favour secure;
Richer by far is the heart's adoration,
Dearer to God are the prayers of the poor.
Brightest and best of the sons of the morning,

Dawn on our darkness and lend us thine aid;
Star of the East, the horizon adorning,
Guide where our infant Redeemer is laid.
(Walker, W. (1854). The Southern Harmony, and Musical Companion: Containing a choice collection of tunes,
hymns, psalms, odes and anthems ; selected from the most eminent authors in the United States: Together with
nearly one hundred new tunes, which have never before been published and well adapted to Christian churches of
every denomination, singing schools, and private societies: also, an easy introduction to the grounds of music, the
rudiments of music, and plain rules for beginners. (New ed.). Philadelphia: Published by Miller & Burlock.)
[12] The use of the word “unmysterious” probably alludes to the term “mystery play”.
Mystery plays (from the Latin "misterium" meaning "occupation") and miracle plays (they are
distinguished as two different forms although the terms are often used interchangeably) are
among the earliest formally developed plays in medieval Europe. Medieval mystery plays
focused on the representation of Bible stories in churches as tableaux with accompanying
antiphonal song. They told of subjects such as the Creation, Adam and Eve, the murder of Abel,
and the last judgment. Oftentimes they were performed together in cycles which could last for
days. The name derives from mystery used in its sense of miracle, but an occasionally quoted
derivation is from ministerium, meaning craft, and so the 'mysteries' or plays performed by the
craft guilds. (from Wikipedia)
That the play mentioned is done in an unmysterious way suggests to my mind that there is a lack
of truth or reverence in the act, possibly a lack of authenticity. It reads, in any case, as a negative
descriptor of the play.
[13] A closet drama is a play that is not intended to be performed onstage, but read by a solitary
reader or, sometimes, out loud in a small group. A related form, the "closet screenplay,"
developed during the 20th century. "Although the term sometimes carries a negative connotation,
implying that such works either lack sufficient theatrical qualities to warrant staging or require
theatrical effects beyond the capacity of most (if not all) theaters, closet dramas through the ages
have had a variety of dramatic features and purposes not tied to successful stage
performance.” (from Wikipedia)
I do connect the negative connotation in the term to the play being spoken of here. The play in
the song is one that should be indicative of reverence: it is a scene that involves Christ and His
Mother, after all. Instead it is an unmiraculous play that lacks in quality. Against the backdrop
of adoration and worship given to technology in this song, a poor re-enactment of a biblical play
lacking anything resembling reverence provides a stark contrast. In this dystopia, society seeks
salvation in a nuclear bomb as it’s guide to a redeemer, while the true redemption found in Christ
is relegated to play-acting in a shoddy production.
[14] The magic lantern or Laterna

Magica is an early type of image
projector employing pictures on
sheets of glass. It was developed in
the 17th century and commonly
used for educational and
entertainment purposes.
The magic lantern used a concave

mirror in back of a light source to
direct as much of the light as
possible through a small
rectangular sheet of glass—a
"lantern slide"—on which was the
painted or photographic image to
be projected, and onward into a lens at the front of the apparatus. The lens was adjusted to
optimally focus the plane of the slide at the distance of the projection screen, which could be
simply a white wall, and it therefore formed an enlarged image of the slide on the screen.
The magic lantern was not only a direct ancestor of the motion picture projector, but it could
itself be used to project moving images, which was achieved by the use of various types of
mechanical slides. Typically, two glass slides, one with the stationary part of the picture and the
other with the part that was to move, would be placed one on top of the other and projected
together, then the moving slide would be hand-operated, either directly or by means of a lever or
other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously
cycling abstract geometrical patterns and colors, were operated by means of a small crank and
pulley wheel that rotated a glass disc.
The later part of the 18th century was the age of Romanticism and the Gothic novel. There was
an obsession with the bizarre and the supernatural. Johann Georg Schröpfer began using the
magic lantern in séances, before Paul Philidor refined the techniques. In these shows, the
illusionists used the magic lantern to trick people into thinking that they had summoned up
spirits of revolutionary figures with the lantern mounted on a trolley. They also summoned ghosts
by requests. However, Philidor's show was eventually closed by the authorities due to their
paranoia. The audiences of these magic lantern shows reacted to the projections with
bewilderment. They thought the projections were real dreams, visions, apparitions and ghosts,
and the devil. This was just fueled by the fact that this is exactly what the early conjurers and
magicians used them for: scaring people using these ghostly images. (from Wikipedia)
The placement of magic lanterns here suggests that this play originates in an era of spiritual
trickery using technology. We have a play, performed shoddily and irreverently, using Christian
imagery and figures, and it is compared to a common form of trickery, something akin to the
earlier Knock Apparition from “Red Cow”. In my estimation, Aaron Weiss is saying that
whatever spiritual insight offered by these dystopian play actors is an illusion made by
something akin to a magic lantern.
Because we are also dealing with technology in this song, it may be worth mentioning a Magic
Lantern along those lines:
Magic Lantern is keystroke logging software developed by the United States' Federal Bureau of
Investigation. Magic Lantern was first reported in a column by Bob Sullivan of MSNBC on 20
November 2001 and by Ted Bridis of the Associated Press.
The FBI intends to deploy Magic Lantern in the form of an e-mail attachment. When the
attachment is opened, it installs a trojan horse on the suspect's computer. The trojan horse is
activated when the suspect uses PGP encryption, often used to increase the security of sent e-
mail messages. When activated, the trojan horse will log the PGP password, which allows the
FBI to decrypt user communications. (from Wikipedia)
I find the idea that this software is being referred to here a rather flimsy one, but with computer
programs that can defeat humans like Deep Blue already being an element of this song, I think it
is worth some slight consideration.
Here we also see another indication of the negative aspects of artificiality, as the audience for the
irreverent plays consists of robotic replacements for living things - pretend saviors enacting a
play for pretend whales. Aaron Weiss himself has said that this line suggests a “dystopian future
where all the real live whales have died and now we have to build whales”. The “android
whales” themselves stem from a dream Aaron Weiss’ nephew Harvey had, and thus the
acknowledgement of his contribution here.
[15] The Nazarene would indicate a role as the character of Jesus Christ.
Nazarene is a title applied to Jesus, who, according to the New Testament, grew up in Nazareth,a
town in Galilee, now in northern Israel. The word is used to translate two related terms that
appear in the Greek New Testament: Nazarēnos (Nazarene) and Nazōraios (Nazorean). The
phrases traditionally rendered as "Jesus of Nazareth" can also be translated as "Jesus the
Nazarene" or "Jesus the Nazorean”, and the title "Nazarene" may have a religious significance
instead of denoting a place of origin. (from Wikipedia)
[16] The use of the word “unrepenting” likely serves a similar purpose to that of “unmysterious”
earlier. In this closet drama, there is only empty play-acting where there should be reverence and
repentance.
[17] Mary Magdalene, or Mary of

Magdala and sometimes The Magdalene,
is a religious figure in Christianity. Mary
Magdalene travelled with Jesus as one of
his followers. She is said to have
witnessed Jesus' crucifixion and
resurrection. Within the four Gospels she
is named at least 12 times, more than most
of the apostles. Carol Ann Morrow views
the Gospel references as describing her as
courageous, and brave enough to stand by
Jesus in his hours of suffering, death and
beyond.
The Gospel of Luke says seven demons

had gone out of her,[Lk. 8:2] and the
longer ending of Mark says Jesus had cast
seven demons out of her.[Mk. 16:9] The
"seven demons" may refer to a complex
illness, as opposed to any form of
sinfulness.; however, this is not a
prominent view. She is most prominent in
the narrative of the crucifixion of Jesus, at
which she was present. She was also
present two days later, immediately following the sabbath, when, according to all four canonical
Gospels,[Matthew 28:1–8] [Mark 16:9–10] [Luke 24:10] [John 20:18] she was either alone or
as a member of a group of women the first to testify to the resurrection of Jesus. John 20 and
Mark 16:9 specifically name her as the first person to see Jesus after his resurrection. (from
Wikipedia)
[18] Our Lady of the Snow is a feast celebrated on 5 August to commemorate the dedication of
the church of Santa Maria Maggiore on the Esquiline Hill in Rome. The church was originally
built by Pope Liberius (352-366) and was called after him "Basilica Liberii" or "Liberiana". It
was restored by Pope Sixtus III (432-440) and dedicated to Our Lady. From that time on it was
known as "Basilica S. Mariæ" or "Mariæ Majoris"; since the seventh century it was known also
as "Maria ad Præsepe". The appellation "ad Nives" (of the snow) originated a few hundred
years later, as did also the legend which gave this name to the church. The legend runs thus:
During the pontificate of Liberius, the Roman patrician John and his wife, who were without
heirs, made a vow to donate their possessions to Our lady. They prayed to her that she might
make known to them in what manner they were to dispose of their property in her honour. On 5
August, during the night, snow fell on the summit of the Esquiline Hill and, in obedience to a
vision which they had the same night, they built a) basilica, in honour of Our Lady, on the spot
which was covered with snow. From the fact that no mention whatever is made of this alleged
miracle until a few hundred years later, not even by Sixtus III in his eight-lined dedicatory
inscription [edited by de Rossi, "Inscript. Christ.", II, I (Rome, 1888), 71; Grisar (who has failed
to authenticate the alleged miracle), "Analecta Romana", I (Rome, 1900), 77; Duchesne, "Liber
Pontificalis", I (Paris, 1886), 235; Marucchi, "Eléments d'archéologie chrétienne", III (Paris
and Rome, 1902), 155, etc.] it would seem that the legend has no historical basis. Originally the
feast was celebrated only at Sta Maria Maggiore; in the fourteenth century it was extended to all
the churches of Rome and finally it was made a universal feast by Pius V. Clement VIII raised it
from a feast of double rite to double major. The mass is the common one for feasts of the Blessed
Virgin; the office is also the common one of the Bl. Virgin, with the exception of the second
Nocturn, which is an account of the alleged miracle. The congregation, which Benedict XIV
instituted for the reform of the Breviary in 1741, proposed that the reading of the legend be
struck from the Office and that the feast should again receive its original name, "Dedicatio
Sanctæ Mariæ”.
(Ott, M. (1911). Our Lady of the Snow. In The Catholic Encyclopedia. New York: Robert Appleton Company.
Retrieved July 18, 2015 from New Advent: http://www.newadvent.org/cathen/11361c.htm)
This suggests one of a few possibilities: another character in this play is that of Mary, the Mother
of Jesus; the play is taking place in or near the church referenced above; the play is taking place
on the feast day referenced above.
[19] This line is an inversion of the line from hymn repeatedly drawn from, “Brightest and Best
of the Stars”. In the hymn, the line reads “star of the East, the horizon adorning”. The star
leading the Magi to Christ decorates the eastern night sky. The inversion has a star from the
opposite direction, west, deforming the horizon. A number of themes can be pulled from this
imagery. There are notable elements suggesting popular imagery of Satan. He is already
associated with the title Lucifer, the Morning Star. Here we have a destructive star (the “bomb”)
leading in exactly the opposite direction that Christ is supposedly laying in the manger, also
suggesting something rather adversarial. I would suggest that the most likely explanation is
simply that the adoration of technology is leading humanity astray, while we nonetheless think
that it is leading us to the “truth” that will fill our hearts.
[20] Reportedly, mewithoutYou’s touring mercy table operator is named Michael Bachich, and it
would seem that Aaron Weiss identifies him, in some small way, with the poet T.S. Eliot. These
lines adapt phrasing from a small portion of T.S. Eliot’s The Waste Land:
Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying “Stetson!
You who were with me in the ships at Mylae!
That corpse you planted last year in your garden,
Has it begun to sprout? Will it bloom this year?
Or has the sudden frost disturbed its bed?
Oh keep the Dog far hence, that’s friend to men,
Or with his nails he’ll dig it up again!
You! hypocrite lecteur!—mon semblable,—mon frère!”
(Eliot, T., & Eliot, T. (2001). The Waste Land and Other Writings (2001 Modern library ed.). New York: Modern
Library.)
[21] The “infant redeemer”, once again pulling from “Brightest and Best of the Stars”, obviously
suggests Christ. As we can see from earlier allusions however, this “bomb” is leading the
adoring worshippers not to a redeemer, but to their own end.
Mimicking an old hymn, sung by the Wise Men in search of the infant Christ, members of a
future dystopian technocracy utter a song of worship to their own technological power,
manifested in the birth of an all-powerful nuclear bomb. Aaron Weiss contrasts this with a
warning from Christian clergy: technology is the prideful overreach that will attend our own
destruction. This artificial power, regardless of how sanctified it has been made, will never
complete us. While landfills, graveyards, and hospitals fill up, our hearts remain unfulfilled.
Lending the metaphor to his own relationship, Aaron admits that his love, even given all the time
in the world, will never be enough to hold his own wife’s heart. While the dystopian society
continues to praise the bomb, calling it the brightest and best object in the universe. Any last
vestige of spirituality is relegated to shoddily produced plays re-enacted by irreverent players
who only dimly understand the importance of the Truth in the roles they have taken, and use
magic lantern trickery to produce “genuine” miraculous events. There is not even an audience
left to give attention to Gospel stories, and they are thus performed for artificial whales, real
cetaceans having long since been driven to extinction. Using T.S. Eliot’s words, Aaron
contemplates the ever expanding place of humanity in this near future, while they ceaselessly
hark unto the Bomb to guide them, like the Magi’s star of old, to their salvation.
Birnam Wood
[1] This opening verse

draws from the climax of
Shakespeare’s Macbeth.
Within the plot, Macbeth
has been told early on by
prophetic witches that he
will not die until the very
trees of the Birnam Forest
near his castle uproot
themselves and attack
him. Thus, he believes
himself invincible.
Unfortunately, an army is
advancing upon him
disguised by trees from
Birnam, making it seem as though the wood itself it making it’s way to the unlucky Macbeth.
Excerpts from the text:
MACBETH
Bring it after me.
I will not be afraid of death and bane,
Till Birnam forest come to Dunsinane.
[…]
MALCOLM
Cousins, I hope the days are near at hand
That chambers will be safe.
MENTEITH
We doubt it nothing.
SIWARD
What wood is this before us?
MENTEITH
The wood of Birnam.
MALCOLM
Let every soldier hew him down a bough
And bear't before him: thereby shall we shadow
The numbers of our host and make discovery

Err in report of us.
Soldiers
It shall be done.
[…]
Messenger
Gracious my lord,
I should report that which I say I saw,
But know not how to do it.
MACBETH
Well, say, sir.
Messenger
As I did stand my watch upon the hill,
I look'd toward Birnam, and anon, methought,
The wood began to move.
MACBETH
Liar and slave!
Messenger
Let me endure your wrath, if't be not so:
Within this three mile may you see it coming;
I say, a moving grove.
MACBETH
If thou speak'st false,
Upon the next tree shalt thou hang alive,
Till famine cling thee: if thy speech be sooth,
I care not if thou dost for me as much.
I pull in resolution, and begin
To doubt the equivocation of the fiend
That lies like truth: 'Fear not, till Birnam wood
Do come to Dunsinane:' and now a wood
Comes toward Dunsinane. Arm, arm, and out!
If this which he avouches does appear,
There is nor flying hence nor tarrying here.
I gin to be aweary of the sun,
And wish the estate o' the world were now undone.
Ring the alarum-bell! Blow, wind! come, wrack!

At least we'll die with harness on our back.
(Shakespeare, W., & Waith, E. (1954). The Tragedy of Macbeth;. New Haven: Yale University Press.)
The use of the metaphor here seems to be in reference to Aaron’s own comeuppance or demise.
As we have explored in previous songs, the theme has so far been the encroachment of Death
and the apocalypse. In “Blue Hen” Aaron actually holds a conversation with Death about the
power and permanence of shuffling off the mortal coil, and in “Lilac Queen”, apathy in the face
of this end (both at large in the earth and personally) is examined. “Magic Lantern Days” gave
us a societal attitude that could bring about such a large scale end for everyone, and now we have
Aaron confronting the actual eve of his own destruction.
[2] This line is spoken from the perspective of God, and is metaphorically invoking the story of
the Hebrew patriarch Jacob, who wrestled with God. Specific phrasing here comes from the
King James Version.
24 And Jacob was left alone; and there wrestled

a man with him until the breaking of the day. 25
And when he saw that he prevailed not against
him, he touched the hollow of his thigh; and the
hollow of Jacob's thigh was out of joint, as he
wrestled with him. 26 And he said, Let me go,
for the day breaketh. And he said, I will not let
thee go, except thou bless me. 27 And he said
unto him, What is thy name? And he said,
Jacob. 28 And he said, Thy name shall be called
no more Jacob, but Israel: for as a prince hast
thou power with God and with men, and hast
prevailed. 29 And Jacob asked him, and said,
Tell me, I pray thee, thy name. And he said,
Wherefore is it that thou dost ask after my
name? And he blessed him there. 30 And Jacob
called the name of the place Peniel: for I have
seen God face to face, and my life is preserved.
31 And as he passed over Penuel the sun rose
upon him, and he halted upon his thigh. 32
Therefore the children of Israel eat not of the sinew which shrank, which is upon the hollow of
the thigh, unto this day: because he touched the hollow of Jacob's thigh in the sinew that shrank.
- Genesis 32:24-32
Throughout this song we seem to find Aaron Weiss “wrestling” with God as he faces his own
death, couched in the language of hymns and Old Testament stories.
[3] “Bound up Isaac” is a reference to the story of Abraham’s aborted sacrifice of his only son.
The entire story will be referenced at various points throughout the song, but I will include it in
its entirety here, and then refer to specific verses when appropriate:
After these things God tested Abraham and said to

him, “Abraham!” And he said, “Here I am.” 2 He
said, “Take your son, your only son Isaac, whom
you love, and go to the land of Moriah, and offer
him there as a burnt offering on one of the
mountains of which I shall tell you.” 3 So Abraham
rose early in the morning, saddled his donkey, and
took two of his young men with him, and his son
Isaac. And he cut the wood for the burnt offering
and arose and went to the place of which God had
told him. 4 On the third day Abraham lifted up his
eyes and saw the place from afar. 5 Then Abraham
said to his young men, “Stay here with the donkey;
I and the boy[a] will go over there and worship and
come again to you.” 6 And Abraham took the wood of the burnt offering and laid it on Isaac his
son. And he took in his hand the fire and the knife. So they went both of them together. 7 And
Isaac said to his father Abraham, “My father!” And he said, “Here I am, my son.” He said,
“Behold, the fire and the wood, but where is the lamb for a burnt offering?” 8 Abraham said,
“God will provide for himself the lamb for a burnt offering, my son.” So they went both of them
together.
9 When they came to the place of which God had told him, Abraham built the altar there and laid
the wood in order and bound Isaac his son and laid him on the altar, on top of the wood. 10 Then
Abraham reached out his hand and took the knife to slaughter his son. 11 But the angel of the
Lord called to him from heaven and said, “Abraham, Abraham!” And he said, “Here I am.” 12
He said, “Do not lay your hand on the boy or do anything to him, for now I know that you fear
God, seeing you have not withheld your son, your only son, from me.” 13 And Abraham lifted up
his eyes and looked, and behold, behind him was a ram, caught in a thicket by his horns. And
Abraham went and took the ram and offered it up as a burnt offering instead of his son. 14 So
Abraham called the name of that place, “The Lord will provide”;[b] as it is said to this day, “On
the mount of the Lord it shall be provided.”[c]
15 And the angel of the Lord called to Abraham a second time from heaven 16 and said, “By
myself I have sworn, declares the Lord, because you have done this and have not withheld your
son, your only son, 17 I will surely bless you, and I will surely multiply your offspring as the
stars of heaven and as the sand that is on the seashore. And your offspring shall possess the gate
of his[d] enemies, 18 and in your offspring shall all the nations of the earth be blessed, because
you have obeyed my voice.” 19 So Abraham returned to his young men, and they arose and went
together to Beersheba. And Abraham lived at Beersheba. - Genesis 22
It is a commonly held view in Christian theology that the ram in this story typifies the place later
held by Christ, another “only Son” laid on the altar of sacrifice in place of those meant to be
killed.
[4] As in “Red Cow”, the Sacred Harp hymn “Africa” inspires these lines:
Now shall my inward joys arise,

And burst into a song;
Almighty love inspires my heart,
And pleasure tunes my tongue.
God, on His thirsty Zion’s hill,

Some mercy drops has thrown;
And solemn oaths have bound His love
To show’r salvation down.
Why do we then indulge our fears,

Suspicions and complaints?
Is He a God, and shall His grace
Grow weary of His saints?
The context of the line in the original hymn seems to indicate that Aaron Weiss is being critical
of, or at the very least questioning, his own judgement, suspicions, and complaints of God in the
song.
[5] A way of saying “Would you rather be the sacrificed or the one doing the slaughtering?”
Much of this song seems to be examining the role faith plays in the perceived violent actions of
the faithful. Later religious extremism will be hit upon using the same imagery of the sacrifice
of Isaac. It should be noted that many of the themes in “Birnam Wood”, especially those that
specifically seem to stem from the story of Abraham and Isaac, may take their inspiration from
Fear and Trembling by Søren Kierkegaard. The Sparknotes summary, in lieu of a specific quote:
Fear and Trembling centers on the biblical story of Abraham. Abraham, childless after 80 years,
prays for a son. God grants his wish, and Abraham has Isaac. Thirty years later, God orders
Abraham to kill his son. Abraham prepares to kill Isaac, but at the last second God spares Isaac
and allows Abraham to sacrifice a ram instead. Fear and Trembling includes four different
retellings of the story, each with a slightly different viewpoint. In the first version, Abraham
decides to kill Isaac in accordance with God’s will. Abraham convinces Isaac that he’s doing it
by his own will, not by God’s. This is a lie, but Abraham says to himself that he would rather
have Isaac lose faith in his father than lose faith in God. In the second version, Abraham
sacrifices a ram instead of Isaac. Even though God spares Isaac, Abraham’s faith is shaken
because God asked him to kill Isaac in the first place. In the third version, Abraham decides not
to kill Isaac and then prays to God to forgive him for having thought of sacrificing his son in the
first place. In the fourth version, Abraham can’t go through with killing Isaac. Isaac begins to
question his own faith due to Abraham’s refusal to do what God commanded.
In the rest of Fear and Trembling, Kierkegaard examines his four retellings of the story of
Abraham, focusing on the religious and the ethical. Kierkegaard claims that the killing of Isaac
is ethically wrong but religiously right. Kierkegaard also uses his retelling of the Abraham story
to distinguish between faith and resignation. Abraham could have been resigned to kill Isaac just
because God told him to do so and because he knew that God was always right. However,
Kierkegaard claims that Abraham did not act out of a resignation that God must always be
obeyed but rather out of faith that God would not do something that was ethically wrong.
Abraham knew that killing Isaac was ethically wrong, but he had faith that God would spare his
son. Abraham decided to do something ethically wrong because having faith in God’s good will
was religiously right. Kierkegaard claims that the tension between ethics and religion causes
Abraham anxiety.
Kierkegaard argues that his retellings of the story of Abraham demonstrate the importance of a
“teleological suspension of the ethical.” Teleological means “in regard to the end.” If you are
hungry and you eat something with the goal of no longer being hungry, then you made a
teleological decision: you acted, by eating, so as to achieve the end of no longer being hungry.
Abraham performs a teleological suspension of the ethical when he decides to kill Isaac.
Abraham knows that killing Isaac is unethical. However, Abraham decides to suspend the ethical
—in other words, to put ethical concerns on the back burner—because he has faith in the
righteousness of the end (or telos) that God will bring about. Abraham’s faith that God will not
allow an unethical telos allows him to make what seems to be an unethical decision. Abraham
puts religious concerns over ethical concerns, thus proving his faith in God.
(Fear and Trembling: Summary. (n.d.). Retrieved July 28, 2015.)
[6] “Safe in the arms of kingdom come” seems to draw it’s phrasing from James Joyce’s Ulysses:
Old fellow asleep near that confessionbox. Hence those snores. Blind faith. Safe in the
arms of kingdom come. Lulls all pain. Wake this time next year.
[7] This line comes from incidences even earlier in Judeo-Christian mythology than the
Abrahamic narratives, and elevates the argument from merely a personal human problem (ie
extremes of action in service of a God, Aaron’s own struggle with God) to that of the earth as a
whole. This is perhaps a point of view (from Aaron or in general) of a wrathful God, the same
that would goad a father into attempting to murder his only son.
In the beginning God created the heaven and the earth. 2 And the earth was without form, and
void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of
the waters. - Genesis 1:1-2
“Floodwater” seems to indicate Noah’s flood,

the most famous incidence of God’s wrath in
the Old Testament:
17 And, behold, I, even I, do bring a flood of

waters upon the earth, to destroy all flesh,
wherein is the breath of life, from under
heaven; and every thing that is in the earth
shall die. - Genesis 6:17
[8] A “column cloud” may refer to a passage

from Exodus:
17And it came to pass, when Pharaoh had let the people go, that God led them not through the
way of the land of the Philistines, although that was near; for God said, Lest peradventure the
people repent when they see war, and they return to Egypt: 18But God led the people about,
through the way of the wilderness of the Red sea: and the children of Israel went up harnessed
out of the land of Egypt. 19And Moses took the bones of Joseph with him: for he had straitly
sworn the children of Israel, saying, God will surely visit you; and ye shall carry up my bones
away hence with you. 20And they took their journey from Succoth, and encamped in Etham, in
the edge of the wilderness. 21And the LORD went before them by day in a pillar of a cloud, to
lead them the way; and by night in a pillar of fire, to give them light; to go by day and night:
22He took not away the pillar of the cloud by day, nor the pillar of fire by night, from before the
people. - Exodus 13:17-22
It is interesting to see that the Genesis deluge is mentioned next to the pillar of cloud, possibly
indicating some connection thematically. I suspect that the connection lies in the protection and
guidance God provides those who follow him (mostly) without question, amid the wrath and
destruction of others by that same God. Noah rode out the flood safe in the ark, and the pillar of
cloud guided the Israelites through trials in the desert, while their enemies fell under their
sanctified swords and in the Red Sea flood.
[9] This line comes, again, from Macbeth:
MALCOLM
I would the friends we miss were safe arrived.
SIWARD
Some must go off: and yet, by these I see,
So great a day as this is cheaply bought.
MALCOLM
Macduff is missing, and your noble son.
ROSS
Your son, my lord, has paid a soldier's debt:
He only lived but till he was a man;
The which no sooner had his prowess confirm'd
In the unshrinking station where he fought,
But like a man he died.
SIWARD
Then he is dead?
ROSS
Ay, and brought off the field: your cause of sorrow
Must not be measured by his worth, for then
It hath no end.
SIWARD
Had he his hurts before?
ROSS
Ay, on the front.
SIWARD
Why then, God's soldier be he!
Had I as many sons as I have hairs,
I would not wish them to a fairer death:
And so, his knell is knoll'd.
MALCOLM
He's worth more sorrow,
And that I'll spend for him.
SIWARD
He's worth no more
They say he parted well, and paid his score:
And so, God be with him! Here comes newer comfort.
(Shakespeare, W., & Waith, E. (1954). The Tragedy of Macbeth;. New Haven: Yale University Press.)
The line in question is essentially “Your grief should not be equal to his worth, because then your
sorrow would never end.” There may be a couple of levels of theme going on here. First, that
the scene from Macbeth deals with the death of a son, and the sorrow it could cause his father,
indicates that this line is thematically linked to the earlier idea of Abraham’s sacrifice of his only
son in service of God’s wishes. Sward’s son lived long enough to become a man, and all of his
wounds were on his front side. Essentially, he went down swinging, rather than bound by his
father on an altar. Which of these deaths is the more noble, Aaron is perhaps wondering.
Another element to be examined here is that the language from Shakespeare may also be used to
exemplify Aaron’s own grief over his father’s death. And yet another layer may be added if we
consider that Aaron may be also speaking of the death of Christ (as some would say, at the hands
of His own Father), the Savior’s worth immeasurable.
[10] This is harkening back to the earlier reference in “D-Minor” to shape-note singing:
The system is a four-shape system; six of the notes of the scale are grouped in pairs assigned to
one syllable/shape combination. The ascending scale using the fa, so, la, fa, so, la, mi, fa
syllables represent a variation of the hexachord system introduced by the 11th century monk
Guido of Arezzo, who originally introduced a six-note scale using the syllables ut, re, mi, fa, sol,
la.
The four syllable variation of Guido's original system was prominent in 17th century England,
and entered the US in the 18th century. Shortly afterward, shapes were invented to represent the
syllables. The other important systems are seven-shape systems, which give a different shape and
syllable to every note of the scale. (from Wikipedia)
The line “may my heart in tune be found” comes from a hymn by Isaac Watts entitled “Sweet is
the Work, My God and King”:
Sweet is the work, my God, my king,

To praise Thy name, give thanks and sing,
To show Thy love by morning light
And talk of all Thy truth at night.
Sweet is the day of sacred rest,

No mortal cares shall seize my breast.
O may my heart in tune be found,
Like David’s harp of solemn sound!
My heart shall triumph in my Lord

And bless His works and bless His Word.
Thy works of grace, how bright they shine!

How deep Thy counsels, how divine!
Fools never raise their thoughts so high;

Like brutes they live, like brutes they die;
Like grass they flourish, till Thy breath
Blast them in everlasting death.
But I shall share a glorious part,

When grace has well refined my heart;
And fresh supplies of joy are shed,
Like holy oil, to cheer my head.
Sin (my worst enemy before)

Shall vex my eyes and ears no more;
My inward foes shall all be slain,
Nor Satan break my peace again.
Then shall I see, and hear, and know

All I desired and wished below;
And every power find sweet employ
In that eternal world of joy.
And then what triumphs shall I raise

To Thy dear name through endless days,
For in the realms of joy I’ll see
Thy face in full felicity.
(Watts, I. (1771). The Psalms of David imitated in the language of the New Testament, and applied to the Christian
state and worship With the preface, or, an enquiry into the right way of fitting the Book of Psalms for Christian
worship, and notes. (The twenty-seventh ed.). Boston: Printed by Thomas and John Fleet, at the Heart & Crown in
Cornhill.)
A story connected to this hymn, as told in Illustrated History of Hymns and Their Authors by
Edwin Long may be of some importance:
A Prisoner Singing Himself into Liberty
This was the case with Deacon Epa Norris during the war between Great Britain and the United
States, in 1812. He lived in the Northern Neck, Va. Being captured and taken to a British vessel,
they in vain sought to obtain from him the position and numbers of the American Army.
Dr. Belcher says: The commandant of the ship gave a dinner to the officers of the fleet, and did
Mr. Norris the honor to select him from the American prisoners of war to be a guest. The deacon,
in his homespun attire, took his seat at the table with the aristocracy of the British navy. The
company sat long at the feast: they drank toasts, told stories, laughed and sang songs. At length
Mr. Norris was called on for a song. He desired to excuse himself, but in vain: he must sing. He
possessed a fine, strong, musical voice. In an appropriate and beautiful air, he commenced
singing:
Sweet is the work, my God, my King,

To praise thy name, give thanks, and sing.
Thoughts of home and of lost religious privileges, and of his captivity, imparted an unusual
pathos and power to his singing. One stanza of the excellent psalm must have seemed peculiarly
pertinent to the occasion:
Fools never raise their thoughts so high:

Like brutes they live, like brutes they die;
Like grass they flourish, till thy breath
Blast them in everlasting death.
When the singing ceased, a solemn silence ensued. At length the commandant broke it by saying:
Mr. Norris, you are a good man, and shall return immediately to your family. The commodore
kept his word; for in a few days Mr. Norris was sent ashore in a barge, with a handsome present
of salt,—then more valuable in the country than gold.
(Long, E. (1882). Illustrated history of hymns and their authors Facts and incidents of the origin, authors,
sentiments and singing of hymns, which, with a synopsis, embrace interesting items relating to over eight hundred
hymn-writers. Philadelphia: J.L. Landis &.)
[11] The notes are sung as “notes from underground”, further emphasizes this hymns connection
with a prisoner yearning for freedom:
Notes from Underground, also translated as Notes from the Underground or Letters from the
Underworld, is an 1864 novella by Fyodor Dostoyevsky. Notes is considered by many to be the
first existentialist novel. It presents itself as an excerpt from the rambling memoirs of a bitter,
isolated, unnamed narrator (generally referred to by critics as the Underground Man) who is a
retired civil servant living in St. Petersburg. The first part of the story is told in monologue form,
or the underground man's diary, and attacks emerging Western philosophy, especially Nikolay
Chernyshevsky's What Is to Be Done?. The second part of the book is called "Àpropos of the Wet
Snow", and describes certain events that, it seems, are destroying and sometimes renewing the
underground man, who acts as a first person, unreliable narrator. (from Wikipedia)
Like Dostoyevsky’s Underground Man, Aaron is attacking a negative philosophical view (or at
the least he is examining the subjective perceptions we have of God that can turn negative rather
quickly) throughout much of Pale Horses, and is in this song specifically addressing the idea of
extreme devotion, even to the point of murdering someone in God’s name.
[12] Apparently Aaron Weiss has stated that he did, indeed, have a nervous breakdown (possibly
in the wake of his father’s death, though there is no confirmation of this that I have found). The
line, to me, speaks in quite the exasperated tone. While people blandly utilize a trite phrase to
describe his condition with “nervous breakdown” (once again brushing up against the futility of
language to describe reality), Aaron himself feels as if his very nervous system is being
dismantled.
[13] Thematically, “steady is a knife held sure by faith” brings the song to a climax. Religion
has ever been the cause of (or rather, a terrible excuse for) violence. The Christians had their
crusades and the Spanish Inquisition, Islam it’s various extreme factions like ISIS and the
Taliban. The question here is whether or not such dire surety of faith, to the point of shedding
blood, really speaks to the truth of God. Is Abraham a good man, a heroic patriarch, who obeys
God to the last, even if it means taking the life of his only son? Or is Abraham a misguided
terrible father, blinded by his own perception of God? And if God did indeed command
Abraham to sacrifice Isaac, what does this say of God?
[14] While this may refer back to earlier imagery on the album of the railway, and thus Aaron
Weiss’ honeymoon, one intriguing possibility is brought forth when seen in conjunction with the
next line’s British geographical locations:
London Necropolis railway station was the Waterloo, London terminus of the London Necropolis
Railway. The London Necropolis Railway was opened in 1854 as a reaction to severe
overcrowding in London's existing graveyards and cemeteries. It aimed to use the recently
developed technology of the railway to move as many burials as possible to the newly built
Brookwood Cemetery in Brookwood, Surrey. This location was within easy travelling distance of
London, but distant enough that the dead could not pose any risk to public hygiene. There were
two locations for the station; the first was in operation from 1854 to 1902, the second from 1902
to 1941.
Although it had its own branch line into Brookwood Cemetery, most of the route of the London
Necropolis Railway ran on the existing London and South Western Railway (LSWR).
Consequently, a site was selected in Waterloo, near the LSWR's recently opened London terminus
at Waterloo Bridge station (now London Waterloo). The building was specifically designed for
the use of mourners. It had many private waiting rooms, which could also be used to hold funeral
services, and a hydraulic lift to raise coffins to platform level. Existing railway arches were used
for the storage of bodies.
In 1899 the location of the terminus was blocking the expansion of Waterloo station. After much
negotiation, the LSWR reached agreement with the London Necropolis Company, the owners of
the cemetery and the railway: in return for the existing site, the LSWR re-equipped the London
Necropolis Railway and supplied it with a new station on Westminster Bridge Road. This new
building was designed to contrast with other funeral directors' premises by being as attractive as
possible. In 1902 the railway moved into the new building, and the earlier station was
demolished.
On 16 April 1941, during World War II the station was heavily damaged in an air raid. Much of
the building was destroyed and the tracks to the station were rendered unusable. Although some
funeral trains continued to run from nearby Waterloo station, the London terminus was never
used again. Following the end of the war the London Necropolis Company decided that
reopening the London Necropolis Railway was not financially worthwhile, and the surviving part
of the station building was sold as office space. This remnant remains intact, and relatively
unaltered since its opening. (from Wikipedia)
[15] Highgate Cemetery is a

place of burial in north
London, England. It is
designated Grade I on the
Historic England Register of
Parks and Gardens of Special
Historic Interest in England. It
is divided into two parts,
named the East and West
cemetery. There are
approximately 170,000 people
buried in around 53,000 graves
at Highgate Cemetery.
Highgate Cemetery is notable both for some of the people buried there as well as for its de facto
status as a nature reserve.
The cemetery is located on both sides of Swain's Lane in Highgate, N6, next to Waterlow Park.
The main gate is located just north of Oakshott Avenue. There is another disused gate on Chester
Road. The cemetery is in the London Boroughs of Camden, Haringey and Islington. The nearest
transport link is Archway tube station.
The cemetery in its original form – the northwestern wooded area – opened in 1839, as part of a
plan to provide seven large, modern cemeteries, known as the "Magnificent Seven", around the
outside of central London. The inner-city cemeteries, mostly the graveyards attached to
individual churches, had long been unable to cope with the number of burials and were seen as a
hazard to health and an undignified way to treat the dead. The initial design was by architect and
entrepreneur Stephen Geary.
On Monday 20 May 1839, Highgate Cemetery was dedicated to St. James by the Right Reverend
Charles Blomfield, Lord Bishop of London. Fifteen acres were consecrated for the use of the
Church of England, and two acres set aside for Dissenters. Rights of burial were sold for either
limited period or in perpetuity. The first burial was Elizabeth Jackson of Little Windmill Street,
Soho, on 26 May.
Highgate, like the others of the Magnificent Seven, soon became a fashionable place for burials
and was much admired and visited. The Victorian attitude to death and its presentation led to the
creation of a wealth of Gothic tombs and buildings. It occupies a spectacular south-facing
hillside site slightly downhill from the top of the hill of Highgate itself, next to Waterlow Park. In
1854 the area to the east of the original area across Swains Lane was bought to form the eastern
part of the cemetery. This part is still used today for burials, as is the western part. Most of the
open unforested area in the new addition still has fairly few graves on it.
The cemetery's grounds are full of trees, shrubbery and wildflowers, most of which have been
planted and grown without human influence. The grounds are a haven for birds and small
animals such as foxes. The Egyptian Avenue and the Circle of Lebanon (topped by a huge Cedar
of Lebanon) feature tombs, vaults and winding paths dug into hillsides. For its protection, the
oldest section, which holds an impressive collection of Victorian mausoleums and gravestones,
plus elaborately carved tombs, allows admission only in tour groups. The eastern section, which
contains a mix of Victorian and modern statuary, can be toured unescorted.
The tomb of Karl Marx, the Egyptian Avenue and the Columbarium are Grade I listed buildings.
Because of the Karl Marx association a variety of Socialist leaders and thinkers are buried
within the cemetery grounds. (from Wikipedia)
[16] This line refers to a specific death, which resulted in a burial in the Highgate Cemetery:
Alexander Litvinenko was a former officer of

the Russian Federal Security Service (FSB)
and KGB, who fled from court prosecution in
Russia and received political asylum in the
United Kingdom. According to his wife and
father, he was working for MI6 and MI5 after
receiving the asylum.
Upon his arrival to London, he continued to

support the Russian oligarch in exile, Boris
Berezovsky, in his media campaign against
the Russian government.
In the UK, Litvinenko became a journalist for a Chechen separatist site, Chechenpress.
Litvinenko wrote two books, Blowing up Russia: Terror from within and Lubyanka Criminal
Group, where he accused the Russian secret services of staging Russian apartment bombings and
other terrorism acts to bring Vladimir Putin to power.
On 1 November 2006, Litvinenko suddenly fell ill and was hospitalized. He died three weeks
later, becoming the first confirmed victim of lethal polonium-210-induced acute radiation
syndrome. Litvinenko's allegations about the misdeeds of the FSB and his public deathbed
accusations that Russian president Vladimir Putin was behind his unusual malady resulted in
worldwide media coverage.
Subsequent investigations by British authorities into the circumstances of Litvinenko's death led
to serious diplomatic difficulties between the British and Russian governments. Unofficially,
British authorities asserted that "we are 100% sure who administered the poison, where and
how", but they did not disclose their evidence in the interest of a future trial. The main suspect in
the case, a former officer of the Russian Federal Protective Service (FSO), Andrey Lugovoy,
remains in Russia. As a member of the Duma, he now enjoys immunity from prosecution. Before
he was elected to the Duma, the British government tried to extradite him without success.
At the same time, Litvinenko's father, now residing in Italy, believes Boris Berezovsky and
Alexander Goldfarb were behind the murder. Berezovsky was found dead at his home in England
on 23 March 2013.
Shortly after his death, the UK's Health Protection Agency (HPA) stated that tests had
established that Litvinenko had significant amounts of the radionuclide polonium-210 (210Po) in
his body. British and US government sources both said the use of 210Po as a poison had never
been documented before, and this was probably the first time a person has been tested for the
presence of 210Po in his or her body. The poison was in Litvinenko's teacup; which he had just
drank tea out of. People who had contact with Litvinenko may also have been exposed to
radiation.
Litvinenko's funeral took place on 7 December at the Central London mosque, after which his
body was buried at Highgate Cemetery in North London. (from Wikipedia)
Radiation sickness is caused by exposure to a large dose of ionizing radiation (> ~0.1 Gy) over a
short period of time. (> ~0.1 Gy/h) This might be the result of a nuclear explosion, a criticality
accident, a radiotherapy accident as in Therac-25, a solar flare during interplanetary travel,
escape of radioactive waste as in the 1987 Goiânia accident, human error in a nuclear reactor,
or other possibilities. Acute radiation sickness due to ingestion of radioactive material is
possible, but rare; examples include the 1987 contamination of Leide das Neves Ferreira and the
2006 poisoning of Alexander Litvinenko.
Comparison of Radiation Doses - includes the amount detected on the trip from Earth to Mars by
the RAD on the MSL (2011 - 2013).
Alpha and beta radiation have low penetrating power and are unlikely to affect vital internal
organs from outside the body. Any type of ionizing radiation can cause burns, but alpha and beta
radiation can only do so if radioactive contamination or nuclear fallout is deposited on the
individual's skin or clothing. Gamma and neutron radiation can travel much further distances
and penetrate the body easily, so whole-body irradiation generally causes ARS before skin effects
are evident. Local gamma irradiation can cause skin effects without any sickness. In the early
twentieth century, radiographers would commonly calibrate their machines by irradiating their
own hand and measuring the time to onset of erythema. (from Wikipedia)
Interestingly, Litvinenko is also connected to the Danish cartoon controversy referenced in “D-
Minor”:
According to Litvinenko, the 2005 controversy over the publication in the Danish newspaper
Jyllands-Posten of editorial cartoons depicting the Islamic prophet Muhammad was orchestrated
by the FSB to punish Denmark for its refusal to extradite Chechen separatists. (from Wikipedia)
Aaron seems to be connecting himself in some way to Litvinenko, who made a career and gave
his life in service of exposing political conspiracies. I read this as the looming threat of
retaliation (metaphorically speaking) for his criticism of extremists, and further of the “God”
behind such movements. This “God” seems to be saying to Aaron, “Watch what you say, you
may end up like Litvinenko.”
[17] Aaron would seem to be suggesting to a metaphorical Abraham that he stay his own hand,
drop the knife, and release his son before an angel of God tells him to do so. After all, it is more
often than not one’s own actions that determine the outcome of events, rather than divine
revelation. Waiting for an angel to stop you from doing something awful can be a dangerous
game if you’re wrong about your God’s demands.
Birnam Wood is a song full of questions. Like Macbeth watching the trees of the Birnam Forest
approach his stronghold, Aaron Weiss watches his own death loom large over him, and in its
shadow he wrestles with God. As did his ancestor Jacob, Aaron has gotten “hold” of God and He
cannot flee, though he has atrophied Aaron’s own metaphorical hip. Having laid hold of his God
so fiercely, he questions his own motivations. Should he even be suspicious of the Almighty?
Are his suspicions justified, or are they born of the actions of those whom he identifies with
God? Why did God command Abraham to kill his only son, and what are the implications of the
ram provided as a replacement sacrifice? God has long been thought of as wrathful. He formed
the earth, and shortly thereafter killed almost everything in it with a flood. He gives the
Israelites a cloud to guide them, and yet allows for the slaughter of their enemies - men, women,
and children. What is lost with those lives? What is the worth of those falling under the
sanctified swords of God’s faithful? These questions now form the bars of Aaron’s own mental
prison. Will he be able to sing himself out of his captivity through wrestling with God. By
attempting to separate extremism from genuine faith with thoughtful criticism, will he merely
have another nervous breakdown? And if God requires a human sacrifice is it better to be the one
sacrificed or the faithful father holding the knife steady? Is Christ really the Ram who takes
Isaac’s place? Where will all of this questioning get Aaron? Will he find answers, or will the
result be ending up poisoned and buried in the Highgate Cemetery, like others who questioned
the motivations of extremists? The only conclusion he can come to is that it is better to do what
is morally right under your own power, than to shed blood under the assumption that God is
condoning it. The angel may never come to tell you otherwise…
Rainbow Signs
[1] This line bookends a similar line in the opener “Pale Horse”. Sideshow words may refer to
Aaron’s first use, on an album, of a curse word.
[2] As opposed to a “capitalized three-lettered sound” as in “D-Minor”, Aaron uses “G-d” as he

usually does when genuinely speaking of the deity. Perhaps at play here is G-d, rather than any
perception of him, giving Noah the rainbow sign.
[3] This line comes from a negro spiritual entitled “Mary Don’t You Weep”:
If I could I surely would

Stand on the rock where Moses stood
Pharoah's army got drownded
Oh, Mary, don't you weep
Oh, Mary, don't you weep, don't you mourn

Oh, Mary, don't you weep, don't you mourn
Pharoah's army got drownded
Oh, Mary, don't you weep
Moses stood on the Red Sea shore

Smotin' the water with a two by four
Pharoah's army...
The Lord told Moses what to do

To lead those Hebrew children through...
God gave Noah the rainbow sign

No more water, but the fire next time...
Mary wore three links of chain

Every link was in freedom's name...
When I get to Heaven, gonna sing & shout

Nobody up there to put me out!...
One of these mornings, it won't be long

You're gonna call my name but I'll be gone...
One of these days, about 12 o'clock

This old world's gonna reel & rock....
One of these days, in the middle of the night

People gonna rise up and set things right…
It was Moses, first proved the notion:

The world is safer with the army in the ocean…
(White, N. (1965). American Negro Folk-Songs,. Hatboro, Pa.: Folklore Associates.)

The rainbow covenant in question comes from Genesis:
8 Then God said to Noah and to his sons with him: 9 “I now establish my covenant with you and
with your descendants after you 10 and with every living creature that was with you—the birds,
the livestock and all the wild animals, all those that came out of the ark with you—every living
creature on earth. 11 I establish my covenant with you: Never again will all life be destroyed by
the waters of a flood; never again will there be a flood to destroy the earth.” 12 And God said,
“This is the sign of the covenant I am
making between me and you and every
living creature with you, a covenant for
all generations to come: 13 I have set
my rainbow in the clouds, and it will be
the sign of the covenant between me
and the earth. 14 Whenever I bring
clouds over the earth and the rainbow
appears in the clouds, 15 I will
remember my covenant between me
and you and all living creatures of
every kind. Never again will the waters
become a flood to destroy all life. 16
Whenever the rainbow appears in the
clouds, I will see it and remember the everlasting covenant between God and all living creatures
of every kind on the earth.” 17 So God said to Noah, “This is the sign of the covenant I have
established between me and all life on the earth.” - Genesis 9:8-17
A further layer of meaning may be added in considering the “rainbow sign” to also be a reference
to the detonation of Starfish Prime:
Starfish Prime was a high-altitude nuclear

test conducted by the United States on July 9,
1962, a joint effort of the Atomic Energy
Commission (AEC) and the Defense Atomic
Support Agency (which became the Defense
Nuclear Agency in 1971).
A Thor rocket carrying a W49 thermonuclear

warhead (manufactured by Los Alamos
Scientific Laboratory) and a Mk. 2 reentry
vehicle was launched from Johnston Island in the Pacific Ocean. The explosion took place 250
miles (400 km) above a point 19 miles (31 km) southwest of Johnston Island. It was one of five
tests conducted by the USA in outer space as defined by the Fédération Aéronautique
Internationale (FAI). It produced a yield equivalent to 1.4 megatonnes of TNT.
After the Starfish Prime detonation, bright auroras were observed in the detonation area as well
as in the southern conjugate region on the other side of the equator from the detonation.
According to U.S. atomic veteran Cecil R. Coale, some hotels in Hawaii offered "rainbow
bomb" parties on their roofs for Starfish Prime, contradicting some reports that the artificial
aurora was unexpected. (from Wikipedia)
[4] The “fire” of the original folk song is specifically identified here as being that of a hydrogen
bomb. The looming threat of nuclear destruction has been explored before in “Magic Lantern
Days”, and here the same society that worships the holy bomb, is on the brink of armageddon.
[5] Pale Horse vows here is lent the same meaning it had in “Pale Horse” as a reference to
marriage vows. This is made apparent by the parenthetical response, which includes the
common “I do” from a marriage ceremony.
[6] This phrase comes from James Joyce’s Ulysses, in the voice of protagonist Leopold Bloom:
Mr. Dedalus, peering through his glasses towards the veiled sun, hurled a mute curse at the sky.
[7] Aaron compares his hairline to that of Napoleon late in life, during his exile. This curse
seems to come while getting wedding photos taken at a church in Boise, Idaho.
After his defeat at the

Battle of Leipzig in
October 1813, Napoleon
retreated to Paris where
(due to a lack of support
from his military marshals)
he was forced to renounce
his throne in April 1814.
The European powers
exiled him to the island of
Elba in the Mediterranean.
Within eleven months,
however, Napoleon was
back on the European continent at the head of a hastily-raised army intent on restoring
Napoleon to the throne of France. Napoleon's defeat came in June 1815 at the Battle of
Waterloo.
This time, the European powers were not going to take any chances on Napoleon's possible
return. They exiled him to the island of St. Helena - a barren, wind-swept rock located in the
South Atlantic Ocean.
(Napoleon Exiled to St. Helena, 1815. (n.d.). Retrieved July 28, 2015.)
[8] As has already been apparent with this song, many lyrics are being repeated and called back
to. Here “the frogs withdrew” of “Red Cow” comes together with the “Black horse” of “Pale
Horse”. It is possible that this is a reference to the famine resulting from many of the plagues of
Egypt. More than likely it is merely a poetic mismatch of images from the album.
[9] This line references the “A Pisgah Sight of Palestine, or The Parable of the Plums” that
Stephen Dedalus tells in James Joyce’s Ulysses. Relevant excerpts:
—Two Dublin vestals, Stephen said, elderly and pious, have lived fifty and fiftythree years in
Fumbally's lane.
[…]
—They want to see the views of Dublin from

the top of Nelson's pillar. They save up three
and tenpence in a red tin letterbox moneybox.
They shake out the threepenny bits and
sixpences and coax out the pennies with the
blade of a knife. Two and three in silver and
one and seven in coppers. They put on their
bonnets and best clothes and take their
umbrellas for fear it may come on to rain.
—Wise virgins, professor MacHugh said.
—They buy one and fourpenceworth of brawn

and four slices of panloaf at the north city
diningrooms in Marlborough street from Miss
Kate Collins, proprietress... They purchase four and twenty ripe plums from a girl at the foot of
Nelson's pillar to take off the thirst of the brawn. They give two threepenny bits to the gentleman
at the turnstile and begin to waddle slowly up the winding staircase, grunting, encouraging each
other, afraid of the dark, panting, one asking the other have you the brawn, praising God and the
Blessed Virgin, threatening to come down, peeping at the airslits. Glory be to God. They had no
idea it was that high.
Their names are Anne Kearns and Florence MacCabe. Anne Kearns has the lumbago for which
she rubs on Lourdes water, given her by a lady who got a bottleful from a passionist father.
Florence MacCabe takes a crubeen and a bottle of double X for supper every Saturday.
—Antithesis, the professor said nodding twice. Vestal virgins. I can see them.
[…]
—When they have eaten the brawn and the bread and wiped their twenty fingers in the paper the
bread was wrapped in they go nearer to the railings.
[…]
—But they are afraid the pillar will fall, Stephen went on. They see the roofs and argue about
where the different churches are: Rathmines' blue dome, Adam and Eve's, saint Laurence
O'Toole's. But it makes them giddy to look so they pull up their skirts…
[…]
—And settle down on their striped petticoats, peering up at the statue of the onehandled
adulterer.
—Onehandled adulterer! the professor cried. I like that. I see the idea. I see what you mean.
[…]
—It gives them a crick in their necks, Stephen said, and they are too tired to look up or down or
to speak. They put the bag of plums between them and eat the plums out of it, one after another,
wiping off with their handkerchiefs the plumjuice that dribbles out of their mouths and spitting
the plumstones slowly out between the railings.
From the Cliff’s Notes on this parable:
The meaning of his parable is fairly evident. Two old women (one of whom is probably the same
"Florence MacCabe" who appeared in "Proteus") become dizzy as they try to look up at Nelson
after they have climbed to the base of his statue. Thus they are caught between two unpleasant
alternatives: a stultified Dublin and its imperialistic conqueror. The plum seeds ("stones") that
they spit onto the city below through the railings (actually "screenings") are symbols of sterility,
in contrast to Boylan's soon-to-be potted meat (Plumtree's). And it is significant in "Aeolus" that
a power failure stops the heart of Dublin's life: its trams. Dublin is indeed a paralyzed city.
(“Summary and Analysis Chapter 7 - Aeolus”. (n.d.). Retrieved July 28, 2015.)
Here I would suggest that in place of the symbolism as it is relevant to Dublin I would put Aaron
Weiss and his wife. Metaphorically, Aaron has ascended the heights of marriage with his wife,
and is gazing out over life and their future together. As Aaron has openly admitted, marriage was
not a pleasant thought in his mind before his wife came along, so seeing his future from this new
vantage point would be dizzying. Perhaps his solution, for the moment, is to take each new and
terrifying adventure as it comes. Perhaps he and his wife are the two women so exhausted by the
trek into marriage, that they find they have the energy neither to look ahead nor behind, and
instead bide their time eating plums.
[10] “Where the olives grew” is probably referring back to Aaron’s Jewish heritage, and also
calls back to “fragrant pomegranates” in “Red Cow”.
The olive tree is one of the first plants mentioned in the Hebrew Bible and in the Christian Old
Testament, and one of the most significant. It was an olive leaf that a dove brought back to Noah
to demonstrate that the flood was over (Book of Genesis, 8:11). The olive is listed in
Deuteronomy 8:8 as one of the seven species that are noteworthy products of the Land of Israel.
(from Wikipedia)
[11] “Clouded rearrangement of sounds we knew” is the bookend for the line from “Pale Horse”
line “Comforted by sequences of sounds we knew”. The cloudiness seems to indicate that
whatever meaning was inherent in the original words has been so mismanaged that it is
hopelessly muddled.
[12] A few things are referenced here. First, the phrasing is a play on the title of the film My
Own Private Idaho.
My Own Private Idaho is a 1991 American independent adventure drama film written and
directed by Gus Van Sant, loosely based on Shakespeare's Henry IV, Part 1, Henry IV, Part 2,
and Henry V, and starring River Phoenix and Keanu Reeves. The story follows two friends, Mike
and Scott, as they embark on a journey of personal discovery that takes them to Mike's
hometown in Idaho and then to Italy in search of Mike's mother. (from Wikipedia)
The film itself lends it’s title to a song by the B-52’s called “Private Idaho”:
Keep off the path, beware of the gate,

watch out for signs that say "hidden driveways".
Don't let the chlorine in your eyes
blind you to the awful surprise
that's waitin' for you at
the bottom of the bottomless blue blue blue pool.
You're livin in your own Private Idaho. Idaho.

You're out of control, the rivers that roll,

you fell into the water and down to Idaho.
Get out of that state,
get out of that state you're in.
You better beware.
You're living in your own Private Idaho.
Waterloo refers to the Battle of Waterloo:
The Battle of Waterloo was fought on Sunday, 18 June 1815, near Waterloo in present-day
Belgium, then part of the United Kingdom of the Netherlands. A French army under the
command of Napoleon was defeated by the armies of the Seventh Coalition, comprising an
Anglo-allied army under the command of the Duke of Wellington, combined with a Prussian
army under the command of Prince Blücher.
Waterloo was a decisive battle in more than one sense. Every generation in Europe up to the
outbreak of the First World War looked back at Waterloo as the turning point that dictated the
course of subsequent world history. In retrospect, it was seen as the event that ushered in the
Concert of Europe, an era characterised by relative peace, material prosperity and technological
progress.[176] The battle definitively ended the series of wars that had convulsed Europe, and
involved many other regions of the world, since the French Revolution of the early 1790s. It also
ended the First French Empire and the political and military career of Napoleon Bonaparte, one
of the greatest commanders and statesmen in history. (from Wikipedia)
Aaron has already compared himself, in jest, to Napoleon. Now we have him comparing his
wedding day to his defeat. I do not read this as negative, but rather that his ego and selfishness,
as well as the man he always thought he would be (ie celibate, monastic, virginal etc) is defeated
in his union with his wife. His marriage is a major turning point in his life, as was his decision
not to kill himself in “Mexican War Streets”. He must go on in the “new normal” or marriage,
leaving his old self behind. Thus, metaphorically, an Idaho sun is setting on his “defeat”, as he
says, “I do” to his wife.
[13] “Cloud” seems to be indicative either of a mushroom cloud, as would be the case with the
aforementioned Starfish Prime, or as the Vasily Kafanov art for this track suggests, the cloud
released from a nuclear power plant. It makes no covenant, either way.
[14] The Ink Flag was a handmade Israeli flag raised during the 1948 Arab–Israeli War to mark
the capture of Eilat.
On March 5, 1949, Israel launched Operation Ovda, the last military maneuver of the war. On
March 10, the Israeli Defense Forces reached the shores of the Red Sea at Umm Rashrash, west
of Aqaba (the biblical Elath), and captured it without a battle. The Negev Brigade and Golani
Brigade took part in the operation. A makeshift flag created from a white sheet inscribed with ink
was raised by Avraham Adan, company commander of the 8th
Battalion of the Negev Brigade.
The improvised flag was made on the order of Negev Brigade

commander Nahum Sarig, when it was discovered that the
brigade did not have an Israeli flag on hand. The soldiers
found a sheet, drew two ink stripes, and sewed on a Star of
David torn off a first-aid kit.
In Eilat, a bronze sculpture by Israeli sculptor Bernard Reder

commemorates the event. The photo of the raising of the Ink
Flag, taken by the soldier Micha Perry, bears resemblance to
the raising of the American flag at Iwo Jima. (from Wikipedia)
[15] These lines are a combination of two prayers, one in

Hebrew and one in Arabic. First the Hebrew:
Shema Yisrael are the first two words of a section of the Torah, and is the title (sometimes
shortened to simply Shema) of a prayer that serves as a centerpiece of the morning and evening
Jewish prayer services. The first verse encapsulates the monotheistic essence of Judaism: "Hear,
O Israel: the LORD our God, the LORD is one", found in Deuteronomy 6:4, sometimes
alternately translated as "The LORD is our God, the LORD alone." Observant Jews consider the
Shema to be the most important part of the prayer service in Judaism, and its twice-daily
recitation as a mitzvah (religious commandment). It is traditional for Jews to say the Shema as
their last words, and for parents to teach their children to say it before they go to sleep at night.
(from Wikipedia)
And the Arabic translation, from Chapter 112 of The Quran:
He is Allah , [who is] One, Allah , the Eternal Refuge.
What is brought together with these prayers originating in two different Abrahamic faiths is
Aaron Weiss’ own background. His mother was a practicing Sufi Muslim for most of her life,
while his late father’s heritage was rooted in Judaism. These prayers are, in a sense, the prayers
of Aaron’s inheritance, perhaps a more positive hereditary “karma” than was mentioned in
“Mexican War Streets”.
[16] Before looking at this line by itself it should be noted that at this point in the song, a man’s
voice can begin to be heard in the background. It is heavily distorted and overcome by the music,
and only the final words, “..five and a half years… had a baby boy…” can be made out. This is,
apparently, a recording of a voicemail left by Elliott Weiss (Aaron and Mike Weiss' father), in
which he talks of the birth of Mike’s son. To my mind, this inclusion of Elliott Weiss’ voice,
speaking himself about fathers and sons, is quite telling for the themes of the song. “Rainbow
Signs” is, in a way, a climax of every theme on the album thus far. The lyrics themselves during
this portion of the song speak of literal apocalypses using biblical language. The music is
intense and dissonant. Thematically, our world is ending. But this has not been an album merely
about the end of the world as we know it. It has also been about what armageddon and the end
of the world looks like on a personal, emotional, every day level. For Aaron Weiss, his father’s
death was that apocalypse. His world was destroyed the day his father died. To place his
father’s voice here seems to me very important. The apocalypses, both literal and personal, are
crashing together in a devastating crescendo.
This portion of the song, lyrically, is bringing together different elements of each of the four
horsemen, only leaving out a specific description of the Pale Horse, which suggests to me that
the Pale Horse of Death in this portion of the song is not found in the lyrics, but in the sound of
Elliott Weiss’ distorted voice.
Being given crowns and riding out for conquest are elements from the first of the four horsemen.
6 Now I saw when the Lamb opened one of the seals;[a] and I heard one of the four living
creatures saying with a voice like thunder, “Come and see.” 2 And I looked, and behold, a white
horse. He who sat on it had a bow; and a crown was given to him, and he went out conquering
and to conquer. - Revelation 6:1-2
There are a number of interpretations as to what the White Horse symbolized for St. John. Some
have held that this is an image of Christ, others that it is the antichrist, and still others that it
involves pestilence. The “imperial” nature of the crowns suggests the fourth main interpretation:
The white color of this horse signifies triumph, prosperity and health in the political Roman
body. For the next 80 or 90 years succeeding the banishment of the apostle John to Patmos
covering the successive reigns of the emperors Nerva, Trajan, Hadrian and the two Antonines
(Antoninus Pius and Marcus Aurelius), a golden age of prosperity, union, civil liberty and good
government unstained with civil blood unfolded. The agents of this prosperity personified by the
rider of the white horse are these five emperors wearing crowns that reigned with absolute
authority and power under the guidance of virtue and wisdom, the armies being restrained by
their firm and gentle hands.
The bow was preeminently a weapon of the inhabitants of the island of Crete and not of the
Roman Empire in general. The Cretans were renowned for their archery skills. The significance
of the rider of the white horse holding a bow indicates the place of origin of the line of emperors
ruling during this time. This group of emperors can be classed together under one and the same
head and family whose origins were from Crete.
This period in Roman history, remarkable, both at its commencement and at its close, illustrated
the glory of the empire where its limits were extended though not without occasional wars which
were always uniformly triumphant and successful on the frontiers. The triumphs of the Emperor
Trajan, the Roman Alexander, added to the empire Dacia, Armenia, Mesopotamia, and other
provinces during the course of the first 20 years of the period which deepened the impression on
the minds of the barbarians of the invincibility of the Roman Empire. Roman war progressed
triumphantly into the invader's own territory, and the Parthian war was successfully ended by
the total overthrow of those people. Roman conquest is demonstrated even in the most mighty of
these wars, the Marcomannic succession of victories under the second Antonine unleashed on the
German barbarians, driven into their forests and reduced to Roman submission. (from
Wikipedia)
It is interesting that Aaron Weiss includes a “we” here, identifying himself (and by extension the
listener, perhaps) with this imagery. This is perhaps the same we (generally society) that
worshipped the bomb in “Magic Lantern Days”. It is a destructive society coming apart at the
seems, torn asunder by that which the four horsemen represent. The is the outbreak of nuclear
war, and the end of the world. That he puts quotations around the word “sent” suggests that no
one is sending us. We are contriving these reasons to hate our enemies and go to war with them
ourselves.
[17] “Daylight is breaking” is likely just a poetic phrase that lends intensity, but to my mind also
has a note of hope in it. Light, after all, pierces the darkness, and the darkness has not overcome
it.
[18] The “sanctified sword” comes from imagery associated with the Red Horse:
3 When He opened the second seal, I heard the second living creature saying, “Come and
see.”[b] 4 Another horse, fiery red, went out. And it was granted to the one who sat on it to take
peace from the earth, and that people should kill one another; and there was given to him a great
sword. - Revelation 6:3-4
The rider of the second horse is often taken to represent War (he is often pictured holding a
sword upwards as though ready for battle) or mass slaughter. His horse's color is red; and in
some translations, the color is specifically a "fiery" red. The color red, as well as the rider's
possession of a great sword, suggests blood that is to be spilled. The sword held upward by the
second horseman may represent war or a declaration of war, as seen in heraldry. In military
symbolism swords held upward, especially crossed swords held upward, signify war and entering
into battle. (See for example the historical and modern images, as well as the coat of arms, of
Jeanne of Arc.)
The second horseman may represent civil war as opposed to the war of conquest that the first
horseman is sometimes said to bring. Other commentators have suggested it might also represent
persecution of Christians. (from Wikipedia)
Alternatively:
The second seal is opened and the Roman nation that experienced joy, prosperity and triumph is
made subject to the red horse which depicts war and bloodshed — Civil War. Peace left the
Roman earth resulting in the killing of one another as insurrection crept into and permeated the
Empire beginning shortly into the reign of the Emperor Commodus.
Commodus, who had nothing to wish and everything to enjoy, that beloved son of Marcus who
ascended the throne with neither competitor to remove nor enemies to punish, became the slave
of his attendants who gradually corrupted his mind. His cruelty degenerated into habit and
became the ruling passion of his soul.
After the death of Commodus, a most turbulent period lasting 92 years unfolded during which
time 32 emperors and 27 pretenders to the Empire hurled each other from the throne by
incessant civil warfare. The sword was a natural, universal badge among the Romans, of the
military profession. The apocalyptic figure indicated by the great sword indicated an undue
authority and unnatural use of it. Military men in power, whose vocation was war and weapon
the sword, rose by it and also fell. The unrestrained military, no longer subject to the Senate,
transformed the Empire into a system of pure military despotism. (from Wikipedia)
The theme of war has loomed large over much of the last half of the album, with “Lilac Queen”,
“Magic Lantern Days” and “Birnam Wood” all, in some way, addressing humanity’s propensity
to divide and inflict violence upon itself. In this case, the “sword” that represents war is
“sanctified”, which brings an added edge of religious extremism as was explored in the previous
track.
[19] God is given yet another

subjective image here, that of
the “Scarecrow Lord”. Many
sects of Christianity (among
other religions, though the
language in this song being
drawn from Christian scriptures
suggests that it is the Christian
God being dealt with here) have
a particularly favorable view of
a violent armageddon. Christ is
seen as a conquering warrior leading an army of the faithful into battle against all of their
enemies. Obviously if one becomes too fixated on such an idea, it provides fertile ground for
support of violence in every day life. This is why, in general, American conservative Christians
are seen to stereotypically support war, especially in support of Israel, which many believe plays
a part in the “end times” described in the Book of Revelation. But this image of Christ as
conquering warrior is a subjective one, and one of many interpretations of the scriptural imagery.
So what we have here is an idea that has been explored back through the album on many songs:
interpretational subjectivity in religious communities. Aaron presents us with a worst-case end
of the world scenario: a worldwide Christian jihad in service of a violent image of Christ that has
been built up in the minds of those with destructive pre-conceived perceptions of who God is. It
is our “Scarecrow Lord” which we use as an excuse to make war with each other, he who
“sends” us.
[20] The scales and the measurements come from Revelation again, this time in the description
of the Black Horse:
5 When He opened the third seal, I heard the third living creature say, “Come and see.” So I
looked, and behold, a black horse, and he who sat on it had a pair of scales in his hand. 6 And I
heard a voice in the midst of the four living creatures saying, “A quart[c] of wheat for a
denarius,[d] and three quarts of barley for a denarius; and do not harm the oil and the wine.” -
Revelation 6:5-6
The third horseman rides a black horse and is popularly understood to be Famine as the
horseman carries a pair of balances or weighing scales, indicating the way that bread would
have been weighed during a famine. Other authors interpret the third horseman as the "Lord as a
Law-Giver" holding Scales of Justice. In the passage it is read that the indicated price of grain is
about ten times normal (thus the famine interpretation popularity), with an entire day's wages (a
denarius) buying enough wheat for only one person, or enough of the less nutritious barley for
three, so that workers would struggle to feed their families.
Of the four horsemen, the black horse and its rider are the only ones whose appearance is
accompanied by a vocal pronunciation. John hears a voice, unidentified but coming from among
the four living creatures, that speaks of the prices of wheat and barley, also saying "and see thou
hurt not the oil and the wine". This suggests that the black horse's famine is to drive up the price
of grain but leave oil and wine supplies unaffected (though out of reach of the ordinary worker).
One explanation for this is that grain crops would have been more naturally susceptible to
famine years or locust plagues than olive trees and grapevines, which root more deeply. The
statement might also suggest a continuing abundance of luxuries for the wealthy while staples
such as bread are scarce, though not totally depleted; such selective scarcity may result from
injustice and the deliberate production of luxury crops for the wealthy over grain, as would have
happened during the time Revelation was written. Alternatively, the preservation of oil and wine
could symbolize the preservation of the Christian faithful, who used oil and wine in their
sacraments. (from Wikipedia)
Alternatively:
Through this third seal, the black horse is unleashed - aggravated distress and mourning. A
choenix of wheat for a denarius is not the price of famine but of scarcity. Three choenixes of
barley for a denarius produces a loaf of barley bread above 5 pounds in weight. This amount of
bread will sustain a man above starvation. The balance in the rider's hand is not associated with
a man's weighing out bits of bread in scanty measure for his family's eating but in association
with the buying and selling of corn and other grains. The balance during the time of the apostle
John's exile in Patmos was commonly a symbol of justice since it was used to weigh out the
grains for a set price. The balance of justice held in the hand of the rider of the black horse
signified the aggravation of the other previous evil, the bloodstained red of the Roman aspect
into the darker blackness of distress.
The black horse rider is instructed not to harm the oil and the wine which signifies that this
scarcity should not fall upon the superfluities, such as oil and wine, which men can live without,
but upon the necessities of life - bread.
The distress upon the Roman Empire results from excessive taxation. During the reign of
Emperor Caracalla, whose sentiments were very different from the Antonines being inattentive,
or rather averse, to the welfare of the people, he found himself under the necessity of gratifying
the greed and excessive lifestyle which he had excited in the Army. During his reign, he crushed
every part of the empire under the weight of his iron scepter. Old as well as new taxes were at the
same time levied in the provinces. In the course of this history, the land tax, the taxes for services
and the heavy contributions of corn, wine, oil and meat were exacted from the provinces for the
use of the court, army and capital. This noxious weed not totally eradicated again sprang up
with the most luxurious growth and going forward darkened the Roman world with its deadly
shade.
The rise to power of the Emperor Maximin, whose cruelty was derived from a different source
being raised as a barbarian from the district of Thrace, expanded the distress on the empire
beyond the confines of the illustrious senators or bold adventurers who in the court or army
exposed themselves to the whims of fortune. This tyrant, stimulated by the insatiable desires of
the soldiers, attacked the public property at length. Every city of the empire was destined to
purchase corn for the multitudes as well as supply expenses for the games. By the Emperor's
authority, the whole mass of wealth was confiscated for use by the Imperial treasury — temples
stripped of their most valuable offerings of gold, silver and statues which were melted down and
coined into money. (from Wikipedia)
[21] The Battersea Shield is one of the most significant pieces of ancient
Celtic art found in Britain. It is a sheet bronze covering of a (now vanished)
wooden shield decorated in La Tène style. The shield is on display in the
British Museum, while a replica is housed in the Museum of London.
The Battersea Shield is currently dated by the museum to c.350–50 BC,

though later dates up to the early 1st century AD have previously been
suggested. A date in the later part of this range is usually preferred;
Miranda Aldhouse-Green is typical in using "2nd-1st century BC”. It was
dredged from the bed of the River Thames in London in 1857, during
excavations for the predecessor of Chelsea Bridge; in the same area
workers found large quantities of Roman and Celtic weapons and skeletons
in the riverbed, leading many historians to conclude that the area was the
site of Julius Caesar's crossing of the Thames during the 54 BC invasion of
Britain, although it is now thought that the shield was a votive offering,
which probably predates the invasion. (from Wikipedia)
The Battersea Shield suggests to me that Aaron is connecting our modern war-faring society with
those of the past, like the Romans. History is, in a sense, repeating itself. War is dooming us all,
and we have become nothing more than battle beasts from the days of the Battersea Shield.
[22] In another joke similar to the inclusion of Thundercats cartoon characters in “Lilac Queen”,
Aaron suggests that an alternative lyric to “Beasts of the Battersea Shield” could read “Nick
Fury, Agents of S.H.I.E.L.D.”.
Colonel Nicholas Joseph "Nick" Fury is a fictional character appearing in American comic
books published by Marvel Comics. Created by writer/artist Jack Kirby and writer Stan Lee,
Fury first appeared in Sgt. Fury and his Howling Commandos #1 (May 1963), a World War II
combat series that portrayed the cigar-chomping Fury as leader of an elite U.S. Army unit. A
popular character over a number of decades, in 2011, Fury was ranked 33rd in IGN's Top 100
Comic Book Heroes. He has sometimes been considered an antihero.
The modern-day Fury, initially a CIA agent, debuted a few months later in Fantastic Four #21
(Dec. 1963). In Strange Tales #135 (Aug. 1965), the character was transformed into a spy like
James Bond and leading agent of the fictional espionage agency S.H.I.E.L.D. The character
makes frequent appearances in Marvel books as the former head of S.H.I.E.L.D. and as an
intermediary between the U.S. government or the United Nations and various superheroes. It is
eventually revealed that Fury takes a special medication called the Infinity Formula that halted
his aging and allows him to be active despite being nearly a century old.
Nick Fury appears in several Marvel series set in alternate universes, as well as multiple
animated films, television shows, and video games based on the comics. The character was first
portrayed in live action by David Hasselhoff in the 1998 television movie Nick Fury: Agent of
S.H.I.E.L.D. Samuel L. Jackson later signed a nine-picture deal to portray the character in the
Marvel Cinematic Universe franchise, first appearing in the 2008 film Iron Man. Jackson also
cameos in multiple episodes of the related Marvel television show Agents of S.H.I.E.L.D. A
version of the character appearing in Marvel's Ultimate Marvel imprint was based on Jackson's
appearance and screen persona, well before he was cast in the role. The recognizability of the
character portrayed by Jackson in the films later led Marvel to retire the original character,
replacing him with his African American son Nick Fury, Jr., who like the Ultimate Marvel
version is patterned on Jackson. (from Wikipedia)
[23] Finally the fourth seal, that which contains the titular Pale Horse, is broken.
7 When He opened the fourth seal, I heard the

voice of the fourth living creature saying, “Come
and see.” 8 So I looked, and behold, a pale horse.
And the name of him who sat on it was Death, and
Hades followed with him. And power was given to
them over a fourth of the earth, to kill with sword,
with hunger, with death, and by the beasts of the
earth. - Revelation 6:7-8
[24] These lines are all taken from the opening of

the sixth seal in Revelation chapter 6:
12 I looked when He opened the sixth seal, and behold,[e] there was a great earthquake; and the
sun became black as sackcloth of hair, and the moon[f] became like blood. 13 And the stars of
heaven fell to the earth, as a fig tree drops its late figs when it is shaken by a mighty wind. 14
Then the sky receded as a scroll when it is rolled up, and every mountain and island was moved
out of its place. 15 And the kings of the earth, the great men, the rich men, the commanders,[g]
the mighty men, every slave and every free man, hid themselves in the caves and in the rocks of
the mountains, 16 and said to the mountains and rocks, “Fall on us and hide us from the face of
Him who sits on the throne and from the wrath of the Lamb! 17 For the great day of His wrath
has come, and who is able to stand?” - Revelation 6:12-17
The inclusion of the sixth seal takes us into another level of our exploration of the “perceptions”
of God. Certain people may develop an idea about God, a subjective perception akin to the
Scarecrow Lord, but they do not pull it out of thin air. Aaron Weiss has said himself that he
wanted to convey the idea that it was not all peace and love and endless joy where the God of
Christian scripture is concerned. There is also wrath, destruction, and judgment played out
throughout the Bible, from the Genesis deluge to the killing of the Egyptian firstborn, to the
Israelites’ genocide of their Canaanite enemies.
[25] While “message-less birds” was initially mysterious to me, the Vasily Kafanov artwork for
the album offers an interesting explanation that seems to fit the lyric pretty well. One element
that crops up in a few of the paintings is that of military drones.
An unmanned aerial vehicle (UAV), commonly known

as a drone, and also referred to as an unmanned
aerial vehicle and a remotely piloted aircraft (RPA) by
the International Civil Aviation Organization (ICAO),
is an aircraft without a human pilot aboard. Its flight
is controlled either autonomously by onboard
computers or by the remote control of a pilot on the
ground or in another vehicle. ICAO classify
unmanned aircraft into two types under Circular 328
AN/190:
Autonomous aircraft – currently considered unsuitable for regulation due to legal and liability
issues
Remotely piloted aircraft – subject to civil regulation under ICAO and under the relevant
national aviation authority
The typical launch and recovery method of an unmanned aircraft is by the function of an
automatic system or an external operator on the ground. Historically, UAVs were simple
remotely piloted aircraft, but autonomous control is increasingly being employed. The Nazi-
German V-1 flying bomb flew autonomously powered by a pulsejet.
They are usually deployed for military and special operation applications, but also used in a
growing number of civil applications, such as policing and firefighting, and nonmilitary security
work, such as inspection of power or pipelines. UAVs are often preferred for missions that are
too "dull, dirty or dangerous" for manned aircraft. (from Wikipedia)
If we have come to a point where humanity has destroyed itself through nuclear war, military
drones would be relegated to the position of our “message-less birds taking flight without cause”.
Without humans to tell these artificial robotic killers who to target, they would cross the skies
without purpose. No orders or directives would stay their course. In the “silence they’ve heard
in the absence of laws”, there would be no laws, sanctions, or disarmament pacts to be violated,
and thus no reason for war. Even the crowns of the Empire will go unsent, the declarations of
war unsigned. Without humans, maybe the world could go on without war.
[26] This harkens back to the dream recounted in “Dorothy”. Here Aaron is no longer “back in
college” but has finally graduated. This suggests an element of maturity or of a “lesson learned”
since his last dream.
[27] This line serves as confirmation that the “Elliott” mentioned in “Dorothy” is Elliott Weiss,
Aaron’s late father. In “Mexican War Streets”, Aaron fears the “karma” he will inherit from his
parents, specifically in regards to drug addiction and mental illness, as well as (it is suggested in
my reading of it) their religious influence. Here, Aaron disregards those worries and becomes
his father. In “Dorothy”, he begged a boy selling his wife a candle to turn into his father so that
his wife could finally meet him. Now Aaron seems to be realizing that in many positive ways,
his wife already met his father through him. He is a product of his father, both in beliefs and
otherwise. He can never completely remove himself from becoming a man that bears some
resemblance to the man his father was.
[28] Many lyrics to folk and country songs use the Rio Grande as a subject.
The Rio Grande is one of the principal rivers in the southwest United States and northern
Mexico (the other being the Colorado River). The Rio Grande rises from south central Colorado
in the United States and flows to the Gulf of Mexico. (from Wikipedia)
[29] Anchorite denotes someone who, for religious reasons, withdraws from secular society so as
to be able to lead an intensely prayer-oriented, ascetic, and—circumstances permitting—
Eucharist-focused life. Whilst anchorites are frequently considered to be a type of religious
hermit, unlike hermits they were required to take a vow of stability of place, opting instead for
permanent enclosure in cells often attached to churches. Also unlike hermits, anchorites were
subject to a religious rite of consecration that closely resembled the funeral rite, following which
– ideologically, at least, they would be considered dead to the world, a type of living saint.
The anchoritic life is one of the earliest forms of Christian monastic living. In the Roman
Catholic Church today it is one of the "Other Forms of Consecrated Life" and governed by the
same norms as the consecrated eremitic life. (from Wikipedia)
Aaron taking his own hand in the dream is compared to becoming a religious recluse.
Asceticism of this sort was once something Aaron aspired to do, as explored in “D-Minor”. That
he has become “like an anchorite” and taken ahold of his own hand, which is also that of his
dead father, suggests that he is laying to rest such notions. Here we have the first “positive”
view of death on the album. Aaron at peace with his past, his inheritance, and himself.
[30] Harun (also transliterated as Haroon) is a common male given name of Arabic origin,
related to the Hebrew name Aaron. Both are most likely of Ancient Egyptian origin, from aha rw,
meaning "warrior lion”. (from Wikipedia)
It’s possible that the last two lines are a play on lyrics from the chorus of “Cat’s in the Cradle” by
Harry Chapin, which is fairly thematically relevant in the light of his father’s death:
My child arrived just the other day,

He came to the world in the usual way,
But there were planes to catch and bills to pay,
He learned to walk while I was away
And he was talking 'fore I knew it and as he grew
He'd say I'm gonna be like you, Dad
You know I'm gonna be like you
And the cat's in the cradle and the silver spoon

Little boy blue and the man on the moon
When you coming home dad, I don't know when,
But we'll get together then
You know we'll have a good time then
My son turned ten just the other day,

He said thanks for the ball, dad, come on let's play
Can you teach me to throw, I said not today
I got a lot to do, he said that's OK
And he, He walked away, but his smile never did, and said
I'm gonna be like him, yeah
You know I'm gonna be like him

When you coming home dad, I don't know when,
But we'll get together then
Well, he came from college just the other day,

So much like a man, I just had to say
Son, I'm proud of you, can you sit for a while
He shook his head, and he said with a smile
What I'm feeling like, dad, is to borrow the car keys
See ya later, can I have them, please

When you coming home son, I don't know when,
But we'll get together then, dad
I've long since retired, my son's moved away

I called him up just the other day
I said I'd like to see you if you don't mind
He said I'd love to dad, if I could find the time
You see my new job's a hassle, and the kids have the flu
But it's sure nice talking to you dad
It's been sure nice talking to you
And as I hung up the phone, it occured to me

He'd grown up just like me
My boy was just like me

When you coming home son, I don't know when,
But we'll get together then, dad
We're gonna have a good time then
“Rainbow Signs” is divided into four parts that address the main themes on the album: Aaron’s
marriage, the end of the world, and his father’s death.
In the first part of the song we find Aaron concluding his thoughts from the album on war and
the end of the world. God promised not to destroy the world with water again, but what if we
destroy it with all out nuclear war? Despite this looming worry, Aaron finds happiness in his
marriage, even if the event does require photos being taken of his fucked up receding hairline.
He compares his attitude after the marriage to the that of the two elderly virgins from James
Joyce’s Ulysses: having ascended the great heights of marriage with much effort, he finds he can
neither look out at the beautiful possibilities that the future ensures, nor consider his present
predicament too closely, for fear it will collapse beneath him. The only solution is to sit and
enjoy it while it happens, worrying about each day as it comes. Still, the thought of armageddon
nags him. The mushroom cloud of a nuclear bomb makes no promises. Perhaps the end will
come at the hands of Israel, as so many fire and brimstone preachers suggest.
Aaron resorts to a calming lullaby of prayer that combines both of his parents’ faiths, both
Muslim and Jewish. This causes him to turn his thoughts to his own Pale Horse, his father’s
death. His thoughts about the apocalypse now turn much more dark.
Maybe this is how it will happen: Some religious group or another, extreme in views and
actions, will render unto themselves a mandate that they attribute to a “capitalized three-lettered
sound” that they speak of like a Scarecrow Lord. This holy army will ride out wielding
sanctified weapons in a jihad to conquer all that it encounters in the name of God. After war,
scarcity and famine is sure to follow. And after that, the Pale Horse will reign. In the heart of
nuclear annihilation, the sky folds in on itself like a scroll. The very earth itself is moved.
Mountains crumble and islands are displaced. The sky turns black. This is the end. The Judge is
at hand. And what if the holy army is not wrong? What if God is as preoccupied with wrath as
they say? Well then we all must face it. The world will end, and all of us in it. In the absence of
our laws and our commands, military drones will circle in desolate skies until their hardware
runs out and they, too, have their own death.
But before Aaron descends too far into despair, he recalls a dream he had the other night. In it,
he has left college, and has turned into his father. Shaking off his worries about what the future
may hold, or what his inheritance means for his own skewed perceptions, Aaron as the monastic
he always dreamed of being, takes his own/his father’s hand and walks into the afterlife in peace,
whistling a favorite song and telling a favorite joke. “Let’s just keep that punchline between me,
and you, and the man in the moon,” he/his father says. And in the end it is peace, born of the
love between a father and a son, that overcomes the darkness. Nothing else matters anymore.
Recommended Reading
For further insight into the inspiration behind lyrics, and to learn more about many of the themes,
events, and historical figures mentioned on Pale Horses, please check these books out. In
addition to the above listed works, I would suggest a careful reading of the “Books of Moses”, or
the first five books of the Bible: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy.
Certain minor and major prophets from the Bible lend their words to lyrics on the album,
including Amos and Isaiah. The four gospels, Matthew, Mark, Luke, and John will render some
of the varying views of Christianity more coherent. The Pauline epistles, especially the two
letters to the Corinthians are also worth checking out.
- Dave
The Moral ABC by Dr. E.H. Bronner
Selected Poems of Ezra Pound by Ezra Pound
Carry A. Nation: Retelling the Life by Fran Grace
Faith in the Market: Religion and the Rise of Urban Commercial

Culture by Diane Winston and John M. Giggie
The Prosperity Gospel Exposed: And Other False Doctrines by

Michael D. Fortner
An Essay Concerning Human Understanding by John Locke
The Crescent Moon: Poems for Children by Rabindranath Tagore
The Heart of God: Prayers of Rabindranath Tagore by Rabindranath

Tagore
The Real Custer: From Boy General to Tragic Hero by James S

Robbins
The Hidden Hand: A Brief History of the CIA by Richard H.

Immerman
The Heart of Everything That Is: The Untold Story of Red Cloud, An
American Legend by Bob Drury, Tom Clavin
Beyond Language: Adventures in Word and Thought by Dmitri A

Borgmann
The Sacred Harp by B. F. White
Propaganda & Persuasion by Garth S Jowett, Victoria J. O'Donnell
Thus Spoke Zarathustra by Friedrich Nietzsche
The Complete Poetry & Prose of William Blake by William Blake
Death of God by Gabriel Vahanian
White Nights by Fyodor Dostoevsky
Selected Poems by Yevgeny Yevtushenko
Social Representations: Explorations in Social Psychology by Serge

Moscovici
Existentialism and Human Emotion by Jean-Paul Sartre
Ulysses by James Joyce
Philosophical Investigations by Ludwig Wittgenstein
The Apparition at Knock: A Critical Analysis of Facts and Evidence by

Michael Walsh
The Tragedy of Macbeth by William Shakespeare
The Gulf War Did Not Take Place by Jean Baudrillard
Metamorphoses by Ovid
Theology for a Nuclear Age by Gordon D. Kaufman
Kasparov and Deep Blue: The Historic Chess Match Between Man
and Machine by Bruce Pandolfini
Shake the Kaleidoscope: A New Anthology of Modern Poetry by

Milton Klonsky
The Waste Land by T.S. Eliot
The Southern Harmony and Musical Companion by William Walker
Fear and Trembling by Søren Kierkegaard

The Psalms of David - Imitated in the Language of the New Testament

and Applied to the Christian State and Worship by Isaac Watts
Notes from the Underground by Fyodor Dostoyevsky
The Terminal Spy by Alan S. Cowell
Blowing Up Russia: The Secret Plot to Bring Back KGB Terror by

Alexander Litvinenko
A special thanks to the folks of reddit.com/r/mewithoutYou/ and genius.com for their

discussions, arguments, ideas, and encouragement. This little project of mine is all the better for
having discovered those communities and been challenged in them.
G-d bless,
Dave Daugherty

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The Annotated Pale Horses 1

The Annotated Pale Horses

Pale horse songs of a slow decline [1],

Low in the burst of a red dwarf star [25]

Low in the hearse [40] after Red Cloud's War [41]

Buried in Beds (R.I.P.) [42] of regrets at the eight-straight-B/buffalo [43] show

What have I to dread, what have I to fear

A borrowed fern with a cigarette burn [1]

We're an unshrunk patch on a tear of the edge [11]

[By now an] A by-now acquired a fern with a cigarette burn

“They repaired my fence, those bastards [15]

This is not the first time…

Won't you help me get by?

Will you help me get by?

Mexican War Streets

Though by the path I lead

On the Streets of Mexican Wars [8] I battle with -

The sugar and the candles are gone. [18]

Rivers of sadness and mutual need

What Pharaoh spell [11], what picture holds us now?

Was he a violent man? Well, he had his genocidal moments… [34]

The other night I dreamt I was back in college

Fires of the lighthouse burning in the bay [1]

Death where is thy sting? (-1 COR 15:55) [7]

Cousins on the swing set, rabbits in the grass:

And in the morning, we rest

Death where is thy sting?

Aft-mast ships [27] of straw-short bricks [28]…

You'll soon see exactly where my victory is.

Comet streams and rocket scenes

I'll be long, long gone… [5]

“Tolling bells through [On the slopes at] Courchevel

"It's all the same to me--

In such fell repose [11], you suppose

I was born of a thought of mine [12]

[Racing the sun, I rose

But I find that there is time.

Magic Lantern Days

Hail the blest atomic morn

Hail the blest atomic sea,

Bishops [4] wrapped in Bedford cloth [5]

“Time will fill the rubbish yards,

In unmysterious ways [12]

Star of the west horizon deforming, [19]

All dark effects I'd long withstood

I struck firm the hollow of your thigh,

Would you take a bound-up Isaac's place? [3]

Floodwater filled your formless birth [7]

Would you take a bound-up Isaac's place?

Come untie your little son

Pale horse songs of a slow decline

Sh'ma Yisrael Adonai Eloheinu Adonai Eḥad.

With imperial crowns we were 'sent,'

To the silence they've heard in the absence of laws

The other night I dreamt I was finally out of college [26]

When the Lamb opened the fourth

And from Wikipedia’s description

And of the Pale Horse itself:

From Wikipedia, concerning the interpretations of the passage:

[7] The sign referred is one along that trail that

[8] The response to such a sign, from the

And let the music of the swords make them crimson!

[4] Carrie Nation was a radical member of the temperance movement in