Note: You probably ought to read "Putting Blender in the Blender" first.
Let's begin with a song that came from what many Rush fans (not myself) believe to be the height of their career, the album Moving Pictures. Witch Hunt is a dark metaphoric narrative which relates a self-righteous madstricken mob burning their victims to the issue of censorship. How apt! After all, that is precisely how many groups of people have taken censorship into their own hands. Burning. And it was a common practice throughout history, and often the reasons can be pinned on religious censorship. Among the not too-far-distant incidences that come to my mind are the Nazi book burnings and the group back in the 60s who burned Beatles albums and propaganda after John Lennon made the comment about The Beatles being "bigger than Jesus." Also, my mind reflects on the novel Farenheit 451 by Ray Bradbury, where the firemen in the future are not responsible for putting fires out, but for starting them. Burning is certainly the most blatant and destructive means of censorship, when only ashes remain.
I became a fan of that book about ten years ago, as well as 1984 in high school, and am still attracted to dystopian themes involving censorship today. What's particularly powerful about the lyrics of this song, I find, is that it isn't a far-fetched, dramatic dystopian. Witch hunts really happened. It's history, people. Much more dramatic, when you think about it. But no, Peart is no Bradbury or Orwell. But he picked a killer way of getting his point across:
The night is black
Without a moon
The air is thick and still
The vigilantes gather on
The lonely torch lit hill
Features distorted in the flickering light
The faces are twisted and grotesque
Silent and stern in the sweltering night
The mob moves like demons possessed
Quiet in conscience, calm in their right
Confident their ways are best
The righteous rise
With burning eyes
Of hatred and ill-will
Madmen fed on fear and lies
To beat and burn and kill
They say there are strangers who threaten us
In our immigrants and infidels
They say there is strangeness too dangerous
In our theaters and bookstore shelves
That those that know what's best for us
Must rise and save us from ourselves
Quick to judge
Quick to anger
Slow to understand
Ignorance and prejudice
And fear walk hand in hand...
I won't pretend I remember most of the literary terms and technical jargon I learned in high school. I remember some basics though. I just have to point out that there is a heck of a lot of alliteration, and I notice that Peart uses it all the time. I've always been a fan of it. So, be warned that I am likely to always point it out. And though all of the rhymes are simple enough, I think that "ill-will" with "kill" is simply brilliant. I've also noticed a couple of Rush songs where the lyrics can be written at least two ways and come off sounding the same. Here we have "strangers who threaten us" and "strangeness too dangerous." Or, when you hear it in the song, it also sounds like, "strangeness to danger us." But 'danger' is not conventionally, or ever, used as a verb. Is it? I guess that's what the word 'endanger' is for. Blast, that's not as interesting anymore.
And, of course, the song has my favorite punctuation mark: the ellipsis (...). No, I didn't completely remember that name either. I had to look up how to spell it. Personally, though, I overuse my dot, dot, dots. Anyway, here at the end of the song the ellipsis makes it seem like ignorance and prejudice are ongoing qualities. To me, it indicates that Peart has no solution. I'd like to think that if we are looking to find one, it's up to us individually. Really, I think it's taking the notion that "those that know what's best for us must rise and save us from ourselves" and flipping it into singular introspection. I'm thinking of that scripture about motes, you know, that concept.
Actually, this song also reminded me of a scene in...Footloose. That ellipsis indicates slight embarassment. Or, should I do what Strong Bad does? Actually, this song also reminded me of a scene in Footlose. Nah, it's a good movie. Anyway, I'm thinking of the part where the town is burning library books and the town preacher approaches them, rebuking them that there is no evil in the books, but in their hearts. He then tells them to go home, and rather sit in judgement on themselves. It was an interesting scene because it is meant to come as a surprise. We suspect that because he does not support dancing in public because it can foster corruption, that he would therefore approve of all the censorship going on. He's really a pretty good guy after all.
Back to the song, now, and winding down. What I always find interesting are the situations where the "good guys" are also, or actually the "bad guys", or vica versa, and where fear acts as the impetus to instill fear. And so I say, a job well done, Neil.
