Annotations for Hoodoo

Lyric: Come to be, how did it come to be?
 Tied to a railroad
Annotation:
The life birthed in verse 1 (“come into my life”) culminates in unforeseen devastation (“how did it come to be?”). Ultimately, the persona’s helplessness (“tied to a railroad”) is derived from lacking meaningful relationships (“no love to set us free”). Interestingly, the train imagery connotes the popular cinematic scene of being tied to a “railroad” and saved at the last moment. This scene was first depicted in the play  ‘Under the Gaslight’ (1867), to which a man is saved by his lover. Although the song could be referencing the play, it is more likely referring to the notion more generally.

Lyric: No love to set us free
Annotation:
Situates “love” as a relieving force (i.e. “set us free”). In its absence, the persona is destined for devastation (i.e. “tied to a railroad”). Despite his newfound awareness of the situation, he is unable to “choose the other path” and alter the course of the train. Alternatively stated, without love he feels truly helpless. Interestingly, the contrasting characterisation between “choos{ing] the other path” (which implies ultimate agency) and being “tied to a railroad” situates the persona as both the initiator (train driver) and victim of his own suffering. Further still, the phrase  ‘set free’ is often reserved to describe a catharsis/peacefulness upon death. Although the persona is soon to be killed by the train, it is only love that can set him free. Thus, the train is likely embolic of emotional suffering rather than more physical threats.

Lyric: Watch our souls fade away
Annotation:
The persona draws a distinction between the  “soul” and “body”, effectively representing the pair’s simultaneous emotional and physical surrendering. This could refer to the death of the relationship, self or could be audience inclusive commentary upon our inevitable demise (“our”). Ultimately, the journey birthed in verse one is concluded. Interestingly, the persona distances himself from the events (he “watch[es]”) which could convey his true helplessness (he has no agency to alter the events and thus must watch it occur) or portrays how uninvested he felt toward his life or relationship (he watches without a sense of entitlement or connection).

Lyric: You should never be afraid
 You’re protected from trouble and pain
 Why, why?
 Is this a crisis in your eyes, again?
Annotation:
This line could have multiple addressee’s and thus numerous interpretations. For example, if the song is a linear representation of an individual’s life, the verse has two unique interpretations. Explicitly, the line could portray parental reassurance directed toward the youthful persona. They insist that he is safe and secure in life; effectively laying the foundational mindset of his adulthood. In effect, the persona adopts the blind-faith that everything will inevitably fall into place for him (“You’re protected/ From trouble and pain”); causing him to neglect pertinent warning signs eventuating in his demise (“how did it come to be?”). On the other hand, it could represent the persona’s internal conflict. Specifically, he may battle the  free-will and  deterministic parts of himself (i.e. one that believes that all is planned and the other that urges him to take control) or rather, the anxious and reassured components. Ultimately, he tries to convince a part of himself not to be “afraid”; reassuring himself that there is no immediate threat. Perhaps he speaks to the same part of himself that wants to “hide” or even his  ‘inner child’. Furthermore, if this song pertains to a relationship, it informs further interpretations. Explicitly, it could be the persona addressing his partner and expressing his inability to see the looming crisis that his companion warns him about. A crisis that ultimately reveals itself in the third verse (“tied to a railroad”). However, it could also pertain to the partner’s concern for the persona. Perhaps his fear of undefined factors is inhibiting the relationship and they urge him to see that there is nothing to be worried about (“you should never be afraid”). Throughout all interpretations, however, is the prevailing battle between a part of himself that sees something horrible on the road ahead, and the part that does not; the future is unclear.

Lyric: And I’ve had recurring nightmares
 That I was loved for who I am
 And missed the opportunity
 To be a better man
Annotation:
This directly connects to the “dream” mentioned in the first verse. Below are numeral interpretations in light of those discussed in  stanza one. Despite the utilization of escape mechanisms instigated by a burdensome existence, the persona could not escape the overwhelming pain. Instead, it has returned to him in his new life, effectively making it a “nightmare”. This leaves the persona wondering if it was all worth it and whether he “missed” an “opportunity” to truly live after a life wasted in “hid[ing]”. The persona’s ambitions and a lifetime dedicated to pursuing “dreams” was unfruitful. He finds that success' promises of solace were unrealised. Instead, he is left to confront all life’s compromised glories, sacrificed in order to reach his goals e.g. relationships (“I was loved for who I am/ And I missed the opportunity…”). Perhaps the relationship failed. After the “dream” period he finds himself in a “nightmare” situation. He remembers “being loved for who” he was and ultimately “missing the opportunity” to save the relationship via bettering himself. Finally, in light of  Freud’s childhood regression, perhaps he recognises his mind as his worst enemy. In his view, the desire to assume a childlike state is simultaneously a “dream” and “nightmare”; a duality that causes great suffering.  Destruction of a hoodoo over time (Bryce Canion National Park)

Lyric: Regress into a dream
Annotation:
The line highlights the persona’s desire to remedy his existence via various escape mechanisms; as soon as he has “come into…life” he longs to escape it (adopting a “dream” state bordering life and death). Alternatively, this could portray the “dreams” of success we chase upon birth that ultimately overlook the more immediate glories of existence. Although “dreams” are visions of progress, the persona describes them as “regress[Ive]”. Alternatively still, this could represent a relationship’s  honeymoon stage, which is commonly described as a “dream”.  Interestingly, this connects to the first interpretation, whereby relationships could be a type of escape mechanism for the persona. Finally, it could represent  Freud’s childhood regression theory whereby adults seek to revert to a childhood state in an attempt to recreate equivalent emotional security. In this line, it serves to highlight the bearing of childhood on our adult lives. As soon as being born the persona forever desires to “regress” to his childhood self which is perceived as a “dream”.  Such behaviours may be adopted when adults attempt to resume an earlier stage of psychosexual development (i.e. regress). Such behaviours are common throughout the population. Interestingly, perhaps the persona’s pride (i.e. desire to chase a “dream”) also links to the last interpretation.

Lyric: Follow your instincts
 And choose the other path
Annotation:
This line reflects the persona’s attempted attainment of an ideal life via the utilisation of  will-power and logic. Furthermore, refuting instinctual tendencies may reflect his desire to diverge from the biological fate of organisms. If the song is about a relationship, it may represent the internal conflict regarding whether to stay or leave it. According to the extended hoodoo metaphor, the relationship is ‘eroding’ and increasingly unstable, yet remains erect (delaying the inevitable). In “choos[ing] the other path” the persona resists the dire progression of the relationship and chooses to remain together.  Hoodoo is a potential metaphor for relationships and/or life.

Lyric: And our bodies crumbling
Annotation:
The structure built in verse 1 (“build a new reality”)  crumbles and the persona regresses to a baseline state of powerlessness. Here, the  deterministic outlook (“tied to a railroad”) contrasts with the  free-will of the first verse, representing the unavoidability of some failures. The deterministic outlook also reflects the mental state of the persona, who enters Kübler-Ross' final stage of grief (i.e. acceptance) which involves the recognition of factors beyond one’s control. In this sense, the line may describe the persona’s literal or emotional death (“bodies crumbling”).  Features a hoodoo before and after collapsing

Lyric: Come into my life
Annotation:
This line could potentially operate on two levels: (1) The persona is welcoming an outsider into his life. In this case, the proceeding verse primarily speaks to the power of meaningful relationships and how they rejuvenate him. (2) Alternatively, he is describing his own birth. In this case, the song could be cyclical, whereby the initial birth (“come into my life”) is proceeded by a life-long bid for control that fails in verse 3 (“tied to a railroad”). This failure effectively returns him to the point of utter helplessness comparable to an infant (leading to his figurative re-birth in verse 1). This suggests that the persona is trapped in a life-long and fruitless bid for control.

Lyric: And build a new reality
 Draw another picture
Annotation:
Both activities grant individuals ultimate creational agency (will-power), thus representing the persona’s desire to reclaim control over his life. In “build[ing]”, the persona tries to correct the core faults of his life in the pursuit of stability. By redefining the ‘unstable foundation’ of the hoodoo (i.e. a metaphor for his life) he restores balance. Furthermore, a stable building also begets greater height potential and longevity which may represent legacy, achievements and power.  On the other hand, “pictures” tend to capture beauty (as opposed to stability) thus representing the persona’s attempt to define the Utopic, ideal life for himself. Drawing “another” picture implies that prior visions were unrealised, likely inhibited by instinctive decisions (as implied by proceeding lines). Interestingly, the term “regress” followed by “build”, “draw” and “hide” evokes infantile imagery, perhaps representing the perceived helplessness of the persona that ultimately conflicts with his deep desire for agency.

Lyric: I will take the blow for you
Annotation:
This line, as the climax of the song, encapsulates the feelings of vague dread and inevitability throughout the rest of it. It’s most noticeable in terms of tense and syntax, or in comparison to a similar line– say, “I would die for you” in  “Grenade” by Bruno Mars. In Mars’s song, the “would” is a hypothetical, whereas in “Hoodoo”, the word is  will. Something  is coming, and it’s bound to be devastating (hence  the blow rather than  a blow.) Still, there’s a sense of vagueness– the nature of “the blow” is mysterious, as neither how or by whom it’s delivered is discussed in the song.

