* What the crap is a Racecar Ya-Ya?
** Well, getting your ya-yas out has to do with indulging in weird and non-society-friendly urges — I'm thinking of Spike's line in the Buffy musical episode, where he tells Buffy to get her Kumbaya-yas out. And considering the "large, fuzzy dice that hang proudly like testicles from rearview mirrors"...
** This troper always thought of it as a social commentary on America.
*** This troper feels like most of their songs are.
* Why didn't they make 'Arco Arena' longer?
** Or "Shadow Stabbing". Though it's perfect anyway...
** This Troper hasn't heard it, but TheOtherWiki mentions a promotional version (with lyrics!) that's about 30 seconds longer.
* Can anyone find any possible connections between the three separate stanzas and the chorus of "Wheels"?
** Theory: It's about how he's tried to escape a relationship, at least spatially. He's taken a train, he talks about a boat in the beginning, and most of all he talks about "wheels" (which indicate forms of transportation). And yet no matter how far he goes, he still repeats to himself at the end of the song, "I don't know / why you say you are not in love with me." He's still haunted by the relationship, even though he's distanced himself physically from the girl and tries to distract himself with trivial, weird happenstances of life. A lot of the things he describes are foreigners in other countries, and how disconnected and out-of-place they feel and appear. That's how he feels about the relationship and his feelings, as well.
* Does anyone have any idea what 'Shadow Stabbing' is about?
** According to SongMeanings users, one or more of the following: murder, creativity, doing drugs, the superficiality of modern society, a political prisoner, writing as therapy, and/or somebody who sees the truth of the world and tries to write it down.
*** Add thoughts of suicide: "I thumb the cool blade but I know this can't last."
** This troper always thought it was about someone who's knows something that (they think) is vitally important to the whole world. The trouble is, they can't get it out in quite the right way, their mind is trapped inside the cell. Without knowing this information, the life of the average man on the street is pointless. (He's stabbing at shadows/grasping at straws.) I've always thought there is an implied TitleDrop; that the lines "The man on the street might just as well be" should be finished by "shadow stabbing".
* I never quite got what the protagonist of the music video for "Long Time" was sentenced to death for. Should I be worried?
** Theft of ForbiddenFruit. Around 1:10, the fruit shows up in the protagonist's hands; he throws it into the air, and when the scene cuts into another flashback, the fruit completes its arc. The fact that the fruit comes out of nowhere and is the only thing to maintain its continuity during any jump between the past and present suggests that it is the connection between their actions in the flashbacks and their current situation; the protagonist throws it into the air as if wishing to undo what the flashback shows (the taking of the fruit in the first place). When the flashback ends, the apple is gone again even though it should have fallen back inside the wagon, so it lacks linear continuity even though it creates a connection between the protagonist's present and his past — kind of ominous, since the protagonist's "continuity" is about to be disrupted by his execution.