The “Real Words” of our National Anthem

On this July Fourth I’d like to say a few words about the US national anthem. Many of you are no doubt aware that this year marks the two hundredth anniversary of the lyrics, written by Francis Scott Key as “The Defence of Fort McHenry.” Few people know that the song has four verses, because we seldom hear any but the first these days. Far fewer people are aware of the origin of the melody, a popular English drinking song from the 1700’s.

Yet another little-known fact is the controversy that surrounded the adoption of the song in 1931 as the nation’s official anthem. An article that appeared in the Daily Beast on last July 4th tells some of this fascinating story. The song has been the target of criticism for a melody that is difficult to sing (with a range of an octave and a fifth) and for its lyrics that celebrate militarism.

By the way, today’s history-challenged young people may not know the story behind the war that inspired Key’s poem. The War of 1812 was the nation’s first major war after the American colonies secession from the British Empire. In grade school I learned that this second war was Britain’s fault for restricting our trade with France and conscription of American sailors into the Royal Navy.

In junior high school I was fortunate to have a teacher named Frank Lewis, an offbeat-looking man (he wore coke-bottle glasses and a 50’s style pompadour) who helped inspire my own passion for history. In his class, we learned that another over-riding reason for the war was the desire of certain American politicians to violently annex British holdings in Canada (the southeast portion of the current country) and Florida. They were known as War Hawks, birds of prey with the distinctive cry, “Canada! Florida!” They got their war, which ended in a stalemate. At least 5000 American and British soldiers and sailors died and untold numbers of civilians, all for naught. It’s not a glorious episode in our history, which is why I prefer the original lyrics of the song.

Speaking of the original song, its creators were members of a London men’s club called the “Anacreon Society.” Anacreon was a poet from classical Greece whose works extolled the virtues of “wine, women and song.” As such these words are at least as appropriate for us Americans. Back in 1835, French writer Alexis de Toqueville observed that “the drinking population constitutes the majority in your country, and that temperance is somewhat unpopular.” Here without further adieu is the first verse of the famous “Anacreon in Heaven” (which you can listen to here):

 

THE ANACREONTIC SONG

as Sung at the Crown and Anchor Tavern in the Strand

Words by Ralph Tomlinson, music by John Stafford Smith

 

To Anacreon in Heav’n, where he sat in full glee,

A few sons of harmony sent a petition,

That he their Inspirer and patron wou’d be;

When this answer arriv’d from the jolly old Grecian

“Voice, fiddle, and flute,

“No longer be mute,

“I’ll lend you my name and inspire you to boot,

“And, besides, I’ll instruct you like me, to intwine

“The myrtle of Venus with Bacchus’s vine.

 

Remember these words on this Fourth when you hear the line about the “land of the (formerly) free and the home of the (occasionally) brave.” And if you haven’t seen it, watch this clip of Sacha Baron Cohen as Borat singing the words of the fictional Kazakhstan national anthem to this tune for unsuspecting rodeo patrons. He was lucky he didn’t get himself lynched!

 

Remember Tiananmen Square

Twenty-five years ago today, hundreds of civilians were murdered as pro-democracy protests in Beijing were brutally suppressed by the Chinese government. Every year, the Chinese police state stages a crackdown around this time of year, lest anyone remember this uprising. I would like to honor those who died or were beaten and/or imprisoned as part of this struggle. Here in America, we are accustomed to thinking of soldiers as “defenders of freedom.” In Tiananmen Square, we saw the true nature of government, and the real reason that nations have military forces – to destroy freedom, and defend the ruling elites against the people. Though the repression appears to have succeeded for a time, here’s wishing the Chinese people will eventually know liberty.

 

It’s also a good lesson to us in America, that we should not tolerate ANY restrictions on our freedom of expression, even the phony excuses that peaceful demonstrations might somehow jeopardized the “safety” of the Emperor (a.k.a. President) or other high officials. Shame on you, US Supreme Court! Your recent failure to eliminate so-called “free speech zones” shall go down in infamy with your predecessors’ failure to strike down the unconstitutional Espionage Act nearly a century ago.

 

Bloody Bloody Andrew Jackson

t’s amazing what people will write plays about these days. That’s a good thing, because it’s pretty difficult to come up with an original idea. When you’ve got one, you run with it. Bloody Bloody Andrew Jackson is one of those “crazy” ideas. It’s a musical about the life of America’s seventh president, and it’s definitely not your run-of-the-mill historical play.

My girlfriend and I saw the play on June 15th at Phoenix Theatre. It was hilarious, irreverent, profane, and only occasionally historically accurate. In other words, we really enjoyed it. It has a rock ‘n’ roll score, which a friend described as “My Chemical Romance does Broadway.” In lieu of an official review, I’ll just say we thought the acting and singing were superb, especially Caleb Reese, of the local rock band “The Instant Classics,” as Old Hickory (which, the play informed us, was actually a nickname for Jackson’s penis.) The music, which included the Black Eyed Peas’ “I Gotta Feeling,” was pretty catchy. The song, “Populism, Yeah Yeah” is still stuck in my head.

As I said before, if you want something that’s true to historical fact, this isn’t the play for you. Jackson struts around like a rock star, wearing a jacket with “AJ” and a lighting bolt in sequins on the back. He calls his friends “bro,” contacts constituents on a red telephone, and refers to his rivals in the Whig Party as “Republicans,” though the GOP wasn’t founded until 1854. In the play Jackson’s parents both perish on the same night. In real life, their deaths were 14 years apart.

In the most important respects, however, the play captured the spirit of the man- brash, egotistical and amoral. The word “bloody” in the title refers to the wars he fought, and to his appalling treatment of Native Americans. Most of us know that Jackson fought “the bloody British in the town of New Orleans”, which the play does mention. (Sadly they didn’t – or perhaps weren’t allowed to – use the iconic Jimmy Driftwood song.) Jackson was also a “hero” of the Creek and Seminole Indian Wars, and as President, he was responsible for the Indian Removal Act, which led to the infamous “Trail of Tears.”

Bloody Bloody Andrew Jackson, written by Alex Timbers and Michael Friedman, is showing at the Phoenix Theatre (located at Central and McDowell) though June 23, 2013. Depending on your location in time and space, this information may not do you much good (assuming you are out there) but if you get a chance to see this play, I’d recommend it.