Happy Birthday Anniversary, America!

In honor of those patriots who founded the nation, here’s Isaac Asimov speaking from the grave in praise of The Star Spangled Banner (stolen from Jerry Pournelle’s 2010 4th of July post… which he quoted from elsewhere):

Our National Anthem.

Four Stanzas

By Isaac Asimov

Introductory Note. Unless you’re already well acquainted with our “national anthem,” this interesting piece by the late Isaac Asimov will be an eye-opener. It was for me. It’s especially appropriate at a time when there is much talk of tossing out this difficult-to-sing and difficult-to-comprehend old song in favor of something that better suits Ray Charles’ voice. You’ll understand the song much better after you read Mr. Asimov’s explanation.–Hardly Waite, Gazette Senior Editor.

I have a weakness–I am crazy, absolutely nuts, about our national anthem.

The words are difficult and the tune is almost impossible, but frequently when I’m taking a shower I sing it with as much power and emotion as I can. It shakes me up every time.

I was once asked to speak at a luncheon. Taking my life in my hands, I announced I was going to sing our national anthem–all four stanzas.

This was greeted with loud groans. One man closed the door to the kitchen, where the noise of dishes and cutlery was loud and distracting. “Thanks, Herb,” I said.

“That’s all right,” he said. “It was at the request of the kitchen staff.”

I explained the background of the anthem and then sang all four stanzas.

Let me tell you, those people had never heard it before–or had never really listened. I got a standing ovation. But it was not me; it was the anthem.

More recently, while conducting a seminar, I told my students the story of the anthem and sang all four stanzas. Again there was a wild ovation and prolonged applause. And again, it was the anthem and not me.

So now let me tell you how it came to be written.

In 1812, the United States went to war with Great Britain, primarily over freedom of the seas. We were in the right. For two years, we held off the British, even though we were still a rather weak country. Great Britain was in a life and death struggle with Napoleon. In fact, just as the United States declared war, Napoleon marched off to invade Russia. If he won, as everyone expected, he would control Europe, and Great Britain would be isolated. It was no time for her to be involved in an American war.

At first, our seamen proved better than the British. After we won a battle on Lake Erie in 1813, the American commander, Oliver Hazard Perry, sent the message “We have met the enemy and they are ours.” However, the weight of the British navy beat down our ships eventually. New England, hard-hit by a tightening blockade, threatened secession.

Meanwhile, Napoleon was beaten in Russia and in 1814 was forced to abdicate. Great Britain now turned its attention to the United States, launching a three-pronged attack. The northern prong was to come down Lake Champlain toward New York and seize parts of New England. The southern prong was to go up the Mississippi, take New Orleans and paralyze the west. The central prong was to head for the mid-Atlantic states and then attack Baltimore, the greatest port south of New York. If Baltimore was taken, the nation, which still hugged the Atlantic coast, could be split in two. The fate of the United States, then, rested to a large extent on the success or failure of the central prong.

The British reached the American coast, and on August 24, 1814, took Washington, D. C. Then they moved up the Chesapeake Bay toward Baltimore. On September 12, they arrived and found 1000 men in Fort McHenry, whose guns controlled the harbor. If the British wished to take Baltimore, they would have to take the fort.

On one of the British ships was an aged physician, William Beanes, who had been arrested in Maryland and brought along as a prisoner. Francis Scott Key, a lawyer and friend of the physician, had come to the ship to negotiate his release. The British captain was willing, but the two Americans would have to wait. It was now the night of September 13, and the bombardment of Fort McHenry was about to start.

As twilight deepened, Key and Beanes saw the American flag flying over Fort McHenry. Through the night, they heard bombs bursting and saw the red glare of rockets. They knew the fort was resisting and the American flag was still flying. But toward morning the bombardment ceased, and a dread silence fell. Either Fort McHenry had surrendered and the British flag flew above it, or the bombardment had failed and the American flag still flew.

As dawn began to brighten the eastern sky, Key and Beanes stared out at the fort, trying to see which flag flew over it. He and the physician must have asked each other over and over, “Can you see the flag?”

After it was all finished, Key wrote a four stanza poem telling the events of the night. Called “The Defence of Fort M’Henry,” it was published in newspapers and swept the nation. Someone noted that the words fit an old English tune called “To Anacreon in Heaven” –a difficult melody with an uncomfortably large vocal range. For obvious reasons, Key’s work became known as “The Star Spangled Banner,” and in 1931 Congress declared it the official anthem of the United States.

Now that you know the story, here are the words. Presumably, the old doctor is speaking. This is what he asks Key

Oh! say, can you see, by the dawn’s early light,

What so proudly we hailed at the twilight’s last gleaming?

Whose broad stripes and bright stars, through the perilous fight,

O’er the ramparts we watched were so gallantly streaming?

And the rocket’s red glare, the bombs bursting in air,

Gave proof thro’ the night that our flag was still there.

Oh! say, does that star-spangled banner yet wave,

O’er the land of the free and the home of the brave?

“Ramparts,” in case you don’t know, are the protective walls or other elevations that surround a fort. The first stanza asks a question. The second gives an answer

On the shore, dimly seen thro’ the mist of the deep,

Where the foe’s haughty host in dread silence reposes,

What is that which the breeze, o’er the towering steep.

As it fitfully blows, half conceals, half discloses?

Now it catches the gleam of the morning’s first beam,

In full glory reflected, now shines on the stream

‘Tis the star-spangled banner. Oh! long may it wave

O’er the land of the free and the home of the brave!

“The towering steep” is again, the ramparts. The bombardment has failed, and the British can do nothing more but sail away, their mission a failure.

In the third stanza, I feel Key allows himself to gloat over the American triumph. In the aftermath of the bombardment, Key probably was in no mood to act otherwise.

During World War II, when the British were our staunchest allies, this third stanza was not sung. However, I know it, so here it is

And where is that band who so vauntingly swore

That the havoc of war and the battle’s confusion

A home and a country should leave us no more?

Their blood has washed out their foul footstep’s pollution.

No refuge could save the hireling and slave

From the terror of flight, or the gloom of the grave,

And the star-spangled banner in triumph doth wave

O’er the land of the free and the home of the brave.

The fourth stanza, a pious hope for the future, should be sung more slowly than the other three and with even deeper feeling.

Oh! thus be it ever, when freemen shall stand

Between their loved homes and the war’s desolation,

Blest with vict’ry and peace, may the Heav’n – rescued land

Praise the Pow’r that hath made and preserved us a nation.

Then conquer we must, when our cause it is just,

And this be our motto–“In God is our trust.”

And the star-spangled banner in triumph doth wave

O’er the land of the free and the home of the brave.

I hope you will look at the national anthem with new eyes. Listen to it, the next time you have a chance, with new ears.

And don’t let them ever take it away.

–Isaac Asimov, March 1991

First verse only here:

Beats the pants (and socks and altogether) off any “pop star” rendition. Ever. If you find the Star-Spangled Banner to be too hard to sing, practice. Sing ALL the verses, and think about it.

This version touts having “All Verses” though it leaves out both the second (response to first) verse and the “spit in the Brits’ eyes” verse *heh* and offers only the first and last verses.

http://www.youtube.com/watch?v=jAYPN-1Yjt0

It’s a Good Thing These Kids Are Italian

They’d never have had a chance getting started with the music industry/media *gag-spit* here in the USA. But now that they’ve gotten a start via a sort of Italian version of “[Wherever] Has Talent” (“Ti Lascio Una Canzone”–something like, “I Leave/Sing/Give a Song for/to You”) in 2009 and a follow up hit album (Gold and heading for Platinum in Italy, since its release there last year, and just released in the US) it’s a tad hard for the media to overlook them here. And of course, the big shake-up at American Idol caused someone to say, “Hey, let’s have these kids on for a spot!” (Probably because Geffen Records pulled some strings to coincide with their album release here, of course).

http://www.youtube.com/watch?v=xbfuYUy3Org

There are plenty of these kinds of YouTube videos posted, including more than a few of their recorded performances before live audiences in their home country a couple of years ago (fun to watch folks singing along at places :-))

But if you enjoy their performances, don’t just leach off low-fi YouTube recordings. Buy their CD or the MP3 album.

At a little over half “classic” songs like “O Sole Mio”, “Un Amore Cosi’ Grande” (a 70s-era Italian ballad–great song) and “Smile”, and just under half new stuff, I could’ve just bought the “classic” songs as individual downloads (since the new stuff isn’t quite as good as the older songs), but I’d not have saved any money, really, and I’d not have been able to make a fair assessment of the new stuff. (Assessment: not crap, and in fact pretty good just overall less worthwhile listening than the older, better-crafted songs, although Notte Stellata, a newer piece, is saved by its musical derivation from a Saint-Saëns tune. And “El Reloj” is very good, despite being written and performed in a language I’m mostly boycotting. *heh* “Painfully Beautiful” is almost painful to listen to, though. Bo-ring. *heh*)

I’d buy more recently recorded music if more of it were this musical, but no. The “recording industry” in this country has its production line and “artist” plantations and absent a revolution, it’s just going to keep feeding crap to folks, making sure the masses are kept musically dull.


*sigh* I’d not downloaded mp3s from Amazon for a lil while here. Amazon is apparently becoming another #@^*$# tyrannical Apple clone, dictating that one MUST use its downloader to download mp3 albums and then f’n associating everything with the crappy M$ Media Player AND, as it downloads another mp3 in an album, starting up the crappy M$ Media Player and bringing it on top of any other app.

What utter crap! Frankly, crap like this makes me want to pirate music instead of buy it. I don’t, but this crap is way,way beyond annoying, all the way into, “I’d like to go to Amazon’s corporate offices and burn the thing to the ground!”

Sure, AFTER it’s downloaded the album, I get my first chance to go in and change preferences, but there’s only one thing to change that will alleviate ANY of the bad behavior–and changing just one of the bad behaviors is not good enough. If I wanted to have someone dictate to me what app to play music with put on an Apple straitjacket, get an Apple-performed lobotomy and use iTunes.

Asshats.

I will give Amazon this: at least it’s still allowing plain old everyday mp3 downloads.

Little Things–Good Music

One of the weaknesses of “indie” music is sometimes a lack of good editing or perhaps a too narrow creative view. Of course, that can also be a strength if the artist can look at their own work both with a passion that allows for some creative fire and a dispassion that can allow serious criticism. As an example I’d like to offer perhaps my fav from Heather Alexander, March of Cambreath. It has really stirring lyrics, a great driving beat and… a weak melody and a wee weakness in prosody, which Alexander almost overcomes with a very, very strong performance:

[audio:March_of_Cambreadth.mp3]

By the last verse, she very nearly repairs the prosody problem by anticipating the beat with “How” in “How many of them can we make die,” but never quite makes it into a stronger line by placing the “how” directly on a pickup to “many”. And the melody itself is still very nearly boring, and would be absolutely boring without her strong performance of it (which is as I asserted above, very, very strong).

Still, as I said, it’s my fav of her work, and it is very good, even though I don’t view it as among her best musically. And it has a worthy place in the martial repertoire of modern soldier/warriors, IMO, especially since the boring melody probably wouldn’t get in the way at all, at all of any “hell runs” in PT. *heh*

Just for Fun

For years (several decades at least) I’ve made ad hoc double reed “musical instruments” from soda straws.Sometimes I simply pinch one end and then “lip” in a simple tune (or, with particularly unhandy straws, simple one or two notes *heh*), while at other times, I’ll take a pocket knife out and cut a better “reed” to make “better” *heh* music. Here’s a guy who’s taken a similar idea and gone a bit further with it, taking an insulin syringe and engineering a reed for it, etc. Interesting.

Speaking of Music…

Here’s an example of classical (small “c”) genre (not Classical Period) music that I looked up after again hearing a portion of Al Hirt’s (not bad, just not as good as this) interpretation while looking for something worth watching on TV Tuesday night. I didn’t find anything worth my time on TV, but I did stop on the Syfy (stupid name) channel briefly, just long enough to listen to Hirt play the theme for the old Green Hornet TV show. This, as I said, is better. Under 2 minutes. Have a listen.

Classicism Redux

A post by Layla spurred a recollection of something I wrote (for the nth time *heh*) back in 2006:

One of the primary reasons I am a fan of Classical (and even much classical *heh*) music is not just because the music is complex, beautiful and compelling but because it is the expression of a particular ethos which our society sorely lacks.

Aside from technical matters of form, the Principles of Classicism as found in Classical Music were

  • balance
  • clarity
  • accessibility
  • expressiveness
  • edification

Although two of these principles are still found in abundance in contemporary music (though not in contemporary “serious” or “academic” music, IMO) it is the lack of the others, especially the last, that has seriously harmful effects upon our society.

Keep in mind that the Principles of Classicism can be found in Kenny Rogers’ “The Gambler” as easily as in Beethoven’s Ninth Symphony. It’s not the genre but the genuine artistry and teleos that makes the difference.

When the only principles of an “artist’s” presentation (I won’t call the presentation Layla displayed music or even the “artist” an artist, without the denigrating quotation marks) are expressiveness and accessibility and the presentation itself lacks any real art, all it usually has going for it is just groping for the groin. It’s not even as useful as fecal matter, as fecal matter can at least be useful in compost.

The Gift

[audio:Midnight_Clear_clip.mp3]



The Gift

Trees and lights and bells and carols;
Bright-wrapped packages, piled high;
Winter’s sharp blow joins the heralds:
“Christmas-time is nigh!”

Mailmen hurry; shoppers scurry;
Time is fleeing – Oh! So fast!
Parties gather, loud and merry,
Grander than in Christmas’ past.

Pause a moment to remember
That a Savior’s simple birth
Still stirs angel wings in susur’ –
“Peace to men; good will on earth!”

Now the Father’s hands that molded
The first Adam in the clay,
Gently ’round a manger folded,
Cradle a Baby in the hay.

So the Greatest Gift extended,
Gift of love and peace to all,
“God’s great love to man descended”
Calls us to a manger stall.

©1990 David Needham