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O Say Can You Hear: A Cultural Biography of "The Star-Spangled Banner"
A New York Times Editors' Choice
The fascinating story of America’s national anthem and an examination of its powerful meaning today. Most Americans learn the tale in elementary During the War of 1812, Francis Scott Key witnessed the daylong bombardment of Baltimore’s Fort McHenry by British navy ships; seeing the Stars and Stripes still flying proudly at first light, he was inspired to pen his famous lyric. What Americans don’t know is the story of how this everyday “broadside ballad,” one of thousands of such topical songs that captured the events and emotions of early American life, rose to become the nation’s one and only anthem and today’s magnet for controversy. In O Say Can You Hear? Mark Clague brilliantly weaves together the stories of the song and the nation it represents. Examining the origins of both text and music, alternate lyrics and translations, and the song’s use in sports, at times of war, and for political protest, he argues that the anthem’s meaning reflects―and is reflected by―the nation’s quest to become a more perfect union. From victory song to hymn of sacrifice and vehicle for protest, the story of Key’s song is the story of America itself. Each chapter in the book explores a different facet of the anthem’s story. In one, we learn the real history behind the singing of the anthem at sporting events; in another, Clague explores Key’s complicated relationship with slavery and its repercussions today. An entire is chapter devoted to some of the most famous performances of the anthem, from Jimi Hendrix at Woodstock to Roseanne Barr at a baseball game to the iconic Whitney Houston version from the 1991 Super Bowl. At every turn, the book goes beyond the events to explore the song’s resonance and meaning. From its first lines Key’s lyric poses “O say can you see?” “Does that banner yet wave?” Likewise, Clague’s O Say Can You Hear? raises important questions about the banner; what it meant in 1814, what it means to us today, and why it matters. 35 illustrations, 1 map
The fascinating story of America’s national anthem and an examination of its powerful meaning today. Most Americans learn the tale in elementary During the War of 1812, Francis Scott Key witnessed the daylong bombardment of Baltimore’s Fort McHenry by British navy ships; seeing the Stars and Stripes still flying proudly at first light, he was inspired to pen his famous lyric. What Americans don’t know is the story of how this everyday “broadside ballad,” one of thousands of such topical songs that captured the events and emotions of early American life, rose to become the nation’s one and only anthem and today’s magnet for controversy. In O Say Can You Hear? Mark Clague brilliantly weaves together the stories of the song and the nation it represents. Examining the origins of both text and music, alternate lyrics and translations, and the song’s use in sports, at times of war, and for political protest, he argues that the anthem’s meaning reflects―and is reflected by―the nation’s quest to become a more perfect union. From victory song to hymn of sacrifice and vehicle for protest, the story of Key’s song is the story of America itself. Each chapter in the book explores a different facet of the anthem’s story. In one, we learn the real history behind the singing of the anthem at sporting events; in another, Clague explores Key’s complicated relationship with slavery and its repercussions today. An entire is chapter devoted to some of the most famous performances of the anthem, from Jimi Hendrix at Woodstock to Roseanne Barr at a baseball game to the iconic Whitney Houston version from the 1991 Super Bowl. At every turn, the book goes beyond the events to explore the song’s resonance and meaning. From its first lines Key’s lyric poses “O say can you see?” “Does that banner yet wave?” Likewise, Clague’s O Say Can You Hear? raises important questions about the banner; what it meant in 1814, what it means to us today, and why it matters. 35 illustrations, 1 map
352 pages, Paperback
First published June 14, 2022
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April 27, 2024
On finishing this book, the first thing I could think of was how fitting the first word of the US national anthem is for the country, and how it compares to this humorous map of Europe as per the first words of each country's national anthem:
Given the story of how the US anthem was born as told in this book, the combination of "God" for the father country and "O" for the child country is hilarious to me. I can imagine Britain pulling its hair in despair at what the strapping colony is doing, "God, what will I do with you?!" And America just having discovered they can ride the bike without the training wheels and refusing to stay home in favour of going biking solo, "O, [read that as Aaaww] dad, but I wanna try this new bike called independence! Leggo, dad, leggo!"
Yes, this book has a good dose of humour, but it's also a serious history of the American anthem. It's probably common knowledge to Americans how it came to exist, they must learn it with their letters in pre-school for all I know, but for me everything in this book was new and educational. And I had a great time spotting the historical ironies and hilarious unintended consequences. For example, I never knew that the lyrics were composed after the author, Francis Scott Key, was a hostage onboard a British warship en route to bombard Baltimore prior to a land attack on the city during the 1812 British-American War, that he composed it not as an anthem but as a "broadsheet ballad," which were basically sung news published (they were musicalised news, more or less like the media add sound and visual effects to the delivery of news today, such as pics and videos and background music), that the music was added later by basically "borrowing" the tune of the Anacreon poetic society from Britain. Without permission, of course, ha. Oh, and the first language the US anthem was translated into and happily sung in was German! That was quite the surprise to me, I had thought it would've been Spanish, but no. American troops at war singing their anthem in perfect German is a weird image, but given the majority German ethnic background of the population and that there were entire regiments composed of Midwesterners who didn't speak a lick of English, it makes sense.
Quite the wild ride this anthem has had, eh? And that's merely the beginning. The story of the anthem and "counter-anthem" during the Civil War, when each side had their version (several in the case of the Confederates) is also wild. The entirety of the purely historical parts of the anthem's evolution is an amusing ride.
But it's not just that which you'll encounter in this book. It also has the more serious sociological and cultural aspects up to our day. Clague covers the anthem in sports, the anthem in the fight for civil rights for minorities, the anthem in politics, the anthem in policy, the anthem in translation and assimilation of immigrants, and the anthem in the BLM riots. It's as thorough as can be without being too dense or too weighed down by sociological analysis of a more academic nature. It reads easy and engaging, and you can always look for more information if a particular angle interested you most.
Who knew a national anthem would have this rich a history? I can only think of La Marseillaise as the other national anthem that could give "O Say, Can you Hear?" a run for its money in terms of rollickingness and richly engaging story.
Given the story of how the US anthem was born as told in this book, the combination of "God" for the father country and "O" for the child country is hilarious to me. I can imagine Britain pulling its hair in despair at what the strapping colony is doing, "God, what will I do with you?!" And America just having discovered they can ride the bike without the training wheels and refusing to stay home in favour of going biking solo, "O, [read that as Aaaww] dad, but I wanna try this new bike called independence! Leggo, dad, leggo!"
Yes, this book has a good dose of humour, but it's also a serious history of the American anthem. It's probably common knowledge to Americans how it came to exist, they must learn it with their letters in pre-school for all I know, but for me everything in this book was new and educational. And I had a great time spotting the historical ironies and hilarious unintended consequences. For example, I never knew that the lyrics were composed after the author, Francis Scott Key, was a hostage onboard a British warship en route to bombard Baltimore prior to a land attack on the city during the 1812 British-American War, that he composed it not as an anthem but as a "broadsheet ballad," which were basically sung news published (they were musicalised news, more or less like the media add sound and visual effects to the delivery of news today, such as pics and videos and background music), that the music was added later by basically "borrowing" the tune of the Anacreon poetic society from Britain. Without permission, of course, ha. Oh, and the first language the US anthem was translated into and happily sung in was German! That was quite the surprise to me, I had thought it would've been Spanish, but no. American troops at war singing their anthem in perfect German is a weird image, but given the majority German ethnic background of the population and that there were entire regiments composed of Midwesterners who didn't speak a lick of English, it makes sense.
Quite the wild ride this anthem has had, eh? And that's merely the beginning. The story of the anthem and "counter-anthem" during the Civil War, when each side had their version (several in the case of the Confederates) is also wild. The entirety of the purely historical parts of the anthem's evolution is an amusing ride.
But it's not just that which you'll encounter in this book. It also has the more serious sociological and cultural aspects up to our day. Clague covers the anthem in sports, the anthem in the fight for civil rights for minorities, the anthem in politics, the anthem in policy, the anthem in translation and assimilation of immigrants, and the anthem in the BLM riots. It's as thorough as can be without being too dense or too weighed down by sociological analysis of a more academic nature. It reads easy and engaging, and you can always look for more information if a particular angle interested you most.
Who knew a national anthem would have this rich a history? I can only think of La Marseillaise as the other national anthem that could give "O Say, Can you Hear?" a run for its money in terms of rollickingness and richly engaging story.
March 1, 2022
During the Bicentennial I had a book of songs from the time of the American Revolution. It included Anacreon in Heaven. I knew from this book that our national anthem used the melody of this old British club song. And of course, I knew the story of Francis Scott Key watching the British attack on Baltimore and how he looked to see if the American flag was still flying over the fort come morning.
Perhaps you grew up singing the anthem before sporting events. Or listened to Jimmy Hendrix’s iconic performance at Woodstock. Detroiters of a certain age might recall the 1968 World Series when Jose Feliciano gave the anthem a new sound, accompanied only by guitar. To one generation, Kaepernick’s taking a knee during the anthem stirs emotions; to others, it inspires patriotism and recalls the sacrifice entailed in keeping a democracy alive.
“Anthems are not made,” Clague writes. “They become, through an unpredictable process of community construction.” In O Say Can You Hear?, he presents the story of The Star Spangled Banner through a multitude of lenses: history, musical heritage, interpretation, and its political and social use, illustrating how this song prevailed to become our national anthem.
As a historian, Clague brings drama to the opening history of Key and the War of 1812. As a musicologist, Clague brings an interesting depth of insight into the music and its performances. It’s a fascinating story.
I received a free egalley from the publisher through Edelweiss. My review is fair and unbiased.
Perhaps you grew up singing the anthem before sporting events. Or listened to Jimmy Hendrix’s iconic performance at Woodstock. Detroiters of a certain age might recall the 1968 World Series when Jose Feliciano gave the anthem a new sound, accompanied only by guitar. To one generation, Kaepernick’s taking a knee during the anthem stirs emotions; to others, it inspires patriotism and recalls the sacrifice entailed in keeping a democracy alive.
“Anthems are not made,” Clague writes. “They become, through an unpredictable process of community construction.” In O Say Can You Hear?, he presents the story of The Star Spangled Banner through a multitude of lenses: history, musical heritage, interpretation, and its political and social use, illustrating how this song prevailed to become our national anthem.
As a historian, Clague brings drama to the opening history of Key and the War of 1812. As a musicologist, Clague brings an interesting depth of insight into the music and its performances. It’s a fascinating story.
I received a free egalley from the publisher through Edelweiss. My review is fair and unbiased.
September 17, 2022
An interesting history of the National Anthm
July 3, 2022
An interesting, lighter-side at times and rollicking, but deeper at times and with several "new to me" items look at the history of the writing of the Star Spangled Banner and its development.
Several brief points and a couple of longer ones.
First, Key had three days to write it; it wasn’t an overnight flash of inspiration.
Second, he’d written another song to Anacreon’s words in 1805, celebrating Stephen Decatur’s naval attack on Tripoli. (Also the source of words in another famous American patriotic song!) That said, Clague rightly notes this wasn’t a poem, it was a song, or rather, song lyrics from the start. (Key also wrote several hymns, some of which are in Protestant hymnals yet today.)
Third, Anacreon wasn’t a “drinking song.” Rather, both words and tune were, for the Anacreontic Society, part of its program of giving professional musicians a glee-club type performance piece. Plenty of details about the club are in the book.
Fourth, additional verses have been written from time to time. Oliver Wendell Holmes Sr’s Civil War verse is surely the best and the one that has most survived to today. Go here.
Fifth, it was already an unofficial national anthem of sorts by the Mexican War.
Sixth, the National Anthem was being played at opening day games in baseball long before the enforced patriotism of WWI. Related, he notes modern “paid patriotism” and more. And tackles not only Kaepernick, but the likes of Tommy Smith and John Carlos long before him. He also notes that they weren’t the first, but that a Black woman, Eroseanna Robinson, remained seated during the anthem at the 1959 Pan Am Games. Related to THAT, he notes that “parodies,” based on the Anacreon tune still, began in the 1840s and included ones tied to the temperance movement, abolition, and the early pitch for women’s rights. Next came antiwar versions.
Seventh, Clague has a good breakdown of modern Super Bowl performances.
Eighth, Clague tackles the problematic “hireling and slave” line in the third verse, and takes it to most likely, in context of its time, to refer respectively to conscript troops and British subjects of a king. In short, a follow-up on Declaration of Independence propaganda. He adds that maybe Key intended it to refer to British Gen. Robert Ross, noting its singular while previous third-verse references are plural. I find this not convincing.
Key personally? Yes, a slaveholder. Also, one of the founders of the American Colonization Society. He freed several slaves in his lifetime and the rest in his will (pending his wife’s death). A representer of Blacks in court, including on freedom petitions, that Clague notes saw nearly 60 former slaves freed. At the same time, he as federal district attorney for DC under Jackson, he prosecuted an abolitionist after an 1835 slave riot. But, he also distanced his stances, or tried to, from other ACS members. He never pushed any of his own slaves that he freed into colonization.
Clague goes into much more depth to present a nuanced, in-his-times, picture of Key.
In the next chapter, Clague looks at “modern” takes in general. These include Jose Feliciano, of course, Jimi Hedrix, Aretha Franklin and others. He does so in a way that general refutes urban legends, or rather rural legends, since they’re normally by conservative White folk.
From there, it’s on to Rosanne Barr, which a sympathetic yet critical take on it, and for you classical aficionados like me, Stravinsky’s orchestration. Note: I generally like this, but do not like the removed dotted rhythm partway into the 2nd/4th lines. Done by itself, it makes it stand out too much, at least in instrumental-only performances. I’d rather he kept all syncopation but cut the dotted quarters by a sixteenth and augmented the eighth notes by a sixteenth. It does sound less glaring in choral versions.
Back to the brief note above that it had apparently started becoming our National Anthem already at the time of the Mexican War, Clague ends with plaints against it, and suggested alternatives.
==
That said, there is one error of note. A professional musicologist should know better than to call Herb Alpert Hispanic.
Several brief points and a couple of longer ones.
First, Key had three days to write it; it wasn’t an overnight flash of inspiration.
Second, he’d written another song to Anacreon’s words in 1805, celebrating Stephen Decatur’s naval attack on Tripoli. (Also the source of words in another famous American patriotic song!) That said, Clague rightly notes this wasn’t a poem, it was a song, or rather, song lyrics from the start. (Key also wrote several hymns, some of which are in Protestant hymnals yet today.)
Third, Anacreon wasn’t a “drinking song.” Rather, both words and tune were, for the Anacreontic Society, part of its program of giving professional musicians a glee-club type performance piece. Plenty of details about the club are in the book.
Fourth, additional verses have been written from time to time. Oliver Wendell Holmes Sr’s Civil War verse is surely the best and the one that has most survived to today. Go here.
Fifth, it was already an unofficial national anthem of sorts by the Mexican War.
Sixth, the National Anthem was being played at opening day games in baseball long before the enforced patriotism of WWI. Related, he notes modern “paid patriotism” and more. And tackles not only Kaepernick, but the likes of Tommy Smith and John Carlos long before him. He also notes that they weren’t the first, but that a Black woman, Eroseanna Robinson, remained seated during the anthem at the 1959 Pan Am Games. Related to THAT, he notes that “parodies,” based on the Anacreon tune still, began in the 1840s and included ones tied to the temperance movement, abolition, and the early pitch for women’s rights. Next came antiwar versions.
Seventh, Clague has a good breakdown of modern Super Bowl performances.
Eighth, Clague tackles the problematic “hireling and slave” line in the third verse, and takes it to most likely, in context of its time, to refer respectively to conscript troops and British subjects of a king. In short, a follow-up on Declaration of Independence propaganda. He adds that maybe Key intended it to refer to British Gen. Robert Ross, noting its singular while previous third-verse references are plural. I find this not convincing.
Key personally? Yes, a slaveholder. Also, one of the founders of the American Colonization Society. He freed several slaves in his lifetime and the rest in his will (pending his wife’s death). A representer of Blacks in court, including on freedom petitions, that Clague notes saw nearly 60 former slaves freed. At the same time, he as federal district attorney for DC under Jackson, he prosecuted an abolitionist after an 1835 slave riot. But, he also distanced his stances, or tried to, from other ACS members. He never pushed any of his own slaves that he freed into colonization.
Clague goes into much more depth to present a nuanced, in-his-times, picture of Key.
In the next chapter, Clague looks at “modern” takes in general. These include Jose Feliciano, of course, Jimi Hedrix, Aretha Franklin and others. He does so in a way that general refutes urban legends, or rather rural legends, since they’re normally by conservative White folk.
From there, it’s on to Rosanne Barr, which a sympathetic yet critical take on it, and for you classical aficionados like me, Stravinsky’s orchestration. Note: I generally like this, but do not like the removed dotted rhythm partway into the 2nd/4th lines. Done by itself, it makes it stand out too much, at least in instrumental-only performances. I’d rather he kept all syncopation but cut the dotted quarters by a sixteenth and augmented the eighth notes by a sixteenth. It does sound less glaring in choral versions.
Back to the brief note above that it had apparently started becoming our National Anthem already at the time of the Mexican War, Clague ends with plaints against it, and suggested alternatives.
==
That said, there is one error of note. A professional musicologist should know better than to call Herb Alpert Hispanic.
July 20, 2022
A very serious and comprehensive history that covers a lot -- really a lot -- of ground. How The Star-Spangled Banner came to be written and the myths that formed around its conception. How the song was written as part of a popular genre called newspaper poems. How the work was received/performed through history. The controversies: over Key owning slaves (but being very active as a lawyer in cases defending free Blacks), over the politics of the Banner, of refusing to stand or raising a fist, over how it was sung (cf, Jimi Hendrix, Aretha Franklin, Whitney Houston, and yes, Roseanne Barr). How it came to be seen as the national anthem (When in 1900 Congress first received a petition to designate Key’s song as the official national anthem, a newspaper noted that “it is regarded as such already whether congress acts upon the petition or not.” The resulting 1931 act was thus belated—it merely recognized what had been increasingly true of American ritual practice.). How it came to be sing at sports events. And much more. I skimmed a good part of the book, particularly the specifically musicological analyses, but it was an interesting journey nonetheless.
December 22, 2022
I just picked this off my library's new shelf as an intriguing thought but it was more engaging and pertinent than I had imagined. Music historian Mark Clague traces the history of the tune, lyrics and usage of "The Star-Spangled Banner" showing that, far from being a monolithic standard, the anthem's meaning and indeed status has changed over time. "It is not the purpose of history to make on either love or reject the past." There is no law mandating how the anthem is to be sung or how people are to behave during it, but the Hard Right has decided that their preferred way is some kind of divine inspiration. Clague is not anti-anthem and he notes both Francis Scott Key's involvement with slavery and opposition to slavery as a way to explain how messy both American history and the American anthem is. The anthem is not a final statement but rather part of an ongoing conversation about what it means to be an American. Translations, parodies, yes, even protests, help to expand that conversation and should be welcomed, not reviled.
July 14, 2024
4.5 stars. Feeling so smart after this one! O Say… is an engaging history and analysis of our national anthem. Lots to learn, including the tune was not a drinking song nor intended to be sung by large groups, but a way for a qualified musician to recount successes of a fraternal club. The author presents lyricist Key’s contradictions (full disclosure: Key is my distant ancestor), of both owning slaves and representing Black Americans in court on petitions of freedom. And you bet I pulled up Whitney Houston’s version during the chapter covering her iconic performance. 🎶
“Key’s song was not one thing, but many, and these many anthems had something important to say about what it meant to be an American.”
“Key’s song was not one thing, but many, and these many anthems had something important to say about what it meant to be an American.”
December 28, 2022
Rarely do I give 5 stars; this book earned it.
After the initial storytelling of the creation (and creation myth busting), it tells a history of the United States through the eyes of the national anthem. The author pulls no punches, giving historical, social, and musical context from Fort McHenry to Colin Kaepernick.
Glad I bought this one as I’m sure I’ll be re-reading and referencing it!
After the initial storytelling of the creation (and creation myth busting), it tells a history of the United States through the eyes of the national anthem. The author pulls no punches, giving historical, social, and musical context from Fort McHenry to Colin Kaepernick.
Glad I bought this one as I’m sure I’ll be re-reading and referencing it!
October 17, 2022
This is an interesting book in the sense that I learned many various and disconnected facts about our National Anthem. However, I found the prose dull and plodding. For a person who presumably loves music, the book does not convey that joy or excitement.
Although, Claugue does not weigh down the book with an excessive amount of musical analysis, there was enough to make my eyes glaze over. Maybe that would not have occurred if the author made an attempt to explain these techinal terms ( eg. the snapped rhythym motto of a dotted eighth plus a sixteenth note). What is heaven's name does this mean? Truly, I wanted to know.
My biggest disappointment with this book is the author's reticense to take a stand on almost any controversial issue. While the author discusses both sides of these issues with fairness and intelligence, he consistently ends the discussion unresolved. This is blatant in his analysis of Keyes. He calls him an anti-abolitionist, yet Keyes freed his slaves and worked against slavery. An abolitionist was someone who opposed the institution of slavery. At the time there was a wide range of ideas about how and under what circumstances slavery should be ended. Frederick Douglas, Garrison and even Lincoln held widely divergent views and I don't think anyone would call them anti-abolitionist. An another example of this inability to express a view is Clague's comments about Aretha Franklin's rendition of the National Anthem at the 1968 Democratic Convention. " Her gentle adjustments to pacing are wholly typical of gospel or soul and do not appear to deliver any special political statement, other than to underscore the singer's own legitimate and sincere Black identity." Wasn't her wholly typical gospel and soul pacing a political statement ( or at least a statement) of her Black identity? You can't have it both ways.
Take a stand. State an opinion. Is Keye's anthem a good one? Should it be our National Anthem? Can this song be performed irreverently? Should it be? Is it still our National Anthem if an artist changes the melody or is it just another song? Does the mere use of the word slave make the song racist? Clague dances around these issues deftly. I understand why Dr. Clague refuses to expose any opinions on these topics. As a active college professor at a major state university he would be open to censure and boycott if he did so. What a shame that his readers were unable to gain an insight into his thoughts and opinions since he is purportedly an expert.
Although, Claugue does not weigh down the book with an excessive amount of musical analysis, there was enough to make my eyes glaze over. Maybe that would not have occurred if the author made an attempt to explain these techinal terms ( eg. the snapped rhythym motto of a dotted eighth plus a sixteenth note). What is heaven's name does this mean? Truly, I wanted to know.
My biggest disappointment with this book is the author's reticense to take a stand on almost any controversial issue. While the author discusses both sides of these issues with fairness and intelligence, he consistently ends the discussion unresolved. This is blatant in his analysis of Keyes. He calls him an anti-abolitionist, yet Keyes freed his slaves and worked against slavery. An abolitionist was someone who opposed the institution of slavery. At the time there was a wide range of ideas about how and under what circumstances slavery should be ended. Frederick Douglas, Garrison and even Lincoln held widely divergent views and I don't think anyone would call them anti-abolitionist. An another example of this inability to express a view is Clague's comments about Aretha Franklin's rendition of the National Anthem at the 1968 Democratic Convention. " Her gentle adjustments to pacing are wholly typical of gospel or soul and do not appear to deliver any special political statement, other than to underscore the singer's own legitimate and sincere Black identity." Wasn't her wholly typical gospel and soul pacing a political statement ( or at least a statement) of her Black identity? You can't have it both ways.
Take a stand. State an opinion. Is Keye's anthem a good one? Should it be our National Anthem? Can this song be performed irreverently? Should it be? Is it still our National Anthem if an artist changes the melody or is it just another song? Does the mere use of the word slave make the song racist? Clague dances around these issues deftly. I understand why Dr. Clague refuses to expose any opinions on these topics. As a active college professor at a major state university he would be open to censure and boycott if he did so. What a shame that his readers were unable to gain an insight into his thoughts and opinions since he is purportedly an expert.
August 5, 2022
This is the fascinating story of America’s national anthem and also why it has such powerful meaning today. Mark Clague’s book looks at the origins of the words and the music that comprises the anthem, various alternate lyrics that were initially proposed, and translations of the song. The book also explore how the song has been used in sports, for political protest, and in times of war. The story of Francis Scott Kay’s song, with its notes of victory, sacrifice, and in the present day, as an object of protest, is not only the story of the song, but also the story of America itself. This is a brilliantly riveting read that will inspire all who read it.
July 21, 2022
This in-depth look at the history of the Star-Spangled Banner and how it fits into America's cultural landscape answers questions you didn't realize you had about our national anthem. This scholarly subject is presented in a way that makes it accessible to even casual readers; you don't have to have a PhD in musicology to understand it!
July 30, 2022
As a trumpet player I must have played the Star-Spangled Banner, conservatively, over 100 times. As a conductor of wind bands, I have led about that many performances of it. I have never thought of it as an historical document, to be studied and analyzed in all of its forms so I’m glad that Mark Clague did it for me. I have also SUNG the national anthem hundreds of times, mostly before football and basketball games at the high school, college and professional levels. I might say that, in my last formal association with high school sports as a sports reporter, I became infamous for singing it so loudly that, when the PA system failed at an away game, I found myself leading the crowd in its singing before a high school basketball game. I have always preferred the military, straight performance of the anthem, refusing to sing when the main performer of it takes off in melismatic distortions primarily intended, it seems, for his or her own enjoyment (functioning as an audition for other performances?) rather than as a lead voice in a crowd-as-chorale small act of patriotism. My only real quibble with Clague’s book is its lack of consideration of the modern abuse of the melody and lyrics in those performances that serve as self-absorbed solo performances with no regard for function. Clague emphasizes throughout his book that the national anthem is primarily (or should be) an expression of patriotism or at least of national recognition. He discusses the performances that are protests against conditions or state of the nation such as the combination of the Star-Spangled Banner and Lift Every Voice and Sing that became popular in some circles in the 70s and Jimmi Hendrix’s famed Woodstock Banner from the same era, but these are different from the self-absorbed versions that have become so agonizingly familiar in recent years. He even discusses the famous Roseanne Barr disastrous performance but points out that most of the anger directed at her was because of her middle finger salute to the booing crowd and her spitting as she left the field. There have been, according to Clague’s count, over 500 lyrics applied to the tune that he constantly refers to as “…the Anacreontic song…” that was familiar to almost any Englishman in the 18th century. It is a bit inaccurate to describe the tune as “…a drinking song…” though it did serve that purpose, but the Anacreontic song carried literally hundreds of lyrics through the years, not all of them patriotic. Francis Scott Key, whose poem was fitted to the melody, frequently inserted lyrics in pre-existing melodies, as did many poets of the 18th and 19th centuries. In fact, it is John Stafford Smith who should get the credit for writing the melody, though he never is unless it is on a printed version of the tune. (Smith, incidentally, is not even mentioned in Clague’s Index!) Clague points out that it is most likely Adams and Liberty, yet another Anacreontic tune, that was Key’s model for his lyric. Clague spends many pages on Francis Scott Key’s character and background to explain why the third of the four stanzas he wrote is seldom if ever performed. It includes a reference to “...slave and hireling” that offended many. Clague analyzes the phrase that has caused all the problems and points out that, in the practice of the time, “slave and hireling” could refer to the British soldiers and mercenaries who fought in the War of 1812. There were still, in 1814 when Key wrote his lyrics, a few Whigs around—people who had supported the British during the Revolutionary War. As new Americans, they could be interpreted as former slaves to King George III and the British crown. At any rate, the stanza has all but disappeared. The controversy over the fact that Key was a slave owner and anti-abolitionist haunts his reputation, but he also worked to free many slaves and freed his own eventually. Clague sums up his stance in history as being on the wrong side of it. Clague makes no apology for the difficulty of the song musically; it is what it is and, under the influence of Key’s text, fits it rather well. In particular, the musical high point of the song, the word “free” near its end, to which the melody leads inexorably, is particularly fitting. All in all, this is a fascinating look in infinite detail at the most famous and most-sung song in US history, adopted as the national anthem in 1931 by Congress, but long before that established by popularity and performance as the people’s anthem. I still prefer it in the dotted eighth-sixteenth form in ¾ time with the lyrical center section and no ritard after the “free” note. Your preference may be different, but either way, we should both sing it together.
June 17, 2022
This new volume from Musicologist Mark Clague on our national anthem is a timely, readable, and comprehensive history of the many facets of the Star-Spangled Banner.
As indicated in the title, this is a "cultural biography" so in addition to providing key historical context surrounding all of the figures involved in its composition and dissemination, Clague deftly analyzes how its role within American culture has evolved in its 200+ year history.
The modern discussion of this song is always vexed with preconceived notions as to the story behind Key's conception of the text, the basis of the tune being some sort of drinking song, and the idea that only recently has it become a source of cultural tension, protest, or social change; this volume will dissolve such a myopic view.
Upon completion you will have a complete view of Francis Scott Key, the source of the text and the music, its progression towards becoming the national anthem, its use during wartime and peacetime, how it came to be a staple of every sporting event in this country, examinations of notable performances, and broader non-official cultural uses of the anthem. Rather than just tear down the statue of Key as a slave-owner (which he was) or on the other political side hurl epithets at figures and athletes who have different reactions to the anthem besides blind and obsequious patriotism, we would all be better served by having the wealth of information and context this volume provides to inform discussions about modern uses of our national anthem. Recommended to all!
As indicated in the title, this is a "cultural biography" so in addition to providing key historical context surrounding all of the figures involved in its composition and dissemination, Clague deftly analyzes how its role within American culture has evolved in its 200+ year history.
The modern discussion of this song is always vexed with preconceived notions as to the story behind Key's conception of the text, the basis of the tune being some sort of drinking song, and the idea that only recently has it become a source of cultural tension, protest, or social change; this volume will dissolve such a myopic view.
Upon completion you will have a complete view of Francis Scott Key, the source of the text and the music, its progression towards becoming the national anthem, its use during wartime and peacetime, how it came to be a staple of every sporting event in this country, examinations of notable performances, and broader non-official cultural uses of the anthem. Rather than just tear down the statue of Key as a slave-owner (which he was) or on the other political side hurl epithets at figures and athletes who have different reactions to the anthem besides blind and obsequious patriotism, we would all be better served by having the wealth of information and context this volume provides to inform discussions about modern uses of our national anthem. Recommended to all!
June 26, 2024
This book is a combination of learning fascinating facts and stories behind the Star-Spangled Banner, and slogging through long, mostly boring stretches. It’s too bad this book wasn’t condensed into a few hours of gems instead of ten hours of every single thing Mark Claque learned in his extensive research.
I loved learning more about the 1814 Battle of Baltimore at Fort McHenry. I loved learning more about Francis Scott Key and his complicated history as a “benevolent” slave holder and his law background freeing slaves. I loved learning about how poets would write political poems meant to be lyrics sung to popular tunes as a way to spread news when many were illiterate. Even some of the modern performances, like Whitney Houston’s 1991 Super Bowl performance were very interesting. He explains what made it exceptional and especially in light of the time frame with Operation Desert Storm.
Unfortunately there are sections of him giving every lyric to every variation (sometimes 9+ verses) that were ever recorded in history. He also gives every detail and superfluous background to other supporting facts. I would not have made it through without listening on high speed, but the interesting parts were valuable. 3 stars!
I loved learning more about the 1814 Battle of Baltimore at Fort McHenry. I loved learning more about Francis Scott Key and his complicated history as a “benevolent” slave holder and his law background freeing slaves. I loved learning about how poets would write political poems meant to be lyrics sung to popular tunes as a way to spread news when many were illiterate. Even some of the modern performances, like Whitney Houston’s 1991 Super Bowl performance were very interesting. He explains what made it exceptional and especially in light of the time frame with Operation Desert Storm.
Unfortunately there are sections of him giving every lyric to every variation (sometimes 9+ verses) that were ever recorded in history. He also gives every detail and superfluous background to other supporting facts. I would not have made it through without listening on high speed, but the interesting parts were valuable. 3 stars!
June 4, 2022
A truly enjoyable read setting forth facts regarding the "National Anthem". Divided into well organized chapters one can chose to read in any order. However, being a traditionalist, I read from the beginning. The melody itself is from a British 'club' song likely written in 1773 or before. Numerous lyrics were written for it as was the custom of the day. While we are led to believe Key wrote the lyrics in a day, it took longer. Also he had written numerous lyrics to the melody prior to the War of 1812. A chapter on banner ballads explains the musical 'customs' of the day. "Play Ball" provides a history of it's use at sporting events and how patriotism and the economic success of professional sports in intertwined. Other chapters give details on the anthem's use in American cultural history. For music critics the chapter on "Performing Patriotism" critiques the performances of various artists from the iconic Jimmy Hendrix performance to the much more recent renditions of Jon Baptiste. Like several books that dig deeper into history this book exposes several myths.
August 14, 2022
Extremely interesting. Breaks many myths about the Star Spangle Banner. Francis Key Scott wrote it as a song - not a poem. (He had previously written lyrics using the same "To Anacreon in Heaven".
"To Anacreon in Heaven" was NOT an English "Drinking song" It was a song associated with the Anacreontic Society, a group of professional musicians in London. The Society dinners did involve drinking.
I appreciated the organization of the book. Clague says each chapter can stand alone and be read in any order. I read sequentially - but, Clague is a musicologist and some chapters were heavy on musical analysis and I was able to skim / skip those parts.
Finally - currently there is much discussion of and controversy over the phrase "hireling and slave” in the third verse. Many say this is a racist line and makes the Star Spangle Banner unworthy of being our National Anthem. Clague shoew, that in context of its time, this phrase referred to, respectively, conscript troops and British subjects of a king.
Worth a resd.
"To Anacreon in Heaven" was NOT an English "Drinking song" It was a song associated with the Anacreontic Society, a group of professional musicians in London. The Society dinners did involve drinking.
I appreciated the organization of the book. Clague says each chapter can stand alone and be read in any order. I read sequentially - but, Clague is a musicologist and some chapters were heavy on musical analysis and I was able to skim / skip those parts.
Finally - currently there is much discussion of and controversy over the phrase "hireling and slave” in the third verse. Many say this is a racist line and makes the Star Spangle Banner unworthy of being our National Anthem. Clague shoew, that in context of its time, this phrase referred to, respectively, conscript troops and British subjects of a king.
Worth a resd.
Read
May 8, 2024While the idea of a “cultural biography” of a song may sound strange, Mark Clague’s book provides much interesting information. I hadn’t realized that Francis Scott Key wrote the words to go with the existing tune, which was composed for a London society of musicians. The Anacreontic Society was founded in 1766 and met in a coffeehouse, so the tune is not necessarily a drinking song as people often say. Clague also provides accounts of many famous performances at sports events, including the amazing detail that all twelve musical keys have been used. He says that the custom of standing and removing hats began even before the Navy established the song as a national anthem in 1917 (Congress made it THE national anthem in 1931), but that no law actually requires standing or saluting. The organization into thematic chapters results in some repetition, and source documentation, illustration credits, and index take up almost 70 pages (of 325).
October 12, 2023
Mark Clague is a professor of music who provides a detailed cultural history of the American national anthem. He dispels myths and provides some excellent information and facts that I would bet most Americans are not aware of. He also covers a number of controversies, both recent and past, surrounding the anthem. And finally, he frequently dives into musical analyses of various aspects of the anthem that often go way over my head.
I enjoyed this book very much, but still only gave it three stars. The reason for that is too many times where he made a statement about some aspect of the anthem and left it at that. He is very good at the who, what, where and when, but all too often slipped up on the "why."
I enjoyed this book very much, but still only gave it three stars. The reason for that is too many times where he made a statement about some aspect of the anthem and left it at that. He is very good at the who, what, where and when, but all too often slipped up on the "why."
July 11, 2022
A brilliant meditation on the national anthem, including its origins, which will surprise you, as well as the many cultural issues surrounding it as well as the more controversial and important performances. It wraps up with rethinking how a musical symbol/icon such as a national anthem is a living breathing evolving resiliant piece of music. Don't be put off by the first chapter on the actual 1812 day by day history if you are not a history buff, the rest of the book contains very engaging and entertaining facts as well as mcuh interesting food for thought about the role of the national anthem/patriotism/protest.
July 20, 2022
Good historic overview about the Sat Bangled Banner. While Key wrote the lyrics, the song is older, with origins back to 18th century England. The role of the Star Bangled Banner as a national song is tied in with the military history of the US, with elements going back to the fight with the Tripoli pirates. It was used at ball games even before WWI, and protests and variations on the anthem are as old as the song itself.
Good read for learning. For history buffs, singers and those interested in social issues.
Good read for learning. For history buffs, singers and those interested in social issues.
February 9, 2023
Reading this book taught me the difference between a historian and a musicologist. Clague is the latter, and as a result, spends much of the focus narrowly focused on the song. I was hoping for a more historical approach, which would focus more on how people view the song, rather than just on the song and Francis Scott Key.
Oh, Clague does broaden his vision at times, but even then, it's often blinkered. For example, there's a chapter on how black Americans have used the song as a vehicle to protest, but even in that chapter we get more on Key owning slaves than on Colin Kaepernick.
Oh, Clague does broaden his vision at times, but even then, it's often blinkered. For example, there's a chapter on how black Americans have used the song as a vehicle to protest, but even in that chapter we get more on Key owning slaves than on Colin Kaepernick.
August 17, 2022
I followed the author’s advice and read the chapters that interested me, which dealt with the writing of “The Star-Spangled Banner” and how such poetry was a frequent feature of newspapers and periodicals. Also, a history of the music the poem was set to, “The Anacreantic Song,” the anthem of a London men’s social/singing club. This deep dive into what was finally adapted as our national anthem in 1931 is full of fascinating facts.
May 8, 2023
I spotted this at the library and will be purchasing a copy. I thought it was a tremendous resource, especially as a music teacher. My music history grad level courses were my favorite and this is like having a grad level music history course in a $20 book. I especially loved the chapter on the history of the anthem at sporting events, since one of my grad school papers was written on something similar.
July 8, 2023
This was interesting 20% of the time, thus the rating. I liked the first chapter the best where he gave the history of how it was written over three days after battle of Baltimore. Also did not know it was common practice to apply new lyrics to known tunes back then. Weird to think about life before music as it exists today - especially the audio equipment required to play at ball games.
Liked reading about Whitney and Jimi, a lot of the later chapters were just boring.
Liked reading about Whitney and Jimi, a lot of the later chapters were just boring.
June 26, 2022
An in-depth examination of our National Anthem. Clague makes a compelling case for accepting the Anthem as an invitation to citizenship by challenging the Nation we are to become the Nation we hope to be. Each chapter can be read as a standalone essay. A nice add-on would be a playlist with selected renditions of the Anthem: Houston, Hendrix, Feliciano, even Barr.
August 7, 2022
Mark Clague delivers an informative and enjoyable biography of "The Star Spangled Banner". He tells the story of Francis Scott Key and the writing of the anthem, the origin of the melody, various alternate lyrics and parodies,the origin of the custom of singing it at sporting events, controversy, suggested replacement songs, and several notable performances.
January 22, 2023
Fascinating book about the history of our National Anthem. It shows the evolution of the song through history and the many meanings and interpretations of its words and what it symbolizes to different groups of Americans. I went to YouTube to listen to various renditions that were deemed memorable or controversial in the 20th century.
August 20, 2023
The book is very interesting. I grew up in Baltimore and made many field trips to Fort McHenry. I was surprised that many friends in VA did not know where our national anthem was written. This book is very informative and I suggested friends read it. Some chapters drag on in detail but the book provides a thorough history and argument about why it is the best choice as our Anthem.
November 4, 2022
Overall this was an interesting examination of both the creation and legacy of the National Anthem. The author does a good job examining the difference musical renditions and explaining in words the different sounds.
July 18, 2022
Loved it! History come to life full of new to me gems and insightful descriptions of the times. It is so interesting to have a new perspective on true life events. A good read.
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