The Roots of Aretha’s “Respect”

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Aretha Franklin 1968.jpg
Aretha Franklin in 1968; image source Wikipedia

I’ve been doing a deep dive into the lyrics and the background of this mega-hit by the Queen of Soul. “Respect” has always been seen as a strong statement of a strong woman who’s insisting that her man treat her right. But is that view of the song really true? I have to admit that I was surprised when I actually looked at the words. It didn’t seem to me that the woman in the song was laying down a demand—more that she was begging for the bare minimum. (Her plea reminded me of something my mother said to me once about my room, “All I’m asking is that you at least quit throwing your clothes on the floor.”)

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In the Blurred Line Between Waking and Sleeping, Reflections on the Past in “The Stilly Night”

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Billie Grace Ward from New York, USA / CC BY (https://creativecommons.org/licenses/by/2.0)

As I write this post my beloved choir has recently performed a great concert of Irish music in the latest of our every-other-year Celtic concerts. (Sadly, because of the pandemic, as of March 2020, we have just had to cancel our final concert of the year that would have been performed in May. But we’ll be back!) The tenors and basses (in other words, the men plus me) sang “Oft in the Stilly Night” with text by the early-19th-century Irish poet Thomas Moore. So I want to explore the imagery of the poem and then take a look at the composer of the version we sang.

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Why is there such a swing from merriment to tragedy throughout “Letters from Ireland”?

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“An Irish Peasant Family Discovering the Blight of Their Store” by Daniel MacDonald, 1847, public domain.

I just sat down and went through the entire Letters from Ireland book with its arrangements of Irish folk songs by Mark Brymer interspersed with texts, mostly taken from letters written in the relevant historical period. Some are what you’d call “rollicking;” others are very somber, with perhaps “Skibbereen” being the most tragic. So what’s going on here? I’m going to give some general ideas here, and if you find them interesting I’d encourage you to head on over to the page of this website where you can purchase my book that includes a chapter on each of the selections in this fabulous work.

To begin with, let me give you a couple of astoundingly obvious observations:

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Just Because Leroy Anderson’s “Sleigh Ride” Is Lightweight, Does That Mean He Was, Too?

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Leroy Anderson composer Hey! Who says Leroy Anderson is “lightweight,” anyway? That is, “containing little serious matter”? Just because his music is accessible and fun, with clever sound effects, does that mean it’s not worth our time? Okay, enough with the questions, Let’s get to some answers.

So no, Leroy Anderson was most decidedly not lightweight in terms of his accomplishments. If I were just to list what he did during his life I’d probably take up my entire word limit, so here are some highlights:

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Is the Word “Jingle” in “Jingle Bells” an Adjective or a Verb? And Other Ideas About This Famous (Not Necessarily Christmas) Song

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For all you grammar geeks out there, the answer is “both,” depending on the line in the song. It’s quite clever wording. In the first line “jingle” is an adjective, then, in the second line the bells are told to jingle, so the word is now an imperative verb. Isn’t that cool?

Perhaps the first question to be asked is, “what’s a jingle bell?” I’ll let good old Wikipedia answer this:

Bells of this type were developed centuries ago for fastening to harnesses used with horses or teams of horses. Typically they were used for horse-drawn vehicles, such as carriages and sleighs. The bell was designed to make a jingly sound whenever the horse and thus the vehicle was in motion. The purpose was perhaps to herald the approach of someone important, or likely to warn pedestrians of the vehicle’s approach so that they might step aside to avoid collisions and potential injuries. This was especially important for sleighs, which otherwise make almost no sound as they travel over packed snow, and are difficult to stop quickly. This instrument was also used for fun by children in games and songs.

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Who Are Willie and Robin in “Pat-a-Pan,” Why Do They Play the Instruments That They Do, and Why Can’t the Tenors and Basses Ever Catch a Break?

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Guillô prends ton tambourin (Patapan) - French Children's Songs - France - Mama Lisa's World: Children's Songs and Rhymes from Around the World - Intro ImageLet’s get the two guys out of the way first. Here’s what I found: the names are common in old French carols, where they are rendered as “Guillô” and, well, “Robin.” The French version of “Willie” is pronounced “Gwee-yo.” Robin’s name is “Ro-bɛ̃,” with that funny-looking “e” being fairly nasal and the “n” not really being pronounced at all—it’s just a marker for the nasal sound. Everybody got that? Anyway, I’m sure if I dug around long enough I could discover why these two names are sort of generic, but I’ll leave it at that, because there’s more ground to cover here. You can just figure that Willie and Robin are like Jack and Jill, or Jim and John, or Lucy and Ethel. (But see the note at the very end of this post about the alternate names that Karl Jenkins used in his arrangement of this carol.)

Whatever. On to the author and origin of the song. Didn’t you just assume, if you thought about it at all, that this was a folk song? It’s not, since it has a known author, the poet Bernard de la Monnoye, who lived from 1641-1728. What a

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Was There Really Any Winter’s Snow at the Time of the Nativity in Bethlehem?

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When you see the title of the English Christmas carol “See Amid the Winter’s Snow,” you have to ask yourself the question in the title of this post.

And the answer is: Probably not. Snow in Israel is very rare. I’m posting a picture below of a historic snowfall in Jerusalem in 2013. Normally, though, there are two seasons in this part of the world: the wet and the dry. If Jesus were indeed born in December, the weather could have been cold and wet but probably not snowy.

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What’s a Mountain Got to Do with the Nativity? And Other Questions About “Go Tell It on the Mountain”

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Image by Free-Photos from Pixabay

Mountains turn up all the time in the Bible. They can be places where God interacts with people, such as Mount Sinai where God gave the commandments to Moses to take back down to Israel, or where someone with “clean hands and a pure heart” can meet with Him, or where a chosen few disciples can see the transfiguration of Jesus. Or people can shout for joy from the mountaintops. And a mountain can also be simply a place from which to speak, with the most famous example being that of the Sermon on the Mount: “Now when Jesus saw the crowds, he went up on a mountainside and sat down. His disciples came to him, and he began to teach them.” (Matthew 5:1-2 NIV) Here’s this big crowd, and here’s a high place to sit which happens to be on a mountainside, so Jesus uses it.

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Is There Any Serious History Behind Our Selection “Ocho Kandelikas”?

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Talk about a leading question! The answer is a resounding “yes.” There’s so much to be said about this supposedly simple song that I just don’t know where to begin.

Let me start with a brief summary of the meaning of Hanukkah, or Chanukah (both spellings are simply transliterations from the Hebrew word meaning “dedication”– חֲנֻכָּה ḥanuka), a holiday referring to an event first recorded in the first and second Books of Maccabees, part of the intertestamental books collectively known as the Apocrypha. (These books are not part of the canonized Tanakh [Hebrew Bible] used by modern Jews, though the Catholic and Orthodox Churches consider them part of the Bible.) While the re-dedication of the Temple and the lighting of the menorah are recorded in these books, there is nothing in that original story about the miracle of the long-lasting oil. That story didn’t come until about 600 years later, in the Talmud, a set of commentaries that is at least partly made up of oral traditions. The Talmud says there was only one small flask of properly dedicated oil available, enough to last one day, after the Maccabees had driven out the Roman army and re-dedicated the Temple. But the oil lasted eight days, thus allowing time for new oil to be properly prepared.

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What’s the “Story Behind the Song” for “The Awakening”?

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Sometimes you don’t need to reinvent the wheel! Joseph M. Martin, the author of the lyrics and composer of the music for our selection “The Awakening” has written a definitive essay about the meaning of this piece, and there’s nothing more I need to say. With his kind permission I’m including a quotation here of his opening statement and then encourage you to follow the link and read the entire piece:

When I was asked to write the commissioned anthem for the 20th anniversary of TCDA (Texas Choral Directors Association), I knew that the piece would be sung first to music teachers and I wanted to encourage them in their work and remind them of how important they are to the lives of our young people.

“The Story Behind the Song” by Joseph M. Martin