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Holy Week in the Philippines
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Holy Week in the Philippines (Filipino: Mahal na Araw; Spanish: Semana Santa) is a significant religious observance for the country’s Roman Catholic majority and most Protestant groups.
It begins on Palm Sunday and continues on through to Black Saturday. Many communities observe Spanish-influenced Catholic rituals such as processions, that have been syncretised with elements of pre-Hispanic beliefs. This is evident in some ritual practices not sanctioned by the universal Church and the many superstitions associated with the occasion.
During the Easter Triduum (Maundy Thursday until Black Saturday), businesses are closed for part or all of the three days. Local terrestrial television and most radio stations usually go off the air. Those that remain on air (such as stations owned by various denominations) operate on shorter broadcasting hours, and feature seasonal programming such religious films and news coverage of various services and rites. Cable television channels in the Philippines, however, continue to broadcast their normal programming.
Contents
[hide]
1 Palm Sunday
2 Holy Monday
3 Holy Wednesday
4 Maundy Thursday
5 Good Friday
5.1 Santo Entierro
5.2 Popular culture
6 Easter Sunday
7 Notable observances and pilgrimage sites
7.1 Via Crucis
7.2 Tondo, Manila
7.3 Black Nazarene
7.4 Amulet hunting
7.5 Procession of Statues
7.6 Passion plays
7.6.1 Senákulo
7.6.2 Pagtaltal sa Jordan
7.7 Moriones Festival
7.8 Salubong
7.8.1 Ang Bati
7.8.2 Salubung in Pasig
7.8.3 Saboy
7.8.4 Sayaw ng Pagbatì
7.9 San Pablo City
8 See also
9 External links
10 References
Palm Sunday[edit]
A priest blesses palms on Palm Sunday in the church of Plaridel, Bulacan (2012).
On Palm Sunday (Linggo ng Palaspás, Domingo de Ramos, “Branch Sunday”), worshipers bear ornately woven palm fronds to church for blessing by the priest before or after Mass. Many Filipinos then bring the fronds home and place these on doors, lintels or windows, in the belief that the blessed palms (considered by the Church as sacramentals) can ward off demons and avert lightning.
Some places hold a procession into the church before the service, a common starting point being an ermita/visita (chapel of ease) several blocks away. The presiding priest either walks the route or, in imitation of Jesus’ triumphal entry, is led on horseback to the church. Sometimes a statue of Christ riding a donkey (known as the Humenta) is used instead.
Whether a statue or the priest is used for the procession, a custom in some parts is for women to cover the route with special, sometimes heirloom cloths or aprons known as tapis (literally, “wraparound”). This is to recall how the excited Jerusalemites spread their cloaks before Christ as he entered the city.
Upon reaching the church or some other designated spot, children dressed as angels sing the day’s antiphon, Hosanna Filio David (“Hosanna to the Son of Davíd”) in Latin or the vernacular, and set to traditional hymn tunes.
The blessing of palms and the intonation of the antiphon often occurs in the church’s parvise, its parking lot, or the town plaza (which is usually adjacent or near the church in most Philippine settlements).
Holy Monday[edit]
Before the Second World War, the Recollect Order in Manila held its famous Procession of the Passion of Christ on Holy Monday (Lunes Santo). The most famous image was that of the purportedly miraculous Black Nazarene.
After the Recollects’ church was destroyed in the 1945 bombing of the city, only the Black Nazarene image survived and was transferred to Quiapo Church.
Holy Wednesday[edit]
In the provinces of Pampanga, Bulacan, Rizal, Laguna, and in the Ilocandia, a long procession of the Passion of Christ is held in the evening on Holy Wednesday (Miyérkules Santo). Except in the Bulacan towns of Baliuag and Pulilan, the Passion tableaux are excluded from the Good Friday Procession.
Maundy Thursday[edit]
Maundy Thursday (Huwebes Santo) is a public holiday, and marks the beginning of the Paschal Triduum.
Prior to reforms in the wake of the Second Vatican Council, the Procession of the Passion of Christ was held on Maundy Thursday. This was later transferred to Holy Wednesday for Latin Rite Catholics, with the Philippine Independent Church retaining the Maundy Thursday date. Among the most famous processions of the Philippine Independent Church are those of Concepcion, Malabon, Santa Cruz and Paete, Laguna.
The first rite of the day is the Chrism Mass, in which parishioners join their parish priest for morning Mass in the cathedral, especially in the large dioceses and archdioceses. Many priests[who?] consider this to be the day when they renew their priestly vows. This Mass, over which presides the bishop of the diocese, is when the Chrism, oil of catechumens and the oil for the sick are consecrated after the homily. Priests bring the oils to their respective parishes after the service and store these for future use.
The main observance of the day is the last Mass before Easter, the Mass of the Lord's Supper. This usually includes a re-enactment of the Washing of the Feet of the Twelve Apostles, and is followed by a procession of the Blessed Sacrament, which is placed in the Altar of Repose. Churches remain open until midnight for those who want to venerate the Blessed Sacrament, with others going to one of several priests on standby to confess their sins.
One of the most important Holy Week traditions in the Philippines is the Visita Iglesia (Spanish for "church visit", also known as the Seven Churches Visitation).[1] Throughout the day, worshipers pray the Stations of the Cross inside or outside the church, while at night after services, the faithful may also pray before the Blessed Sacrament at the Altar of Repose.[2]
Good Friday[edit]
Good Friday, (Biyernes Santo) is the second public holiday of the week. It is observed with solemn street processions, the Way of the Cross, the commemoration of Jesus' Seven Last Words (”Siete Palabras”) and the Senákulo, which in some places has already begun on Palm Sunday.
Mass is not celebrated during this day but the people gather at the church for the Veneration of Cross and the Mass of the Presanctified. The service begins at three in the afternoon, the time Jesus is said to have died. As the Mass of this day has no Anaphora (liturgy), the Communion given to congregants was already consecrated during the Mass of the Lord's Supper.
In some communities (most famously in the province of Pampanga), the processions include devotees who self-flagellate and sometimes even have themselves nailed to crosses as expressions of penance, in fulfilment of a vow, or in thanksgiving for a prayer granted.
The pabasa, or continuous chanting of the Pasyón (the Filipino epic narrative of Christ's life, Passion, Death, and Resurrection), usually concludes on this day. Television and radio stations also air Siete Palabras services from large churches in Manila, usually beginning at noon.
Santo Entierro[edit]
The usual highlight of Good Friday is the Santo Entierro ("holy interment"), which is both the name of the rite itself and of the statue of the dead Christ used in it. Comparable to the Eastern Orthodox practice of processing the epitaphios, the calandra or bier carrying the Santo Entierro is brought around town, normally followed by images of saints connected to the Passion narrative such as Peter and John the Evangelist. Tradition dictates that the image of the Virgin Mary, dressed in black and gold as the mourning Mater Dolorosa, is always the final image in the procession.
Some places accord the Santo Entierro traditional, pre-Christian funeral rites such as washing the corpse, laying the body in state, or seating it in a funerary chair. In Paete, Laguna the icon of the Santo Entierro is smoked over burning lansones peelings: during the procession, the calandra makes several stops, and each time is placed over the burning peelings. At each pause, a crier turns towards the bier and shouts, "¡Señor! Misericordia, Señor!" ("Lord! Mercy, Lord!"), to which the congregation responds, "¡Misericordia, Señor!" ("Mercy, Lord!").
Among the famous biers of the Dead Christ can be seen in Paete, Guagua, Sasmuan, Agoo, San Pablo, Molo, Iloilo, Baliwag, Vigan and Silay. Some are century old and commissioned from the famous talleres of Asuncion and Maximo Vicente.
In Alimodian, Iloilo the Santo Entierro is interred at the door of the parish church to enable veneration, usually by kissing the icon's feet. There is also a large crucifix before the altar for people to venerate and kiss. At night, young girls dressed and the Mater Dolorosa, barefoot and bearing lit candles, hold a procession around the town square to meditate and mourn Christ, reenacting the burial rites Christ's female disciples gave him.
Popular culture[edit]
Several taboos are customarily observed on this day, such as an avoidance of excessive noisemaking, and in older times bathing (except for health reasons). The prohibitions are usually effective after 15:00 PHT, the hour of Christ’s death according to scripture, and begins a period of ritual mourning. Children, in particular, were traditionally discouraged from outdoor play, with elders cautioning that since “God is dead”, evil spirits are freely roaming the earth and ready to harm people.
The ritual mourning and generally somber mood attached to this day gave rise to the Tagalog idiom "Mukhâ kang Biyernes Santo." Literally translating to "You’ve a face like Good Friday," it refers to a sad person's demeanor resembling that of the suffering Christ.
Easter Sunday[edit]
Easter (Linggó ng Pagkabuhay) is marked with joyous celebrations, the first being the pre-dawn rite or sometimes 3:00 AM (Witching Hour) called Salubong in Filipino and Sugat in Cebuano and Hiligaynon (both calques of the rite’s Spanish name Encuentro, "meeting").
The ritual is meant to depict the apocryphal reunion of Christ and his Mother, the Virgin Mary, after the Resurrection. Statues of both are borne in two separate processions that converge at a designated area called a Galilea (“Galilee”), which is often any open space near the church. Depending on the size and wealth of the congregation, the processions include statues of any or all the Myrrhbearers, particularly the Three Marys (Mary, mother of James, Mary Magdalene, and Mary Salome), along with Peter and John the Evangelist. By custom, the two processions are sex-segregated, with male worshipers following the Risen Christ, twelve men in costume as the Apostles, and icons of male saints, while female congregants accompany icons of the Virgin Mary and female saints. Those in the procession hold lit tapers, and often recite the rosary as a brass band plays hymns and joyful music.
The icon of the Virgin Mary, still called the Mater Dolorosa, is clothed or draped in a black veil (Tagalog: lambóng) to show her bereavement. An “angel” (often a small girl in costume) stands at or is suspended in mid-air from the Galilea (which may be a permanent or temporary scaffold, or even a house’s window festooned with flowers). From this lofty perch, the angel chants the Regina Coeli in Latin or in the vernacular, sometimes accompanied by similarly dressed children representing the angelic choirs.
The high point is when the principal angel dramatically removes the veil from the Virgin’s icon, signalling the abrupt end to her grieving and the period of mourning. The veil may simply be pulled off the statue, or tied to balloons or doves that are released into the dawn sky. The sorrowing Virgin is thus ritually transformed into Nuestra Señora de Alegria ("Our Lady of Joy"); in celebratory veneration, the angels throw flower petals at the icons of the rejoicing Mother and her Risen Son while confetti are thrown into both images. The moment is punctuated by bells pealing, brass bands playing, and fireworks. The reunited congregation then gathers for the first Mass of Easter in the church.
In some parishes, this rite is held earlier at midnight on Easter Sunday immediately following the Easter Vigil proper, but with the same format.
Notable observances and pilgrimage sites[edit]
Cities and towns with famous Holy Week celebrations include:
Agoo La Union
Arevalo, Iloilo City
Baliuag, Bulacan
Bustos, Bulacan
Bantayan Island, Cebu
Batangas City
Binangonan, Rizal
Betis, Guagua
Candaba Pampanga
Concepción Malabon
Dagupan Pangsinan
Guagua, Pampanga
Lingayen, Pangasinan
Lipa City Batangas
Makati,
Marikina
Marinduque (see Moriones Festival)
Morong, Rizal
Meycauayan, Bulacan
Paete, Laguna
Pasig City
Santa Maria, Bulacan
Santa Rita, Pampanga
San Pablo, Laguna
Sasmuan, Pampanga
Silay City
Vigan, Ilocos Sur
Via Crucis[edit]
During Visita Iglesia, the Pilgrims also pray to the Stations of the Cross inside the church. They are contemplating on the sufferings of the Christ.
Tondo, Manila[edit]
Caridad or Pakaridad is a way of giving or sharing food (especially ginataan or suman) to the neighbors or to the local church or chapel to be given to the crowds of people who attend the Good Friday procession. A complimentary drink of water is also given by local residents living along the processional route.
Black Nazarene[edit]
The Black Nazarene icon, brought from Mexico during the Galleon Trade era, is enshrined in Quiapo Church, and is considered miraculous by devotees is brought out for procession every Good Friday. The statue is borne on the shoulders of male devotees in a slow, difficult procession around the narrow streets of the district, a score of men struggle to keep the image moving on. Thousands more try to muscle their way to touch the Nazarene as if carried by a powerful tide in an ocean of humanity.
Amulet hunting[edit]
It is a folk belief that anting-anting (traditional amulets) are especially potent if collected, made, or imbued with power on Good Friday. In Sipalay, Negros Occidental many albularyo (witch doctors) search for anting-anting in unexplored caves.
Procession of Statues[edit]
On Holy Wednesday, a procession is held with Paete's 53 images of Christ's life and death. The procession goes through the town's narrow streets en route to the church. It stops three times to give way to the Salubong (meeting) which depicts three scenes of Jesus' passion and in which Paete's "moving saints" take part. These are: the meeting of Christ and Mary, held at the church patio; the wiping of Jesus' face by Veronica, which takes place at Plaza Edesan; and finally, the encounter between Mary and Veronica where the latter shows the miraculous imprints of Christ's face on her cloth. This is held at the town plaza
In San Pablo, the Good Friday procession consists of huge, century-old statues bedecked in fresh flowers. In the old times, the famous processions were that of Saint Bartholomew of Malabon, Binan, Laguna, Pateros and Tuguegaro. Unfortunately, the Holy Week Images from Cagayan were destroyed by the war and similarly the Tres Caidas of Binan. In the seventies, the Holy Week Procession of Malabon consisted of 30 silver carrozas. The highlight was the Tres Caidas either from Talleres Maximo or Asuncion. It no longer join the procession of Good Friday. The most famous procession in Manila during the inter war period was of Santa Cruz. Almost all images were obliterated during the aerial-bombardment of Manila
Passion plays[edit]
Senákulo[edit]
Many towns have their own versions of the Senákulo, using traditional scripts that are decades or centuries old. A version is held at the Cultural Center of the Philippines, sponsored by the Department of Tourism. Popular film and televisions stars often join the cast of the play. In Taguig, they popularize the modern version of Jesus Christ Superstar reshown at the Fort Santiago Amphitheater for the benefit of Manileños. In Mexico, Pampanga and Dinalupihan, Bataan, the actor portraying Jesus has been actually nailed to the cross to simulate Christ's passion as best and as painfully possible. Similar shows are also held in Makati and in the Santa Ana District of Manila.
Pagtaltal sa Jordan[edit]
In the Visayas, the passion play Ang Pagtaltal sa Jordan is performed in Jordan, Guimaras and in Barotac Viejo, Iloilo every Good Friday. In recent years, the play's audience included locals as well as people from the United States, Mexico, Costa Rica, Argentina, the Netherlands, Spain, Germany, Canada, and other countries.[citation needed]
Moriones Festival[edit]
The Moriones Festival in the island province of Marinduque commemorates the story of the Roman centurion, Longinus (Tagalog: San Longhino) and his legendary conversion at the foot of the cross. The townsfolk of Boac and Mogpog are dressed in masks and helmets (moriones), depicting Roman soldiers, and unusually for the country, observe Holy Week in a much more joyous manner.
Salubong[edit]
Ang Bati[edit]
Salubung in Pasig[edit]
The famous Salubong of Pasig Immaculate Church
In one book written by an American, the author observed that the Easter Sunday Procession of Pasig was the most beautiful one. Since Pasig is older than the other towns of the former Province of Tondo, it was suggested, Makati, Paranaque and other Augustinian Towns copied their traditions from Pasig. Two processions emerged from the church and met in front of the Plaza. Mother and Son greeted each other to the tune of Regina Coeli.
Saboy[edit]
The Saboy is a traditional dance performed by girls on Easter Sunday in Las Piñas, Metro Manila. The dance is divided into two parts, the "mourning" section and the "joyful" version.
The first dancer is the Salubong Angel, who often has large wings and bears a black veil. Second are the Hosanna Angels dressed in white, who usually hold baskets with rose petals and comprise a majority of the dancers.
Third are the Tres Marías (English: Three Marys), three older girls dressed in pink and also bearing baskets. Last are the blue-clad Kapitana (Captainess) and Tinyentera (Female Lieutenant); the Kapitana can be distinguished by the large banner she waves, while the Tinyentera swings a thurible.
Sayaw ng Pagbatì[edit]
The Salubong is also held in Parañaque City, but with the Mass followed by different renditions of the Sayaw ng Pagbatì ("Dance at the Greeting").
San Pablo City[edit]
Celebrities and movie stars from Manila and neighboring provinces join the procession organized by Don Ado Escudero of Villa Escudero.
See also[edit]
Christianity portal
Philippines portal
Binignit
Black Nazarene
Good Friday processions in Baliuag
Holy Week in Paete
Hispanic influence on Filipino culture
Kantada sa Semana Santa
Pasyon
External links[edit]
Wikimedia Commons has media related to Holy Week in the Philippines.
Good Friday traditions, solemn rites held today Holy Wednesday Focuses On Judas’ Betrayal Of Jesus
Baliuag processions[permanent dead link]
Tourists witness Good Friday procession in Baliwag
References[edit]
Jump up ^ Vila, Alixandra Caole (April 2, 2015). "IN PHOTOS: A look at churches where Filipinos spend Visita Iglesia". The Philippine Star. philstar.com. Retrieved 13 April 2015.
Jump up ^ BARTOLOME, JESSICA (April 1, 2015). "Doing the Visita Iglesia in Metro Manila". GMA News. |access-date= requires |url= (help)
Cuaresma
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Rhythm of the Night (song)
From Wikipedia, the free encyclopedia
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This article is about the song by DeBarge. For the song by Corona, see The Rhythm of the Night.
"Rhythm of the Night"
Single by DeBarge
from the album Rhythm of the Night
Released
February 23, 1985
Format
7"
12"
Recorded
1984
Genre
Funk
soul
Length
3:49
Label
Motown
Songwriter(s)
Diane Warren
Producer(s)
Richard Perry
DeBarge singles chronology
"Love Me in a Special Way"
(1983) "Rhythm of the Night"
(1985) "Who's Holding Donna Now"
(1985)
"Love Me in a Special Way"
(1983) "Rhythm of the Night"
(1985) "Who's Holding Donna Now"
(1985)
Music video
"Rhythm Of The Night" on YouTube
"Rhythm of the Night" is a single by DeBarge, written by Diane Warren, released on February 23, 1985. It was a single from their fourth studio album, Rhythm of the Night on the Motown label. The song jump-started the career of prolific songwriter Diane Warren,[1] and was the biggest hit recorded by the Motown family singing group.
Contents
1 Overview
1.1 History
1.2 Reception
2 Charts
3 Personnel
4 See also
5 References
6 External links
Overview[edit]
History[edit]
By 1985, DeBarge had become pop/R&B sensations with mostly ballads making the repertoire of their hit catalog though they were as impressive as live performers with their mixture of their trademark soft ballads and a collection of dance material. Motown Records sought to produce DeBarge with a dance single to give them a bigger crossover success that mirrored that of label-mate Lionel Richie, who like DeBarge, had created his initial fan base on soft songs before the release of "All Night Long", which included a catchy dance beat influenced by calypso. A similar influence would come in the production of "Rhythm of the Night" which featured more of El DeBarge's deep tenor with flashes of his trademark falsetto. Richard Perry, the hit producer behind hit recordings for The Pointer Sisters and other artists, was appointed to produce the single with Diane Warren as its writer.
Reception[edit]
The release of "Rhythm of the Night" coincided with the release of the Motown film The Last Dragon, which featured the song as part of its soundtrack. The free publicity from the song on its soundtrack and in the movie itself helped boost its popularity. Eventually released as a single, the song produced DeBarge's biggest success yet with the single reaching number three on the Billboard Hot 100, number one on the Hot R&B/Hip-Hop Songs chart,[2] number one on the US adult contemporary chart, and number four in the UK singles chart - their only major hit single in the UK - going gold and boosting similar success for its parent album of the same name. The group's music video of the song gained the group heavy rotation on MTV and BET and was actually the group's first and last real music video starting a brief period where DeBarge became pop superstars. Most recently, the song was featured in the 2016 film Ghostbusters: Answer the Call.[3]
Charts[edit]
Chart (1985)
Peak
position
Australia (Kent Music Report)[4] 5
Belgium (Ultratop 50 Flanders)[5] 7
Canada Top Singles (RPM)[6] 3
France (SNEP)[7] 50
Germany (Official German Charts)[8] 19
Ireland (IRMA)[9] 5
Netherlands (Dutch Top 40)[10] 4
New Zealand (Recorded Music NZ)[11] 3
Switzerland (Schweizer Hitparade)[12] 24
UK Singles (The Official Charts Company) 4
U.S. Billboard Hot 100 3
U.S. Billboard Hot Adult Contemporary Tracks 1
U.S. Billboard Hot Black Singles 1
Personnel[edit]
Lead vocals by El DeBarge
Background vocals and spoken monologues by DeBarge
Produced by Richard Perry
See also[edit]
List of number-one R&B singles of 1985 (U.S.)
List of number-one adult contemporary singles of 1985 (U.S.)
References[edit]
Jump up ^ "Rhythm of the Night - DeBarge | Song Info | AllMusic". www.allmusic.com.
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 150.
Jump up ^ Trendacosta, Katharine (29 September 2016). "The Extended Ghostbusters Cut Fixes the Film's Biggest Plot Hole". Gizmodo. Retrieved 5 August 2018.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
Jump up ^ "Ultratop.be – Debarge – Rhythm of the Night" (in Dutch). Ultratop 50.
Jump up ^ Canadian peak
Jump up ^ "Lescharts.com – Debarge – Rhythm of the Night" (in French). Les classement single.
Jump up ^ "Musicline.de – Debarge Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ "Irish Singles Chart – Search for song". Irish Recorded Music Association. Retrieved July 6, 2011.
Jump up ^ "Nederlandse Top 40 – Debarge" (in Dutch). Dutch Top 40.
Jump up ^ "Charts.nz – Debarge – Rhythm of the Night". Top 40 Singles.
Jump up ^ "Swisscharts.com – Debarge – Rhythm of the Night". Swiss Singles Chart.
External links[edit]
1980s portal
music portal
Lyrics of this song at MetroLyrics
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The Star-Spangled Banner
From Wikipedia, the free encyclopedia
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"Star-Spangled Banner" redirects here. For the flag that flew over Fort McHenry, see Star-Spangled Banner (flag). For the present flag, see Flag of the United States.
The Star-Spangled Banner
The earliest surviving sheet music of "The Star-Spangled Banner", from 1814.
National anthem of the
United States
Lyrics
Francis Scott Key, 1814
Music
John Stafford Smith, c. 1773
Adopted
March 4, 1931; 86 years ago (1931-03-04)[1]
Audio sample
"The Star-Spangled Banner" instrumental
file
help
v
t
e
"The Star-Spangled Banner" is the national anthem of the United States of America. The lyrics come from "Defence of Fort M'Henry",[2] a poem written on September 14, 1814, by the 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large American flag, the Star-Spangled Banner, flying triumphantly above the fort during the American victory.
The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known American patriotic song. With a range of one octave and one fifth (a semitone more than an octave and a half), it is known for being difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.
"The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.
Before 1931, other songs served as the hymns of American officialdom. "Hail, Columbia" served this purpose at official functions for most of the 19th century. "My Country, 'Tis of Thee", whose melody is identical to "God Save the Queen", the British national anthem,[3] also served as a de facto anthem.[4] Following the War of 1812 and subsequent American wars, other songs emerged to compete for popularity at public events, among them "The Star-Spangled Banner", as well as "America the Beautiful".
Contents
[hide]
1 Early history
1.1 Francis Scott Key's lyrics
1.2 John Stafford Smith's music
1.3 National anthem
2 Lyrics
2.1 Additional Civil War period lyrics
2.2 Alternative lyrics
3 Modern history
3.1 Performances
3.2 200th anniversary celebrations
3.3 Adaptations
4 References in film, television, literature
5 Customs and federal law
6 Protests
6.1 1968 Olympics Black Power Salute
6.2 2016 protests
7 Translations
8 Media
9 See also
10 References
11 Further reading
12 External links
12.1 Historical audio
Early history
Francis Scott Key's lyrics
Francis Scott Key's original manuscript copy of his "Defence of Fort M'Henry" poem. It is now on display at the Maryland Historical Society.
On September 3, 1814, following the Burning of Washington and the Raid on Alexandria, Francis Scott Key and John Stuart Skinner set sail from Baltimore aboard the ship HMS Minden, flying a flag of truce on a mission approved by President James Madison. Their objective was to secure an exchange of prisoners, one of whom was Dr. William Beanes, the elderly and popular town physician of Upper Marlboro and a friend of Key's who had been captured in his home. Beanes was accused of aiding the arrest of British soldiers. Key and Skinner boarded the British flagship HMS Tonnant on September 7 and spoke with Major General Robert Ross and Vice Admiral Alexander Cochrane over dinner while the two officers discussed war plans. At first, Ross and Cochrane refused to release Beanes, but relented after Key and Skinner showed them letters written by wounded British prisoners praising Beanes and other Americans for their kind treatment.
Because Key and Skinner had heard details of the plans for the attack on Baltimore, they were held captive until after the battle, first aboard HMS Surprise and later back on HMS Minden. After the bombardment, certain British gunboats attempted to slip past the fort and effect a landing in a cove to the west of it, but they were turned away by fire from nearby Fort Covington, the city's last line of defense.
An artist's rendering of the battle at Fort McHenry
During the rainy night, Key had witnessed the bombardment and observed that the fort's smaller "storm flag" continued to fly, but once the shell and Congreve rocket[5] barrage had stopped, he would not know how the battle had turned out until dawn. On the morning of September 14, the storm flag had been lowered and the larger flag had been raised.
During the bombardment, HMS Terror and HMS Meteor provided some of the "bombs bursting in air".
The 15-star, 15-stripe "Star-Spangled Banner" that inspired the poem
Key was inspired by the American victory and the sight of the large American flag flying triumphantly above the fort. This flag, with fifteen stars and fifteen stripes, had been made by Mary Young Pickersgill together with other workers in her home on Baltimore's Pratt Street. The flag later came to be known as the Star-Spangled Banner and is today on display in the National Museum of American History, a treasure of the Smithsonian Institution. It was restored in 1914 by Amelia Fowler, and again in 1998 as part of an ongoing conservation program.
Aboard the ship the next day, Key wrote a poem on the back of a letter he had kept in his pocket. At twilight on September 16, he and Skinner were released in Baltimore. He completed the poem at the Indian Queen Hotel, where he was staying, and titled it "Defence of Fort M'Henry".
Much of the idea of the poem, including the flag imagery and some of the wording, is derived from an earlier song by Key, also set to the tune of "The Anacreontic Song". The song, known as "When the Warrior Returns",[6] was written in honor of Stephen Decatur and Charles Stewart on their return from the First Barbary War.
Absent elaboration by Francis Scott Key prior to his death in 1843, some have speculated in modern times about the meaning of phrases or verses. According to British historian Robin Blackburn, the words "the hireling and slave" allude to the thousands of ex-slaves in the British ranks organised as the Corps of Colonial Marines, who had been liberated by the British and demanded to be placed in the battle line "where they might expect to meet their former masters."[7] Nevertheless, Professor Mark Clague, a professor of musicology at the University of Michigan, argues that the "middle two verses of Key's lyric vilify the British enemy in the War of 1812" and "in no way glorifies or celebrates slavery."[8] Clague writes that "For Key ... the British mercenaries were scoundrels and the Colonial Marines were traitors who threatened to spark a national insurrection."[8] This harshly anti-British nature of Verse 3 led to its omission in sheet music in World War I, when Britain and the U.S. were allies.[8] Responding to the assertion of writer Jon Schwarz of The Intercept that the song is a "celebration of slavery,"[9] Clague said that: "The reference to slaves is about the use, and in some sense the manipulation, of black Americans to fight for the British, with the promise of freedom. The American forces included African-Americans as well as whites. The term 'freemen,' whose heroism is celebrated in the fourth stanza, would have encompassed both."[10]
Others suggest that "Key may have intended the phrase as a reference to the British Navy’s practice of impressment (kidnapping sailors and forcing them to fight in defense of the crown), or as a semi-metaphorical slap at the British invading force as a whole (which included a large number of mercenaries)."[11]
John Stafford Smith's music
Sheet music version Play (help·info)
The memorial to John Stafford Smith in Gloucester Cathedral, Gloucester, England
Key gave the poem to his brother-in-law Judge Joseph H. Nicholson who saw that the words fit the popular melody "The Anacreontic Song", by English composer John Stafford Smith. This was the official song of the Anacreontic Society, an 18th-century gentlemen's club of amateur musicians in London. Nicholson took the poem to a printer in Baltimore, who anonymously made the first known broadside printing on September 17; of these, two known copies survive.
On September 20, both the Baltimore Patriot and The American printed the song, with the note "Tune: Anacreon in Heaven". The song quickly became popular, with seventeen newspapers from Georgia to New Hampshire printing it. Soon after, Thomas Carr of the Carr Music Store in Baltimore published the words and music together under the title "The Star Spangled Banner", although it was originally called "Defence of Fort M'Henry". Thomas Carr's arrangement introduced the raised fourth which became the standard deviation from "The Anacreontic Song".[12] The song's popularity increased, and its first public performance took place in October, when Baltimore actor Ferdinand Durang sang it at Captain McCauley's tavern. Washington Irving, then editor of the Analectic Magazine in Philadelphia, reprinted the song in November 1814.
By the early 20th century, there were various versions of the song in popular use. Seeking a singular, standard version, President Woodrow Wilson tasked the U.S. Bureau of Education with providing that official version. In response, the Bureau enlisted the help of five musicians to agree upon an arrangement. Those musicians were Walter Damrosch, Will Earhart, Arnold J. Gantvoort, Oscar Sonneck and John Philip Sousa. The standardized version that was voted upon by these five musicians premiered at Carnegie Hall on December 5, 1917, in a program that included Edward Elgar's Carillon and Gabriel Pierné's The Children's Crusade. The concert was put on by the Oratorio Society of New York and conducted by Walter Damrosch.[13] An official handwritten version of the final votes of these five men has been found and shows all five men's votes tallied, measure by measure.[14]
The Italian opera composer Giacomo Puccini used an extract of the melody in writing the aria "Dovunque al mondo..." in 1904 for his work Madama Butterfly.
National anthem
Commemorative plaque in Washington, D.C. marking the site at 601 Pennsylvania Avenue where "The Star-Spangled Banner" was first publicly sung
One of two surviving copies of the 1814 broadside printing of the "Defence of Fort M'Henry", a poem that later became the lyrics of "The Star-Spangled Banner", the national anthem of the United States.
The song gained popularity throughout the 19th century and bands played it during public events, such as July 4th celebrations.
A plaque displayed at Fort Meade, South Dakota, claims that the idea of making "The Star Spangled Banner" the national anthem began on their parade ground in 1892. Colonel Caleb Carlton, Post Commander, established the tradition that the song be played "at retreat and at the close of parades and concerts." Carlton explained the custom to Governor Sheldon of South Dakota who "promised me that he would try to have the custom established among the state militia." Carlton wrote that after a similar discussion, Secretary of War, Daniel E. Lamont issued an order that it "be played at every Army post every evening at retreat." [15]
In 1899, the US Navy officially adopted "The Star-Spangled Banner".[16] In 1916, President Woodrow Wilson ordered that "The Star-Spangled Banner" be played at military[16] and other appropriate occasions. The playing of the song two years later during the seventh-inning stretch of Game One of the 1918 World Series, and thereafter during each game of the series is often cited as the first instance that the anthem was played at a baseball game,[17] though evidence shows that the "Star-Spangled Banner" was performed as early as 1897 at opening day ceremonies in Philadelphia and then more regularly at the Polo Grounds in New York City beginning in 1898. In any case, the tradition of performing the national anthem before every baseball game began in World War II.[18]
On April 10, 1918, John Charles Linthicum, U.S. Congressman from Maryland, introduced a bill to officially recognize "The Star-Spangled Banner" as the national anthem.[19] The bill did not pass.[19] On April 15, 1929, Linthicum introduced the bill again, his sixth time doing so.[19] On November 3, 1929, Robert Ripley drew a panel in his syndicated cartoon, Ripley's Believe it or Not!, saying "Believe It or Not, America has no national anthem".[20]
In 1930, Veterans of Foreign Wars started a petition for the United States to officially recognize "The Star-Spangled Banner" as the national anthem.[21] Five million people signed the petition.[21] The petition was presented to the United States House Committee on the Judiciary on January 31, 1930.[22] On the same day, Elsie Jorss-Reilley and Grace Evelyn Boudlin sang the song to the Committee to refute the perception that it was too high pitched for a typical person to sing.[23] The Committee voted in favor of sending the bill to the House floor for a vote.[24] The House of Representatives passed the bill later that year.[25] The Senate passed the bill on March 3, 1931.[25] President Herbert Hoover signed the bill on March 4, 1931, officially adopting "The Star-Spangled Banner" as the national anthem of the United States of America.[1] As currently codified, the United States Code states that "[t]he composition consisting of the words and music known as the Star-Spangled Banner is the national anthem."[26]
Lyrics
O 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 rockets' red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there;
O say does that star-spangled banner yet wave
O'er the land of the free and the home of the brave?

On the shore dimly seen through the mists 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 in the stream:
'Tis the star-spangled banner, O long may it wave
O'er the land of the free and the home of the brave.

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 footsteps' 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.

O 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 Power 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 shall wave
O'er the land of the free and the home of the brave![27]
Cover of sheet music for "The Star-Spangled Banner", transcribed for piano by Ch. Voss, Philadelphia: G. Andre & Co., 1862
Additional Civil War period lyrics
In indignation over the start of the American Civil War, Oliver Wendell Holmes, Sr.[28] added a fifth stanza to the song in 1861, which appeared in songbooks of the era.[29]
When our land is illumined with Liberty's smile,
If a foe from within strike a blow at her glory,
Down, down with the traitor that dares to defile
The flag of her stars and the page of her story!
By the millions unchained who our birthright have gained,
We will keep her bright blazon forever unstained!
And the Star-Spangled Banner in triumph shall wave
While the land of the free is the home of the brave.
Alternative lyrics
In a version hand-written by Francis Scott Key in 1840, the third line reads "Whose bright stars and broad stripes, through the clouds of the fight".[30]
Modern history
Main article: Performances and adaptations of The Star-Spangled Banner
Performances
This section may contain indiscriminate, excessive, or irrelevant examples. Please improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia's guide to writing better articles for further suggestions. (November 2012)
Crowd performing the U.S. national anthem before a baseball game at Coors Field
The song is notoriously difficult for nonprofessionals to sing because of its wide range – a 12th. Humorist Richard Armour referred to the song's difficulty in his book It All Started With Columbus.
In an attempt to take Baltimore, the British attacked Fort McHenry, which protected the harbor. Bombs were soon bursting in air, rockets were glaring, and all in all it was a moment of great historical interest. During the bombardment, a young lawyer named Francis Off Key [sic] wrote "The Star-Spangled Banner", and when, by the dawn's early light, the British heard it sung, they fled in terror.
—  Richard Armour
Professional and amateur singers have been known to forget the words, which is one reason the song is sometimes pre-recorded and lip-synced.[citation needed] Other times the issue is avoided by having the performer(s) play the anthem instrumentally instead of singing it. The pre-recording of the anthem has become standard practice at some ballparks, such as Boston's Fenway Park, according to the SABR publication The Fenway Project.[31]
"The Star-Spangled Banner" is traditionally played at the beginning of public sports events and orchestral concerts in the United States, as well as other public gatherings. The National Hockey League and Major League Soccer both require venues in both the U.S. and Canada to perform both the Canadian and American national anthems at games that involve teams from both countries (with the "away" anthem being performed first) .[32][better source needed] It is also usual for both American and Canadian anthems (done in the same way as the NHL and MLS) to be played at Major League Baseball and National Basketball Association games involving the Toronto Blue Jays and the Toronto Raptors (respectively), the only Canadian teams in those two major U.S. sports leagues, and in All Star Games on the MLB, NBA, and NHL. The Buffalo Sabres of the NHL, which play in a city on the Canada–US border and have a substantial Canadian fan base, play both anthems before all home games regardless of where the visiting team is based.[33]
Two especially unusual performances of the song took place in the immediate aftermath of the United States September 11 attacks. On September 12, 2001, the Queen broke with tradition and allowed the Band of the Coldstream Guards to perform the anthem at Buckingham Palace, London, at the ceremonial Changing of the Guard, as a gesture of support for Britain's ally.[34] The following day at a St. Paul's Cathedral memorial service, the Queen joined in the singing of the anthem, an unprecedented occurrence.[35]
200th anniversary celebrations
The 200th anniversary of the "Star-Spangled Banner" occurred in 2014 with various special events occurring throughout the United States. A particularly significant celebration occurred during the week of September 10–16 in and around Baltimore, Maryland. Highlights included playing of a new arrangement of the anthem arranged by John Williams and participation of President Obama on Defender's Day, September 12, 2014, at Fort McHenry.[36] In addition, the anthem bicentennial included a youth music celebration[37] including the presentation of the National Anthem Bicentennial Youth Challenge winning composition written by Noah Altshuler.
Adaptations
See also: The Star Spangled Banner (Whitney Houston recording)
O'er the ramparts we watch in a 1945 United States Army Air Forces poster
The first popular music performance of the anthem heard by the mainstream U.S. was by Puerto Rican singer and guitarist José Feliciano. He created a nationwide uproar when he strummed a slow, blues-style rendition of the song[38] at Tiger Stadium in Detroit before game five of the 1968 World Series, between Detroit and St. Louis.[39] This rendition started contemporary "Star-Spangled Banner" controversies. The response from many in the Vietnam War-era U.S. was generally negative. Despite the controversy, Feliciano's performance opened the door for the countless interpretations of the "Star-Spangled Banner" heard in the years since.[40] One week after Feliciano's performance, the anthem was in the news again when American athletes Tommie Smith and John Carlos lifted controversial raised fists at the 1968 Olympics while the "Star-Spangled Banner" played at a medal ceremony.
Marvin Gaye gave a soul-influenced performance at the 1983 NBA All-Star Game and Whitney Houston gave a soulful rendition before Super Bowl XXV in 1991, which was released as a single that charted at number 20 in 1991 and number 6 in 2001 (along with José Feliciano, the only times the anthem has been on the Billboard Hot 100). In 1993, Kiss did an instrumental rock version as the closing track on their album, Alive III. Another famous instrumental interpretation is Jimi Hendrix's version, which was a set-list staple from autumn 1968 until his death in September 1970, including a famous rendition at the Woodstock music festival in 1969. Incorporating sonic effects to emphasize the "rockets' red glare", and "bombs bursting in air", it became a late-1960s emblem. Roseanne Barr gave a controversial performance of the anthem at a San Diego Padres baseball game at Jack Murphy Stadium on July 25, 1990. The comedian belted out a screechy rendition of the song, and afterward she attempted a gesture of ball players by spitting and grabbing her crotch as if adjusting a protective cup. The performance offended some, including the sitting U.S. President, George H. W. Bush.[41] Sufjan Stevens has frequently performed the "Star-Spangled Banner" in live sets, replacing the optimism in the end of the first verse with a new coda that alludes to the divisive state of the nation today. David Lee Roth both referenced parts of the anthem and played part of a hard rock rendition of the anthem on his song, "Yankee Rose" on his 1986 solo album, Eat 'Em and Smile. Steven Tyler also caused some controversy in 2001 (at the Indianapolis 500, to which he later issued a public apology) and again in 2012 (at the AFC Championship Game) with a cappella renditions of the song with changed lyrics.[42] A version of Aerosmith's Joe Perry and Brad Whitford playing part of the song can be heard at the end of their version of "Train Kept A-Rollin'" on the Rockin' the Joint album. The band Boston gave an instrumental rock rendition of the anthem on their Greatest Hits album. The band Crush 40 made a version of the song as opening track from the album Thrill of the Feel (2000).
In March 2005, a government-sponsored program, the National Anthem Project, was launched after a Harris Interactive poll showed many adults knew neither the lyrics nor the history of the anthem.[43]
References in film, television, literature
Several films have their titles taken from the song's lyrics. These include two films titled Dawn's Early Light (2000[44] and 2005);[45] two made-for-TV features titled By Dawn's Early Light (1990[46] and 2000);[47] two films titled So Proudly We Hail (1943[48] and 1990);[49] a feature (1977)[50] and a short (2005)[51] titled Twilight's Last Gleaming; and four films titled Home of the Brave (1949,[52] 1986,[53] 2004,[54] and 2006).[55] A 1936 short titled "The Song of a Nation" from Warner Brothers shows a version of the origin of the song. [56]
Customs and federal law
Plaque detailing how the custom of standing during the Anthem came about in Tacoma, Washington, on October 18, 1893, in the Bostwick building
When the National Anthem was first recognized by law in 1932, there was no proscription as to behavior during its playing. On June 22, 1942, the law was revised indicating that those in uniform should salute during its playing, while others should simply stand at attention, men removing their hats. (The same code also required that women should place their hands over their hearts when the flag is displayed during the playing of the Anthem, but not if the flag was not present.) On December 23, 1942 the law was again revised instructing men and women to stand at attention and face in the direction of the music when it was played. That revision also directed men and women to place their hands over their hearts only if the flag was displayed. Those in uniform were required to salute. On July 7, 1976, the law was simplified. Men and women were instructed to stand with their hands over their hearts, men removing their hats, irrespective of whether or not the flag was displayed and those in uniform saluting. On August 12, 1998, the law was rewritten keeping the same instructions, but differentiating between "those in uniform" and "members of the Armed Forces and veterans" who were both instructed to salute during the playing whether or not the flag was displayed. Because of the changes in law over the years and confusion between instructions for the Pledge of Allegence versus the National Anthem, throughout most of the 20th century many people simply stood at attention or with their hands folded in front of them during the playing of the Anthem, and when reciting the Pledge they would hold their hand (or hat) over their heart. After 9/11, the custom of placing the hand over the heart during the playing of the Anthem became nearly universal. [57][58][59]
Since 1998, federal law (viz., the United States Code 36 U.S.C. § 301) states that during a rendition of the national anthem, when the flag is displayed, all present including those in uniform should stand at attention; Non-military service individuals should face the flag with the right hand over the heart; Members of the Armed Forces and veterans who are present and not in uniform may render the military salute; Military service persons not in uniform should remove their headdress with their right hand and hold the headdress at the left shoulder, the hand being over the heart; and Members of the Armed Forces and veterans who are in uniform should give the military salute at the first note of the anthem and maintain that position until the last note. The law further provides that when the flag is not displayed, all present should face toward the music and act in the same manner they would if the flag were displayed. Military law requires all vehicles on the installation to stop when the song is played and all individuals outside to stand at attention and face the direction of the music and either salute, in uniform, or place the right hand over the heart, if out of uniform. The law was amended in 2008, and since allows military veterans to salute out of uniform, as well.[60][61]
The text of 36 U.S.C. § 301 is suggestive and not regulatory in nature. Failure to follow the suggestions is not a violation of law. This behavioral requirement for the national anthem is subject to the same First Amendment controversies that surround the Pledge of Allegiance.[62] For example, Jehovah's Witnesses do not sing the national anthem, though they are taught that standing is an "ethical decision" that individual believers must make based on their "conscience."[63][64][65]
Protests
Main article: U.S. national anthem protests
1968 Olympics Black Power Salute
Main article: 1968 Olympics Black Power Salute
The 1968 Olympics Black Power salute was a political demonstration conducted by African-American athletes Tommie Smith and John Carlos during their medal ceremony at the 1968 Summer Olympics in the Olympic Stadium in Mexico City. After having won gold and bronze medals respectively in the 200 meter running event, they turned on the podium to face their flags, and to hear the American national anthem, "The Star-Spangled Banner". Each athlete raised a black-gloved fist, and kept them raised until the anthem had finished. In addition, Smith, Carlos, and Australian silver medalist Peter Norman all wore human rights badges on their jackets. In his autobiography, Silent Gesture, Smith stated that the gesture was not a "Black Power" salute, but a "human rights salute". The event is regarded as one of the most overtly political statements in the history of the modern Olympic Games.[66]
2016 protests
Main article: U.S. national anthem protests (2016–present)
Politically motivated protests of the national anthem began in the National Football League (NFL) after San Francisco 49ers quarterback (QB) Colin Kaepernick sat during the anthem, as opposed to the tradition of standing, before his team's third preseason game of 2016. Kaepernick also sat during the first two preseason games, but he went unnoticed.[67]
Translations
As a result of immigration to the United States and the incorporation of non-English speaking people into the country, the lyrics of the song have been translated into other languages. In 1861, it was translated into German.[68] The Library of Congress also has record of a Spanish-language version from 1919.[69] It has since been translated into Hebrew[70] and Yiddish by Jewish immigrants,[71] Latin American Spanish (with one version popularized during immigration reform protests in 2006),[72] French by Acadians of Louisiana,[73] Samoan,[74] and Irish.[75] The third verse of the anthem has also been translated into Latin.[76]
With regard to the indigenous languages of North America, there are versions in Navajo[77][78][79] and Cherokee.[80]
Media
The Star-Spangled Banner (1915)
A 1915 recording of the Star-Spangled Banner as sung by Margaret Woodrow Wilson, daughter of Woodrow Wilson
The Star-Spangled Banner (1942)
Fred Waring and His Pennsylvanians sing The Star-Spangled Banner in 1942
The Star-Spangled Banner (1953)
A 1953 instrumental recording by the United States Marine Corps band
The Star Spangled Banner (circa 2000)
An instrumental recording by the United States Navy Band.
Problems playing these files? See media help.
Play media
(1944)
Play media
(1940)
See also
In God We Trust
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References
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Further reading
Ferris, Marc. Star-Spangled Banner: the Unlikely Story of America's National Anthem. Johns Hopkins University Press, 2014. ISBN 9781421415185 OCLC 879370575
Leepson, Marc. What So Proudly We Hailed: Francis Scott Key, a Life. Palgrave Macmillan, 2014. ISBN 9781137278289 OCLC 860395373
External links
"New book reveals dark history behind the Star Spangled Banner," CBS This Morning, September 13, 2014.
"Star-Spangled History: 5 Facts About the Making of the National Anthem," Biography.com.
"'Star-Spangled Banner' writer had complex record on race," Mary Carole McCauley,' 'Baltimore Sun, July 26, 2014.
"The Man Behind The National Anthem Paid Little Attention To It." NPR's "Hear and Now," July 4, 2017.
Wikimedia Commons has media related to The Star-Spangled Banner.
Wikisource has original text related to this article:
The Star-Spangled Banner
Look up haughty or rampart in Wiktionary, the free dictionary.
Star-Spangled Banner (Memory): American Treasures of the Library of Congress
"How the National Anthem Has Unfurled; 'The Star-Spangled Banner' Has Changed a Lot in 200 Years." By WILLIAM ROBIN JUNE 27, 2014 The New York Times
C-SPAN American History TV tour of the Smithsonian National Museum of American History Star-Spangled Banner exhibit
Historical audio
The Star Spangled Banner, The Diamond Four, 1898
The Star Spangled Banner, Margaret Woodrow Wilson, 1915
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