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Banana republic
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For the clothing store, see Banana Republic. For other uses, see Banana republic (disambiguation).
The phrase banana republic was coined in 1901 by the American writer O. Henry (William Sydney Porter, 1862–1910).
In political science, the term banana republic describes a politically unstable country with an economy dependent upon the exportation of a limited-resource product, e.g. bananas, minerals, etc. In 1901, the American author O. Henry coined the term in reference to Honduras and the neighbouring countries under the extraordinary economic influence of American fruit corporations, such as the United Fruit Company. Typically, a banana republic has a society of stratified social classes, usually a great, poor working class and a ruling-class plutocracy, composed of the business, political and military elites of that society.[1] Such a ruling-class oligarchy controls the primary sector of the economy by way of the exploitation of labour;[2] thus, the term banana republic is a pejorative descriptor for a servile dictatorship that abets and supports, for kickbacks, the exploitation of large-scale plantation agriculture, especially banana cultivation.[2]
In economics, a banana republic is a country with an economy of state capitalism, by which economic model the country is operated as a private commercial enterprise for the exclusive profit of the ruling class. Such exploitation is effected by collusion between the State and favoured economic monopolies, in which the profit derived from the private exploitation of public lands is private property, while the debts incurred thereby are the financial responsibility of the public treasury. Such an imbalanced economy remains limited by the uneven economic development of town and country, and usually reduces the national currency into devalued banknotes (paper money), thus rendering the country ineligible for international-development credit.[3]
Contents
[hide]
1 Etymology
2 Origin
2.1 Honduras
2.2 Guatemala
3 In art
3.1 Poetry
3.2 Literature
3.3 Movies
4 Modern interpretations
5 See also
6 References
7 External links
Etymology[edit]
Cover of Cabbages and Kings (1904 edition).
In the nineteenth century, the American writer O. Henry (William Sydney Porter, 1862–1910) coined the term banana republic to describe the fictional Republic of Anchuria in the book Cabbages and Kings (1904),[4] a collection of thematically related short stories inspired by his experiences in Honduras, where he lived for six months until January 1897, hiding in a hotel in Trujillo, Colón, when he was wanted in the U.S. for embezzlement from a bank.[5]
In the early twentieth century, the United Fruit company, a multinational American corporation, was instrumental to the creation of the banana republic phenomenon.[6][7] Together with other American corporations, such as the Cuyamel Fruit Company, and with occasional support from the United States government, the corporations created the political, economic, and social circumstances that established a banana republic in Central American countries such as Honduras and Guatemala.[8]
Origin[edit]
The history of the banana republic began with the introduction of the banana fruit to the U.S. in 1870, by Lorenzo Dow Baker, captain of the schooner Telegraph, who bought bananas in Jamaica and sold them in Boston at a 1,000 percent profit.[9] The banana proved popular with Americans, as a nutritious tropical fruit that was less expensive than locally-grown fruit in the U.S., such as apples; in 1913, 25 cents (equivalent to $6.06 in 2016) bought a dozen bananas, but only two apples.[10] In 1873, to produce food for their railroad workers, the American railroad tycoons Henry Meiggs and his nephew, Minor C. Keith, established banana plantations along the railroads they built in Costa Rica; recognizing the profitability of exporting bananas, and they began exporting the fruit to the Southeastern U.S.[10]
The banana planter: Minor C. Keith, American businessman.
In the mid-1870s, to manage the new industrial-agriculture business enterprise in the countries of Central America, Keith founded the Tropical Trading and Transport Company: one-half of what would later become the United Fruit Company (UFC); later Chiquita Brands International, created in 1899 by merger with the Boston Fruit Company, and owned by Andrew Preston. By the 1930s, the international political and economic tensions created by the United Fruit Company enabled the corporation to control 80–90 per cent of the banana business in the U.S.[11]
By the late 19th century, three American multinational corporations (the United Fruit Company, the Standard Fruit Company, and the Cuyamel Fruit Company) dominated the cultivation, harvesting, and exportation of bananas, and controlled the road, rail, and port infrastructure of Honduras. In the northern coastal areas near the Caribbean Sea, the Honduran government ceded to the banana companies 500 hectares per kilometre (2,000 acre/mi) of laid railroad, despite there being neither passenger nor freight railroad service to Tegucigalpa, the capital city. Among the Honduran people, the United Fruit Company was known as El pulpo (The Octopus), because its influence pervaded Honduran society, controlled their country's transport infrastructure, and sometimes manipulated Honduran national politics with anti-labour violence.[12]
In 1924, despite the UFC monopoly, the Vaccaro Brothers established the Standard Fruit Company (later the Dole Food Company) to export Honduran bananas to the U.S. port of New Orleans. The fruit-exporting corporations kept U.S. prices low by legalistic manipulation of Latin American national land use laws to cheaply buy large tracts of prime agricultural land for corporate banana plantations in the republics of the Caribbean Basin, the Central American isthmus, and tropical South America; the American fruit companies then employed the dispossessed Latin American natives as low-wage employees.[10]
By the 1930s the United Fruit Company owned 3.5 million acres of land in Central America and the Caribbean and was the single largest land owner in Guatemala. Such holdings gave it great power over the governments of small countries. That was one of the factors confirming the suitability of the phrase Banana Republics. [13]
Honduras[edit]
In 1912, for the Cuyamel Fruit Company, the American mercenary "General" Lee Christmas overthrew the civil government of Honduras to install a military government friendly to foreign business.
In the early 20th century, the American businessman Sam Zemurray (founder of the Cuyamel Fruit Company) was instrumental to establishing the "banana republic" stereotype, when he entered the banana-export business by buying overripe bananas from the United Fruit Company to sell in New Orleans. In 1910, Zemurray bought 6,070 hectares (15,000 acres) in the Caribbean coast of Honduras for exploitation by the Cuyamel Fruit Company. In 1911, Zemurray conspired with Manuel Bonilla, an ex-president of Honduras (1904–07), and the American mercenary Gen. Lee Christmas, to overthrow the civil government of Honduras and install a military government friendly to foreign businessmen.
To that end, the mercenary army of the Cuyamel Fruit Company, led by Gen. Christmas, effected a coup d'état against President Miguel R. Dávila (1907–11) and installed General Manuel Bonilla (1912–13). The U.S. ignored the deposition of the elected government of Honduras by a private army, justified by the U.S. State Department's misrepresenting President Dávila as too politically liberal and a poor businessman whose management had indebted Honduras to Great Britain, a geopolitically unacceptable circumstance in light of the Monroe Doctrine. The coup d'état was consequence of the Dávila government's having slighted the Cuyamel Fruit Company by colluding with the rival United Fruit Company to award them a monopoly contract for the Honduran banana, in exchange for the UFC's brokering of U.S.government loans to Honduras.[11][14]
Honduras, the quintessential banana republic.
The political instability consequent to the coup d'état stalled the Honduran economy, and the unpayable external debt (ca. US$4 billion) of the Republic of Honduras was excluded from access to international investment capital. That financial deficit perpetuated Honduran economic stagnation and perpetuated the image of Honduras as a banana republic.[15] Such a historical, inherited foreign debt functionally undermined the Honduran government, which allowed foreign corporations to manage the country and become sole employers of the Honduran people, because the American fruit companies controlled the economic infrastructure (road, rail, and port, telegraph and telephone) they had built in Honduras.
In the event, the U.S. dollar became the legal-tender currency of Honduras; the mercenary Gen. Lee Christmas became commander of the Honduran army, and later was appointed U.S. Consul to the Republic of Honduras.[16] Nonetheless, 23 years later, after much corporate intrigue among the American businessmen, by means of a hostile takeover of agricultural business interests, Sam Zemurray assumed control of the rival United Fruit Company, in 1933.[12]
Guatemala[edit]
Guatemala suffered the regional socio-economic legacy of the banana republic: inequitably distributed agricultural land and natural wealth, uneven economic development, and an economy dependent upon a few export crops—usually bananas, coffee and sugar cane. The inequitable land distribution was an important cause of national poverty, and the concomitant sociopolitical discontent and insurrection. Almost 90 per cent of the country's farms are too small to yield adequate subsistence harvests to the farmers, while two per cent of the country's farms occupy 65 per cent of the arable land, property of the local oligarchy.[citation needed]
During the 1950s, the United Fruit Company sought to convince the governments of U.S. Presidents Harry Truman (1945–53) and Dwight Eisenhower (1953–61) that the popular, elected government of President Jacobo Árbenz Guzmán of Guatemala was secretly pro-Soviet for having expropriated unused "fruit company lands" to landless peasants. In the Cold War (1945–91) context of the pro-active anti-communist politics exemplified by U. S. Senator Joseph McCarthy in the years 1947–57, geo-political concerns about the security of the Western Hemisphere facilitated President Eisenhower's ordering and authorizing Operation Success, the 1954 Guatemalan coup d'état by means of which the U.S. Central Intelligence Agency deposed the democratically elected government (1950–54) of President Jacobo Árbenz Guzmán and installed the pro-business government of Colonel Carlos Castillo Armas (1954–57), which lasted for three years until his assassination by a presidential guard.[2][17]
A mixed history of elected presidents and puppet-master military juntas were the governments of Guatemala in the course of the 36-year Guatemalan Civil War (1960–96). However, in 1986, at the 26-year mark, the Guatemalan people promulgated a new political constitution, and elected Vinicio Cerezo (1986–91) president; then Jorge Serrano Elías (1991–93).[18]
In art[edit]
Poetry[edit]
With the poem "La United Fruit Co.", Pablo Neruda denounced the corporate subjugation of Latin America.
In the book Canto General (General Song, 1950), the Chilean poet Pablo Neruda (1904–73) denounced foreign multinational corporate political dominance of Latin American countries with the four-stanza poem "La United Fruit Co."; the second-stanza excerpts read:[19]
... The Fruit Company, Inc.
Reserved for itself the most succulent,
The central coast of my own land,
The delicate waist of the Americas.
It rechristened its territories
As the "Banana Republics",
And over the sleeping dead,
Over the restless heroes
Who brought about the greatness,
The liberty and the flags,
It established a comic opera ...
Literature[edit]
The novel One Hundred Years of Solitude (1967), by Gabriel García Márquez, depicts the imperialist capitalism of foreign fruit companies as voracious socio-economic exploitation of natural resources of Macondo and of the people. Domestically, the corrupt national government of Macondo abets the business policies and labour practices of the foreign corporations, which brutally oppress the workers.
The protagonist, José Arcadio Segundo, has been organizing the workers of the banana plantations to jointly effect a work strike to protest the inhumane working conditions. Martial law is imposed upon Macondo, and the workers respond by sabotaging the banana plantations. In unexpected response, the national government diplomatically invites more than 3,000 workers to meet with provincial leaders to resolve their labour-and-management differences. The meeting is a deceit; the army surround the workers and methodically kill them with machine guns. Afterwards, the three thousand corpses are collected onto a train and later dumped into the sea, to be forgotten.
Meanwhile, the apparently dead José Arcadio Segundo, also was loaded onto the coast-bound train of corpses, yet later escapes and walks back to Macondo. To his horror, José Arcadio learns that all memory of the massacre has been eliminated, no-one in Macondo remembers the killing of three thousand workers. The townsfolk refuse to believe José Arcadio when he tells them of the massacre, which he survived. Moreover, nature contributes to the oblivion with heavy, unrelenting rain that destroys the physical traces of the massacred workers.
Movies[edit]
Woody Allen's 1971 film Bananas depicted a fictional banana republic called San Marcos; the film is also named for this term.
Modern interpretations[edit]
Graffiti implying banana republic in Slovenia.
Countries that obtained independence from colonial powers in the 20th and 21st centuries have at times thereafter tended to share traits of banana republics due to influence of large private corporations in their politics,[20] for example; Maldives (resort companies),[21] Chile (foreign mining companies)[citation needed] and the Philippines (tobacco industry, American government and corporations).[22][23]
On 14 May 1986, then Australian Treasurer Paul Keating stated that Australia might become a banana republic.[24] This has received a lot of commentary/criticism[25][26][27][28][29][30][31][32][33][excessive citations] and is seen as part of a turning point in Australia's political and economic history.[34]
See also[edit]
Absurdistan
Client state
Crop diversity
Dependency theory
Dictator novel
Dutch disease
Failed state
Hydraulic empire
McOndo
Neo-colonialism
Nostromo: A Tale of the Seaboard (1904), by Joseph Conrad
Postcolonialism
Rentier state
Resource curse
Ruritania
William Walker
American Empire
Latin America–United States relations
List of authoritarian regimes supported by the United States
Catalan republic
References[edit]
Jump up ^ Richard Alan White (1984). The Morass. United States Intervention in Central America. New York: Harper & Row. ISBN 978-0-06091145-4. ISBN 0-06091145-X.
^ Jump up to: a b c "Big-business Greed Killing the Banana (p. A19)". The Independent, via The New Zealand Herald. 24 May 2008. Retrieved 24 June 2012.
Jump up ^ Christopher Hitchens (9 October 2008). "America the Banana Republic". Vanity Fair. Retrieved 24 June 2012.
Jump up ^ O. Henry (1904). Cabbages and Kings. New York City: Doubleday, Page & Company. pp. 132, 296.
Jump up ^ Malcolm D. MacLean (Summer 1968). "O. Henry in Honduras". American Literary Realism, 1870–1910. 1 (3): 36–46. JSTOR 27747601.
Jump up ^ Chapman, Peter (2009). Jungle capitalists : a story of globalisation, greed and revolution. Edinburgh New York: Canongate. p. 6. ISBN 1847676863.
Jump up ^ Big Fruit, NY Times
Jump up ^ Where did banana republics get their name?, The Economist
Jump up ^ Alison Acker (1988). Honduras. The Making of a Banana Republic. Toronto: Between the Lines. p. 60. ISBN 978-0-919946-89-7. ISBN 0-919946-89-5.
^ Jump up to: a b c Dan Koeppel (2008). Banana. The Fate of the Fruit that Changed the World. London: Hudson Street Press. p. 68. ISBN 978-1-59463-038-5. ISBN 1-59463-038-0.
^ Jump up to: a b Alison Acker (1988), p. 63.
^ Jump up to: a b Peter Chapman (2007). Bananas. How the United Fruit Company Shaped the World. Edinburgh: Canongate. p. 102. ISBN 978-1-84195-881-1. ISBN 1-84195881-6.
Jump up ^ https://books.google.com/books?id=WH5jDgAAQBAJ&pg=PT31&dq=United+Fruit+company+Banana+republics&hl=en&sa=X&ved=0ahUKEwjnh8TCgdPVAhWr7oMKHdOqCHQ4ChDoAQgnMAA#v=onepage&q=United%20Fruit%20company%20Banana%20republics&f=false
Jump up ^ Darío A. Euraque (1996). Reinterpreting the Banana Republic. Region and State in Honduras, 1870–1972. Chapel Hill, North Carolina: University of North Carolina Press. p. 44. ISBN 978-0-8078-4604-9. ISBN 0-80784604-X.
Jump up ^ W.S. Valentine (November 1916). "Need for Capital in Latin America: Honduras". Annals of the American Academy of Political and Social Science. Thousand Oaks, California: SAGE Publications. 68: 185–87. JSTOR 1013083.
Jump up ^ George Black (1988). The Good Neighbor: How the United States Wrote the History of Central America and the Caribbean. New York City: Pantheon Books. p. 35. ISBN 978-0-394-75965-4. ISBN 0-39475965-6.
Jump up ^ Koeppel, Dan (8 June 2008). "Yes, We Will Have No Bananas". The New York Times. Retrieved 11 January 2017.
Jump up ^ Carol A. Smith (August 1978). "Beyond Dependency Theory: National and Regional Patterns of Underdevelopment in Guatemala". American Ethnologist. American Ethnological Society. 5 (3): 574–617. doi:10.1525/ae.1978.5.3.02a00090. JSTOR 643758.
Jump up ^ George Black (1988), p. 33.
Jump up ^ Corr, Anders S.; Tacujan, Priscilla A. (July 2013). "Chinese Political and Economic Influence in the Philippines: Implications for Alliances and the South China Sea Dispute". The Journal of Political Risk (pub by Corr Analytics Inc.). 1 (3). Retrieved 7 January 2015.
Jump up ^ "Maldives election chaos fuels 'banana republic' fears". Asia One News. 20 October 2013. Retrieved 19 March 2014.
Jump up ^ Aquino, Tricia (3 February 2014). "Which public health policy in ASEAN is most susceptible to tobacco industry influence". Interaksyon. Retrieved 19 March 2014.
Jump up ^ Philippines - Period of American influence. Encyclopædia Britannica. UK. 2014. ISBN 978-1-59339-292-5.
Jump up ^ Wikiquote:Paul Keating
Jump up ^ Barton, Russell; Short, Michael (15 May 1986). "Keating gloom: $ falls". The Age. Fairfax Media. |access-date= requires |url= (help)
Jump up ^ Cleary, Paul (17 May 1996). "What will we do when it's all been sold?". The Sydney Morning Herald. Fairfax Media. |access-date= requires |url= (help)
Jump up ^ Cleary, Paul (13 June 1998). "If the economy's so good, how come the dollar's so bad?". The Sydney Morning Herald. Fairfax Media. |access-date= requires |url= (help)
Jump up ^ Byrne, Patrick J. (18 December 2004). "ECONOMICS: Australia's $403 billion foreign debt: hail the banana republic!". News Weekly (2697). National Civic Council. Retrieved 7 January 2015.
Jump up ^ Garnaut, John (2 March 2005). "Worst deficit in 50 years spells banana drama". Sydney Morning Herald. Fairfax Media. Retrieved 7 January 2015.
Jump up ^ Colebatch, Tim (15 May 2006). "20 years from Keating, what price a banana now?". The Age. Fairfax Media. Retrieved 7 January 2015.
Jump up ^ "Banana republic? No, worse: like NZ". The Canberra Times. Fairfax Media. 13 September 2007. |access-date= requires |url= (help)
Jump up ^ van Onselen, Leith. "Revisiting the banana republic". www.macrobusiness.com.au. Macro Associates Pty Ltd. Retrieved 7 January 2015.
Jump up ^ Jericho, Greg (1 January 2014). "Cabinet papers show Paul Keating had a 'budget emergency' of his own". The Guardian (Australia Edition). Guardian Media Group. Retrieved 7 January 2015.
Jump up ^ Crotty, Martin; Andrew Roberts, David (2009). Turning Points in Australian History (1st ed.). Sydney Australia: UNSW Press. pp. 224–238. ISBN 978-1-921410-56-7.
External links[edit]
From Arbenz to Zelaya: Chiquita in Latin America – video report by Democracy Now!
Cabbages and Kings – The O. Henry book of short stories wherein he coined the banana republic term
The Banana Republic: The Myth of the United Fruit Company
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Hotel California
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This article is about the song. For the Eagles album of the same name, see Hotel California (Eagles album). For other uses, see Hotel California (disambiguation).
"Hotel California"
Side A of the U.S. single
Single by Eagles
from the album Hotel California
B-side
"Pretty Maids All in a Row"
Released
February 22, 1977
Format
7-inch single
Recorded
1976
Genre
Soft rock[1]
Length
6:30
Label
Asylum
Songwriter(s)
Don Felder, Don Henley, Glenn Frey
Producer(s)
Bill Szymczyk
Eagles singles chronology
"New Kid in Town"
(1976) "Hotel California"
(1977) "Life in the Fast Lane"
(1977)
"New Kid in Town"
(1976) "Hotel California"
(1977) "Life in the Fast Lane"
(1977)
Audio sample
Eagles – "Hotel California"
file
help
"Hotel California" is the title track from the Eagles' album of the same name and was released as a single in February 1977.[2] Writing credits for the song are shared by Don Felder (music), Don Henley, and Glenn Frey (lyrics). The Eagles' original recording of the song features Henley singing the lead vocals and concludes with an extended section of electric guitar interplay between Felder and Joe Walsh.
The song is considered the most famous recording by the band, and its long guitar coda has been voted the best guitar solo of all time by readers of Guitarist in 1998.[3][4] The song was awarded the Grammy Award for Record of the Year in 1978.[5] The lyrics of the song have been given various interpretations by fans and critics alike, the Eagles themselves described the song as their "interpretation of the high life in Los Angeles".[6] In the 2013 documentary History of the Eagles, Henley said that the song was about "a journey from innocence to experience... that's all..."[7]
Contents
[hide]
1 History
1.1 Composition
1.2 Recordings
1.3 Chart performance
1.4 Accolades
2 Themes and interpretations
2.1 Conjectures
3 Harmonic structure
4 Cover versions and parodies
5 Cultural influence
6 Proposed film adaptation
7 Personnel
8 Charts and certifications
8.1 Weekly charts
8.2 Year-end charts
8.3 Certifications
9 References
10 External links
History
Composition
Don Felder composed the melody for "Hotel California."
Glenn Frey provided the outline of "Hotel California."
Don Henley wrote the lyrics to "Hotel California" with Frey.
The melody of the song was composed by Don Felder in a rented house on Malibu Beach. He recorded the basic tracks with a Rhythm Ace drum machine and added a 12 string guitar on a four-track recording deck in his spare bedroom, then mixed in a bassline, and gave Don Henley and Glenn Frey each the resulting demo cassette.[8] Felder, who met the Eagles through his high school bandmate Bernie Leadon, said that Leadon advised him to make tapes of songs he wrote for the band so that other band members like Henley, whose forte is in writing lyrics, might work with him on finishing the songs they like.[9] The demos he made were always instrumental, and on every album project he would submit 15 or 16 ideas. The demo he made for Hotel California showed influences from Latin and reggae music, and it grabbed the attention of Henley who said he liked the song that "sounds like a Mexican reggae or Bolero",[9] which gave the song its first working title, "Mexican Reggae".[10]
Frey and Henley were both interested in the tune after hearing the demo, and discussed the concept for the lyrics. In 2008, Felder described the writing of the lyrics:
Don Henley and Glenn wrote most of the words. All of us kind of drove into L.A. at night. Nobody was from California, and if you drive into L.A. at night... you can just see this glow on the horizon of lights, and the images that start running through your head of Hollywood and all the dreams that you have, and so it was kind of about that... what we started writing the song about.[11]
Henley decided on the theme of Hotel California, noting how The Beverly Hills Hotel had become a literal and symbolic focal point of their lives at that time.[12] Henley said of their personal and professional experience in LA: "We were getting an extensive education, in life, in love, in business. Beverly Hills was still a mythical place to us. In that sense it became something of a symbol, and the 'Hotel' the locus of all that LA had come to mean for us. In a sentence, I'd sum it up as the end of the innocence, round one."[13]
Frey came up with a cinematic scenario of a person who, tired from driving a long distance in a desert, saw a place for a rest and pulled in for the night, but entered "a weird world peopled by freaky characters", and became "quickly spooked by the claustrophobic feeling of being caught in a disturbing web from which he may never escape."[8] In an interview with Cameron Crowe, Frey said that he and Henley wanted the song "to open like an episode of the Twilight Zone", and added: "We take this guy and make him like a character in The Magus, where every time he walks through a door there’s a new version of reality. We wanted to write a song just like it was a movie."[12] Frey described the song in an interview with NBC's Bob Costas as a cinematic montage "just one shot to the next ... a picture of a guy on the highway, a picture of the hotel, the guy walks in, the door opens, strange people." Frey continued: "We decided to create something strange, just to see if we could do it."[3][14] Henley then wrote most of the lyrics based on Frey's idea, and sought inspiration for the writing by driving out into the desert as well as from films and theater.[12]
Part of the lyrics, such as "Her mind is Tiffany twisted, she got the Mercedes bends / She got a lot of pretty pretty boys she calls friends", are based on Henley's break-up with his girlfriend Loree Rodkin.[8][13] According to Glenn Frey's liner notes for The Very Best Of, the use of the word "steely" in the lyric, "They stab it with their steely knives, but they just can't kill the beast," was a playful nod to the band Steely Dan, who had included the lyric "Turn up the Eagles, the neighbors are listening" in their song "Everything You Did".[15] Frey had also said that the writing of the song was inspired by the boldness of Steely Dan's lyrics and its willingness to go "out there",[12] and thought that the song they wrote had "achieved perfect ambiguity."[14]
Recordings
The Eagles recorded the track with Don Henley on lead vocal three different times, twice at the Record Plant in Los Angeles and finally at the Criteria Studios in Miami.[3][16] They first recorded a riff, but when it came to recording the vocal, it was found to be in too high a key for Henley's voice, so Felder progressively lowered the key from E minor, eventually settling on B minor. The second recording however was judged too fast.[3] In Miami, the band fine-tuned the instrumentation and the lyrics and recorded numerous takes. Five or six best ones were selected, and the best parts were then spliced together to create the released version. According to the producer Bill Szymczyk, there were 33 edits on the two‑inch master.[16] The final section features a guitar battle between Joe Walsh (who had replaced Bernie Leadon who left in 1975) and Felder, which took the two of them sitting together working for around three days to achieve the necessary precision.[8] Walsh and Felder initially started improvising but Henley insisted that the recording should follow the music as first recorded in Felder's demo.[9]
Henley decided that the song should be a single, although Felder had doubts and the record company was reluctant to release it as a single because, at over six minutes, its duration far exceeds that of the songs generally played by radio stations.[9][17] The band took a stand and refused the label's request to shorten the song.[18] The song was released as the second single from the album after "New Kid in Town". The front cover art for some overseas editions of the 45rpm single released was a reworked version of the Hotel California LP cover art, which used a photograph of the Beverly Hills Hotel by David Alexander, with design and art direction by Kosh.[19]
The Eagles in concert performing Hotel California, 2010 tour in Australia
As "Hotel California" became one of the group's most popular songs and a concert staple for the band,[20] live recordings of the song have therefore also been released. The first live recording of the song appeared on the Eagles' 1980 live album, and an acoustic version with an extended intro is a track in the 1994 Hell Freezes Over reunion concert CD and video release.[21] The Hell Freezes Over version is performed using eight guitars and has a decidedly Spanish sound, with Don Felder's flamenco-inspired arrangement and intro.[22]
Chart performance
"Hotel California" first entered the Billboard Hot 100 on chart dated February 26, 1977,[23] and topped the Hot 100 singles chart for one week in May 1977,[24] the band's fourth song to reach No. 1 on that chart.[5] It peaked at number 10 on the Easy Listening chart in April 1977.[25] Billboard ranked it number 19 on its 1977 Pop Singles year-end chart.[26] Three months after its first release, the single was certified Gold by the Recording Industry Association of America (RIAA), representing one million copies shipped. In 2009, the song was further certified Platinum (Digital Sales Award) by the RIAA for sales of one million digital downloads,[27] and has since sold over 3 million downloads.[28]
Accolades
The Eagles won the 1977 Grammy Award for Record of the Year for "Hotel California" at the 20th Grammy Awards in 1978.[29]
The song is rated highly in many rock music lists and polls; Rolling Stone magazine ranked it number 49 on its list of "The 500 Greatest Songs of All Time".[30] It was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[31] At the induction of the Eagles into the Rock and Roll Hall of Fame in 1998, all seven former and present members of the band reunited to perform "Hotel California".[32]
The song's guitar solo was voted the best solo of all time by readers of Guitarist magazine in 1998,[4] and was ranked 8th on Guitar Magazine's Top 100 Guitar Solos.[33] The song was also included in the music video game Guitar Hero World Tour. It was ranked the number 1 in the list of the best 12-string guitar songs of all times by Guitar World magazine in 2015.[34]
Themes and interpretations
Don Henley has given a number of explanations about the song, ranging from "a journey from innocence to experience"[7] to "a sociopolitical statement".[35] In an interview with Rolling Stone, Henley said that the song was meant to be "more of a symbolic piece about America in general", and added: "Lyrically, the song deals with traditional or classical themes of conflict: darkness and light, good and evil, youth and age, the spiritual versus the secular. I guess you could say it's a song about loss of innocence."[8]
The song has been described as being "all about American decadence and burnout, too much money, corruption, drugs and arrogance; too little humility and heart."[8] It has also been interpreted an allegory about hedonism, self-destruction, and greed in the music industry of the late 1970s.[36] Don Henley called it "our interpretation of the high life in Los Angeles",[37] and later said: "It's basically a song about the dark underbelly of the American dream and about excess in America, which is something we knew a lot about."[38] In the 2013 documentary, History of the Eagles, Henley reiterated:
On just about every album we made, there was some kind of commentary on the music business, and on American culture in general. The hotel itself could be taken as a metaphor not only for the myth-making of Southern California, but for the myth-making that is the American Dream, because it is a fine line between the American Dream, and the American nightmare.[39]
In a 2009 interview, The Plain Dealer music critic John Soeder asked Don Henley if he regretted writing the lines "So I called up the captain / 'Please bring me my wine' / He said, 'We haven't had that spirit here since 1969'" because wines are fermented while spirits are distilled. Henley responded:
Thanks for the tutorial and, no, you're not the first to bring this to my attention — and you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument about chemical processes.[35]
In his Encyclopedia of Great Popular Song Recordings, Volume 1, Steve Sullivan theorizes that the "spirit" that the Hotel California hasn't had since 1969 refers to the spirit of social activism of the 1960s, and how disco and the related pop music of mid-1970s had turned away from it.[8]
Conjectures
The metaphorical character of the story related in the lyrics has inspired a number of conjectural interpretations by listeners. In the 1980s some Christian evangelists alleged that "Hotel California" referred to a San Francisco hotel that was purchased by Anton LaVey and converted into his Church of Satan.[40][41] Other rumors suggested that the Hotel California was the Camarillo State Mental Hospital.[42]
The term "colitas" in the first stanza ("warm smell of colitas, rising up through the air") has been interpreted as a sexual slang or a reference to marijuana.[43] "Colitas" means "little tails" in Spanish; in Mexican slang it refers to buds of the cannabis (marijuana) plant.[44][45] According to Glenn Frey, the "warm smell" is "colitas...it means little tails, the very top of the plant."[46] The Eagles' manager Irving Azoff appears to lend support to the marijuana hypothesis,[47] however, Felder said: "The colitas is a plant that grows in the desert that blooms at night, and it has this kind of pungent, almost funky smell. Don Henley came up with a lot of the lyrics for that song, and he came up with colitas."[43]
Other interpretations of the songs include heroin addiction and cannibalism.[3] On the various interpretations, Henley said: "Some of the wilder interpretations of that song have been amazing. It was really about the excesses of American culture and certain girls we knew. But it was also about the uneasy balance between art and commerce."[43]
Harmonic structure
The intro and verse's chord pattern counts eight measures, each one assigned to a single chord. Seven different chords are used in the eight measures. As the song opens, it is not until the eighth measure that a chord is repeated. The song is initially in the key of B-minor.[48] The presence of E major gives a hint of B Dorian.
The chords are played as follows:
Bm–F♯–A–E–G–D–Em–F♯
or
i–V–VII–IV–VI–III–iv–V
The eight measure sequence is repeated in the intro, for each verse and in the outro, providing the harmonic framework for the entire extended dual guitar solo at the end of the song.[48] One explanation of the progression is that it is a common flamenco chord progression called the "Spanish progression" (i–VII–VI–V in a phrygian context) that is interspersed with consecutive fifths.[48] With its descending ostinato pattern, it could be considered a fandango, a forerunner of the Baroque chaconne form.[49]
This chord sequence is not commonly used, and Ian Anderson of Jethro Tull has pointed out its similarity to his song "We Used to Know" from their 1969 album Stand Up, suggesting the Eagles heard it when they toured together.[50] While the Eagles did open for Jethro Tull in June 1972, Don Felder, who wrote the music, did not join the band until 1974 and would not have been in the audience or backstage.[51] Felder has said that he had never heard "We Used to Know", and that he was unfamiliar with Jethro Tull apart from the fact the frontman plays a flute.[52]
The chorus, or refrain, uses five of the song's seven chords, structured with the melody in a way that shifts the key from B-minor to its relative major of D:[48]
G–D–F♯–Bm–G–D–Em–F♯
or assuming a key of D:
IV–I–ii–vi–IV–I–ii–III
Cover versions and parodies
Al B. Sure! recorded his rendition for his album, Private Times...and the Whole 9! (1990).[53] Gipsy Kings recorded a flamenco version sung in Spanish,[54] which was used in the soundtrack for the film The Big Lebowski.[55] The Orb, under the name of Jam On The Mutha produced a version which charted at No. 62 on the UK chart in 1990.[56][57] Mike Piranha recorded "Hotel Honolulu" in 1998, satirizing overdevelopment, crime, and other issues on Oahu, which became a local hit in Hawaii.[58] The Romanian band Vama Veche recorded its version with different lyrics entitled "Hotel Cişmigiu", sung in its native language.[59] Alabama 3 covered the song for the album, La Peste (2000).[60] Nancy Sinatra recorded a cover version for her 2002 album California Girl, an album of songs about California.[61] The Cat Empire recorded a version sung in French "L'hotel de Californie" for Triple J's Like a Version segment, and is included in its 2005 compilation album as well as the band's 2003 live album On the Attack.[62] The Killers and Rhythms del Mundo collaborated their version with Afro-Cuban music for the 2009 Artists' Project Earth charity, and it appeared on the album Rhythms del Mundo Classics.[63]
Frank Ocean released a version sampling the entire instrumental track of "Hotel California" with his own vocal and lyrics on his mixtape Nostalgia, Ultra (2011), entitled "American Wedding".[64] However, it led to a threatened lawsuit from Don Henley for copyright infringement.[65]
Cultural influence
"Hotel California" and its lyrics have become absorbed into the wider culture around the world, and have been used by various writers and commentators to reflect on issues ranging from politics to social media and welfare,[66][67][68] or as an observation on a particular situation.[69][70] The lines "We are programmed to receive / You can check out any time you like / But you can never leave!" were used by an economist to refer to how the appeal of an attractive "Hotel California"-type host country to foreign investors may be countered by the cost of exit on leaving the country.[71] A term "The Hotel California Effect" was then used to refer to the negative effect of financial regulations on investment,[72] and the problems foreigner investors faced when getting their money out of China.[73][74] It has also applied to other ideas such as leaving a service provider or social media network.[75][76] A book titled Operation Hotel California: The Clandestine War Inside Iraq was written about the clandestine operation named after the song title by CIA–US Special Forces teams in Iraqi Kurdistan in the lead-up to the Iraq War.[77][78]
Although the Eagles were noted for their reluctance to license their songs for use in shows,[79] the song had been used in a number of films and television shows, such as The Big Lebowski (performed by Gipsy Kings),[55] Absolutely Fabulous, and The Sopranos.[43] Most recently it was used during the final scenes of the premiere episode of American Horror Story: Hotel in October 2015.[80]
Proposed film adaptation
According to Rolling Stone, Julia Phillips, the producer of films like Taxi Driver and Close Encounters of the Third Kind, was interested in shooting a movie based on the song's story. Although the band members and Phillips met to discuss the project, tension between the two parties ended the pre-development deal for the film.[81]
Personnel
Don Felder – 12- and 6-string electric guitars, backing vocals
Don Henley – lead and backing vocals, drums, percussion
Glenn Frey – 12-string acoustic guitar, backing vocals
Joe Walsh – electric guitar, backing vocals
Randy Meisner – bass, backing vocals
Charts and certifications
Weekly charts
Chart (1977)
Peak
position
Austria (Ö3 Austria Top 40)[82] 13
Belgium (Ultratop 50 Flanders)[83] 24
Canada Top Singles (RPM)[84] 1
Canada Adult Contemporary (RPM)[85] 2
France (SNEP)[86] 2
Germany (Official German Charts)[87] 6
Netherlands (Single Top 100)[88] 6
New Zealand (Recorded Music NZ)[89] 5
Norway (VG-lista)[90] 5
Switzerland (Schweizer Hitparade)[91] 2
UK Singles (Official Charts Company)[92] 8
US Billboard Hot 100[93] 1
US Adult Contemporary (Billboard)[94] 10
Year-end charts
Chart (1977)
Peak
position
Canada Top 200 singles (RPM)[95] 8
US Billboard Hot 100[26] 19
Certifications
Region
Certification
Certified units/Sales
Italy (FIMI)[96]
Digital download
Platinum 30,000
United Kingdom (BPI)[97]
Silver 250,000^
United States (RIAA)[98]
Physical single
Gold 1,000,000^
United States (RIAA)[98]
Digital download
Platinum 3,000,000[28]
^shipments figures based on certification alone
sales+streaming figures based on certification alone
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External links
Lyrics of this song at MetroLyrics
Classic Tracks: The Eagles 'Hotel California'
Preceded by
"Southern Nights" by Glen Campbell Billboard Hot 100 number-one single
May 7, 1977 (one week) Succeeded by
"When I Need You" by Leo Sayer
[show]
v
t
e
Eagles
Glenn Frey
Don Henley
Bernie Leadon
Randy Meisner
Don Felder
Joe Walsh
Timothy B. Schmit
Studio albums
Eagles
Desperado
On the Border
One of These Nights
Hotel California
The Long Run
Long Road Out of Eden
Live albums
Eagles Live
Hell Freezes Over
Farewell 1 Tour-Live from Melbourne
Compilation albums
Their Greatest Hits (1971–1975)
Eagles Greatest Hits, Vol. 2
The Very Best of the Eagles
Selected Works: 1972–1999
The Very Best Of
Eagles
Singles
"Take It Easy"
"Witchy Woman"
"Peaceful Easy Feeling"
"Tequila Sunrise"
"Outlaw Man"
"Already Gone"
"James Dean"
"Best of My Love"
"One of These Nights"
"Lyin' Eyes"
"Take It to the Limit"
"New Kid in Town"
"Hotel California"
"Life in the Fast Lane"
"Please Come Home for Christmas"
"Heartache Tonight"
"The Long Run"
"I Can't Tell You Why"
"Seven Bridges Road"
"Get Over It"
"Love Will Keep Us Alive"
"Hole in the World"
"How Long"
"Busy Being Fabulous"
Other songs
"Desperado"
"Ol' '55"
"The Last Resort"
"In the City"
Tours
Long Road Out of Eden Tour
History of the Eagles Tour
Related
Discography
Poco
Linda Ronstadt
Flying Burrito Brothers
Common Thread: The Songs of the Eagles
History of the Eagles
Heaven and Hell: My Life in the Eagles (1974–2001)
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Grammy Award for Record of the Year (1970s)
"Aquarius/Let the Sunshine In" by The 5th Dimension (Billy Davis, Jr., Florence LaRue, Marilyn McCoo, Lamont McLemore, Ron Townson)
produced by Bones Howe (1970) "Bridge over Troubled Water" by Simon & Garfunkel (Art Garfunkel, Paul Simon)
produced by Art Garfunkel, Paul Simon & Roy Halee (1971)
"It's Too Late" by Carole King
produced by Lou Adler (1972) "The First Time Ever I Saw Your Face" by Roberta Flack
produced by Joel Dorn (1973)
"Killing Me Softly with His Song" by Roberta Flack
produced by Joel Dorn (1974) "I Honestly Love You" by Olivia Newton-John
produced by John Farrar (1975)
"Love Will Keep Us Together" by Captain & Tennille (Daryl Dragon, Toni Tennille)
produced by Daryl Dragon (1976) "This Masquerade" by George Benson
produced by Tommy LiPuma (1977)
"Hotel California" by Eagles (Don Felder, Glenn Frey, Don Henley, Randy Meisner, Joe Walsh)
produced by Bill Szymczyk (1978) "Just the Way You Are" by Billy Joel
produced by Phil Ramone (1979)
Complete list
(1960s)
(1970s)
(1980s)
(1990s)
(2000s)
(2010s)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Hotel_California&oldid=801650178"
Categories:
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Eagles (band) songs
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