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Sorry, gentle readers, but calendric quirks force me to dig into my holiday file a bit early this year. Anyway, why not? Thanks to the folks who invented Leap Year, it’s been confirmed that Easter is about as early in the year as it can be. So, let’s jump ahead and take a look at that most non-bunny, non-religious of holiday songs–“Easter Parade.”

I’m sure that quite a few of you will be having some sort of Easter celebrations with family and friends–in person, on Zoom, even by old-fashioned telephone. By any means, I hope that your Easter baskets are as much musically fun as these!

To crack this seasonal egg, let me delve into a bit of musical history and a little musical mind-candy. We all could use some of that before we suit up for the parade this Sunday. We ARE going to parade down the avenue, aren’t we?

That’s one way to suit up but, as an architect, I feel the need to expand on the dress code just a tad. But, I digress.

Moving on, “Easter Parade” is nothing more than a simple boy-girl romancing song written around that depression-era fashion parade on New York’s most fashionable street—5^th Avenue.  It’s an event that lives on today albeit in a slightly less modest form.

Our song was written in 1933 by Irving Berlin who, not being one to waste a good thing, had originally written the melody in 1917 for another song called “Smile and Show your Dimple” . . .

. . . a “cheer-up” song for a girl whose guy had gone off to fight in World War I.

Tap or click on the triangle in the next image for a musical treat (of sorts).

This tune achieved modest success during the war years, but was soon forgotten—by everyone except Berlin.  He resurrected it with a few modifications and new, quite secular “holiday” lyrics and title for the 1933 Broadway revue “As Thousands Cheer.” 

Tap or click on the triangle in the next image for a listen to “Easter Parade” as it was performed in the original musical review. Believe it or not, it’s the four-time academy award nominee actor Clifton Webb’s voice on the early recording! Nothing “cheaper by the dozen” here.

As with most of Berlin’s songs, it later appeared in several musical movies of which the 1948 “Easter Parade,” with Judy Garland and Fred Astaire, remains the quintessential, sweet (some might say “saccharine”) version. 

In fact, the whole film was written around the song. Click or tap on the triangle in the next image for what was, in its day, a cinematic Easter treat.   

Irving Berlin (1888-1989) was widely considered one of the greatest songwriters in American history.  Born Israel Beilin in Imperial Russia, Berlin arrived in the United States at the age of five. He published his first song, “Marie from Sunny Italy” in 1907 and received 33 cents for the publishing rights.  That would pay for a spaghetti meal with a meatball, if not bread, in those days. I assume.

Click or tap on the triangle in the next image for a listen to this oldie by Irving.

The publisher misspelled his name on the sheet music and, ever after, “Beilin” became “Berlin.”

It is commonly believed that Berlin couldn’t read sheet music and was such a limited piano player that he could only play in the key of F-sharp. He “cheated” with a special piano he had made with levers that would allow him to change keys. It’s now in the Smithsonian Museum of American History!

So, as a kickoff to Easter Sunday, we have a Jewish songwriter, an immigrant born in Russia, who gave us this quintessential Easter song—only in America! He also wrote “White Christmas,” and of course, “God Bless America.”  

So, let’s wrap up our Easter musical musing with–what else?–street band treatment of “Easter Parade.” Click or tap on the triangle in the next image for a down home treat. What’s not to like?

And, of course, one of the earlier film versions. Click or tap on the triangle in the next image for a look and listen. Who knew that Don Ameche could sing?

So, have your own kind of Easter fun this year, whether secular or sacred. Wear a beautiful bonnet . . .

Try to hide those Easter eggs where only you can find them . . .

Be aware of what those eggs might turn into!

And STAY TUNED!

Well, I assume that most of us are now aware that there is an election headed our way in just a few more months.  I assume also that most of us will be able to vote one way or another and to have that vote counted one way or another.  And, to add a bit of a historical flourish to this election in 2024, most of us are aware that the 19^th Amendment to the US Constitution, passed in 1920, finally allowed most of the other half of America to vote—Women!  So, vote for that hometown boy Calvin Coolidge! Ooops. That was 1924 not 2024. Oh, well . . .

The international “Women’s Suffrage” movement was born in Europe and the USA back in the mid-19^th Century . . .

. . . but women’s right to vote didn’t get adopted by all forty-eight states until that constitutional amendment was adopted a hundred years ago. 

During the last few weeks, newspapers and television were full of stories about this bit of American history, particularly during Women’s History Month.  But, gentle readers, just what does this have to do with my weekly musings about music? Well, you need to start early with music and, of course, with the thought of voting!  

Moving on, demonstrations and marching were big parts of the Women’s Suffrage movement . . .

. . . and so-called “Suffragettes” (the feminized form of Suffragist, for you grammarians out there) were energized by many marching songs.

Alas, there seems to be a dearth of recordings or YouTubes of any of these marches. They are probably seen as a bit too maudlin or “dirge-like” for modern ears, but here is one just to give a taste. The pictures are pretty good however. Tap or click on the triangle in the next image for a look and listen.

In those days, there were the Suffragette songs done in the more popular manner that became best selling products of Tin Pan Alley, or its British equivalent, and the nascent recording industry. Many parlor piano playing women loved to turn the musical tables on the men of the family!

Most men who were not suffragists simply pouted, sipped their beer, and made a grudging attempt to do unfamiliar household chores.

Needless to say, many popular songs reflected this!

Here’s a take on this ragtime tune. Click or tap on the triangle in the next image for a listen and look.

Here’s a more modern take on some of these tunes. Give a click or tap on the triangle in the next image for some fun.

I was able to find a newer version of this British music hall tune! Click or tap on the triangle in the next next image for a listen. The lyrics are pretty timeless.

There were, as would be expected, many popular songs that reflected the rather confused and confusing thoughts on both sides of the issue.

And, then, there were the songs of the so-called “Antis,” those men and (yes) women who opposed giving the right to vote to women.

Well, just to give equal time, here’s a tune of the ANTI-suffragette movement. Its a bit cringeworthy, but at least its short! Click or tap on the triangle in the next image if you must!

So, whether you are a Suffragist or a Suffragette, vote proudly and thoughtfully for the candidate of your—not necessarily your partner’s or spouse’s—choice! 

I am sure, in Easthampton too! STAY TUNED!

This musical musing has been a favorite with friends and neighbors over the past several years. That’s why I pull it out of the file drawer, tweak it here and there, and send it out year after year. It’s fun for both for Alison and me even though our ancestral roots to Ireland are a tad more orange than green!

Anyway, musical tales of the “Emerald Isle” and St. Patrick’s Day are low hanging fruit for Alison and me who have, indeed, bent over backwards and actually kissed the Blarney Stone!  There are, however, way too many blossoms and branches on this tree for a simple musical musing.  Nonetheless, with a dram or two (or three) of Jameson “in the jar,” try I must and do I will.

Because of the plethora of Irish and Irish-related songs out there, I’m just going to continue with my rove of some of the more interesting that I have found. Just have a good listen and look, sure and with the blessing of the Good Saint! Move to the next tune if you tire, or come back after you’ve drawn a fresh pint. Just be prepared to do a jig or two!

A rowdy celebration of St. Patrick’s Day is a big deal in the US but only lately in Ireland itself.  It was always a religious holiday over there but seldom rowdier than a night of music and good “craic” (definition later) at the neighborhood public house or “pub.” 

With pub bands, the four-string tenor banjo is traditional. It doesn’t quite sound like the bluegrass or old-time banjo playing styles we hear around here. It’s a bit more like mandolin picking. So, tap or click on the triangle in the next image to listen to the late, great Irish banjo player with the Dubliners, Barney McKenna.

Of course, there is a long, long tradition of Irish music going way back to the early days.  Irish–and similarly, Scottish, Welsh, and English–traditional music has been collected, studied, and played to this day. It’s known as Celtic music, pronounced “Keltic.” That’s for music; for basketball its “Seltic.”

Leave it to say that the “Keltic” pronunciation (from the Greek “keltoi“) is preferred by those who study the Celtic culture, language, and history, to the point that if you call it anything else, they’ll be lookin’ down on you. But if you are attending a game in Boston, you’ll be rootin’ for the “Seltics” (from the old French “celtique“). Go figure.

Much of the early Celtic music we know followed the Ulster (Scots/Irish) migrations to the US and Canada in the 17^th and 18^th centuries.  This “first wave” migration of mostly Protestant “Orangemen” settled in the mountainous frontiers of America, such as Appalachia, and their music became the foundation on which today’s old-time, hillbilly, country/western, and bluegrass music was built.

As another linguistic aside, Scots/Irish followers of William of Orange, in the “Glorious Revolution” of 1688 were known as “Billy’s Boys” and were identified by their bright red neck scarves. Settled in America, over the years they became “hillbillies” and “red-necks.” Now you know!

“The Wearing of the Green” is a traditional Irish ballad lamenting the repression of supporters of the “Rebellion of 1798” against British rule. It is based on an old Irish air, and many versions of the lyric exist proclaiming that “they are hanging men and women for the wearing o’ the green,” the color of the shamrock adopted by these supporters.

Click or tap on the triangle in the next image to listen to this early Irish song that is still sung today.

Later, during the potato famine–“starvin’ times”– of the mid- 19th century, these traditional dance tunes and nostalgic ballads from Ulster and the lower counties of Ireland were carried to towns and cities all over the world with the diaspora of mostly Catholic Irish immigrants. While the early migration brought traditional Celtic music to the American countryside and mountains, the later, “second wave” migration spawned newer, Irish/American music in the cities. 

It was in American cities where musical nostalgia for the “Old Sod,” or “Emerald Isle,” rose and American/Irish songs were born. Here’s one from the early 1900s.

Click or tap on the triangle in the next image for a look and listen to this oldie.

Needless to say, American sheet music publishers profited, particularly as Irish immigrants found their way into the workplace, settled themselves in towns and neighborhoods, and brought their music into their pubs and parlors.

How about this one from 1915.

Tap or click on the triangle in the following image for the song and the scenery.

Now here’s one originally published in 1901 that has become a favorite among barbershop singers to this day.

Click or tap on the triangle in the next image for a “one-man quartet” version of this oldie!

Needless to say, the “Irish theme” was quickly picked up by enterprising songwriters—most of them non-Irish, many Jewish—on New York’s Tin Pan Alley and performed on Vaudeville stages and parlor pianos throughout the country. Needless to say, The whimsical, often satirical, and too often pejorative portrayal of the Irish immigrant rose in popularity.

Alas, no YouTubes of these. Perhaps for the better!

There are a few dozen YouTubes of the next one, however. It’s been around since 1898!

Click or tap on the triangle in the next image for a look and listen.

After 1860, Irish Americans also wrote songs to reflect the discrimination they felt first in England and then as newcomers in America. The protest song “No Irish Need Apply” was inspired by this. It’s the pride of this latter migration, however, that gave us St. Patrick’s day as we know it in this country and the “wearin’ o’ the green” that is celebrated today.

Click or tap on the triangle in the next image for a more contemporary take on this old, old lament.

And, let’s not forget the great Irish tenors of the past—a unique contribution to popular vocal music.  Anyone remember Dennis Day on the Jack Benny radio show?  And that great English/American/Irish Song  . . .     

Tap or click on the triangle in the next image for a listen.

In Ireland, the fellowship, banter, and fun conversation over a pint or a few at the local pub is said to be “good craic!”  (Pronounced: crack.)  And, a pub is a favorite venue for song.  

Here, folks with pints in hand will shout/sing chorus after chorus as the house band runs through verse after verse.  Here is what is said to be the most popular tune of this tradition— “The Wild Rover.”

Tap or click on the the image below to join the crowd at the neighborhood pub!

To end on a bit o’ good craic, let’s not forget the other musical Irish saints, such as the good Saint Ukulelaigh, patron saint of we strummers. Now you know! (Sorry. The influence of the Blarney Stone.)

So, Avoid rowdy Saint Patrick’s Day crowds, stay as green and sober as you need be, . . .

. . . and dance away!

Now, be sure to enjoy whatever craic you may be given or give, wear a wee bit o’ the green (or orange), and . . . STAY O’TUNED!

Every mid-February over the past several years I’ve done a musical musing pertaining to Valentine’s Day.  Needless to say, there are tons of songs, sheet music covers, and YouTube recordings to give some sparkle to these. 

This year, however, I’ve decided to do things a tad differently and focus on just one song, probably one of the most familiar and most covered songs of the “heart-shaped” genre—“My Funny Valentine.”

“My Funny Valentine” is a show tune from the Richard Rogers and Lorenz Hart musical “Babes in Arms” . . .

. . . in which it was introduced by popular teen-aged actress and singer Mitzi Green. 

“Babes in Arms” opened at the Shubert Theater on Broadway in 1937 and ran for 289 performances.  In the original play, Mitzi Green’s character, “Billie” sings the song to her boyfriend “Val”—whose name matched the lyrics of the song.   

In the song, “Billie” describes “Val’s” characteristics in unflattering and derogatory terms. At one point she describes his looks as “laughable,” in keeping with the title. But she ultimately affirms that he makes her smile and (rom-com alert!) she doesn’t want him to change. 

Alas, gentle readers, there seems to be no YouTube of her performance in the role.  You can, however, click or tap on the triangle in the next image or link to see and hear a close-to-original version of our song, sung in the Mitzi Green style.

Mitzi went on to an on-again, off-again career that faded by the 1950s.  Some folks still remember, however. 

The song, “My Funny Valentine,” lasted much, much longer and has become a jazz standard appearing in over 1300 albums performed by over 600 artists!  Not too shabby for a minor-key show tune from the Depression Era.

An additional reason that has given the song a long, long life in the musical world is that the lyrics are sufficiently gender-neutral to allow the song to be sung by or about either sex. Needless to say, a large proportion of the cover versions are by men describing a hypothetical woman.  What’s not to like?

Click or tap on the triangle in the next image or link for a guy’s version of our song.

And, of course, there are innumerable jazz versions. Click or tap on the triangle in the next image for one by Sarah Vaughan.

In addition to “My Funny Valentine,” several songs from the Broadway production of “Babes in Arms” have become jazz or pop standards—”Where or When,” “The Lady Is a Tramp,” “Johnny One Note,” and “I Wish I Were in Love Again.”  

Back to Broadway in 1937.

Basically, the plot of the musical centered on a group of precociously talented teen-age children of impoverished vaudevillians (their so-called “babes in arms”) banding together to oppose the closing of their small-town theater by stuffy local authorities. They did this by doing—what else?—“putting on a show!”

That was Broadway; then along came Hollywood. Sorry Mitzi; hello Judy!

Delightful in its own right, the 1939 film version of “Babes in Arms” starred Judy Garland and Mickey Rooney and was directed by the inimitable choreographer Busby Berkeley. However, it was, as Hollywood was wont to do, massaged and rewritten. So, in the movie, the “babes” band together to prove to their theatrical and vaudevillian parents that they have real talent and could make it to Broadway on their own. Needless to say, they did this by “putting on a show!” So much for helping out the theater in their home town.

The movie script — as significantly revamped, restructured, and rewritten to accommodate Hollywood’s take on things — left out much of the mildly leftist political slant of the original musical. And — tragedy of tragedies — left out almost all of the Rogers and Hart songs from the Broadway musical, including “My Funny Valentine.”  Go figure.

Just for fun, however, click or tap on the triangle in the next image to hear bits of songs that survived from 1937 to 1939–with the full Hollywood treatment!

But, I digress . . .

Now, as far as ukuleles are concerned, there are quite a few out there in ukulele land with a valentine or sweetheart theme–minor or major key. Here for fun is a vintage one from my collection.

Now, before we go and spend the better part of the day opening all of our valentines that we’ll be getting from our sweethearts, here is one of many, many YouTube versions of “My Funny Valentine.” Click or tap on the triangle in the next image for one showing off a rather rare member of the musical instrument family–an eleven-string “Harp Guitar.” 

And of course, there are a lot of vintage cards that could easily fall into the “funny valentine” category. Sadly, there are way too many that, in my humble opinion, may be a tad to prurient for the eyes of many of you gentle readers. But just for fun let me focus on a few that fall into the more benign genre of “What Were They Thinking?”

Whew!

So stay safe, look for your strumming valentine coming to serenade you.

And, without question, STAY FUNNY and STAY TUNED!

Here’s a musing from a few of years back that I keep polishing, updating, and reposting. I do this because of the confluence of two of the most portentous days of the year! Some say . . .

Anyway, enjoy–and for many of you gentle readers who have let me onto your screens over the past few years–re-enjoy!

Admittedly, Groundhog Day is more of an annual “event” rather than a “holiday.”  Nonetheless, it takes on importance in that is it also “World Play Your Ukulele Day.” 

Who knew? 

Always a bit of a contrarian, let me add here a song for those of you who yearn for sunshine in these dreary winterish days. But beware! Keep your wishes hidden from those groundhog “weather guessers” out there. Don’t let them listen. Click or tap on the triangle in the following image for a bit of bad advice for our furry friends. Again, don’t let them listen!

It is also a day that we New Englanders strive to sense the beginning of the end of Winter and the beginning of Spring—at least those New England natives of the groundhog persuasion.  Pray for a cloudy day!  Avoid shadows except in song!

And, “shadowy” songs are out there!

Here’s another that we can take a listen to. Shadow Walz was featured in “the “Gold Diggers of 1933,” one of the great musical review movies of the depression era.

Click or tap on the triangle in the next image for a Busby Berkeley, Ruby Keeler, Dick Powell over-the-top take on this shadow tune!

Here’s a more modern take on the shadow theme.

Click or tap on the triangle in the next image for the inimitable Ella!

This next one is one of my favorite shadow songs of the era.

“Me and My Shadow” was published in 1927. Officially the credits show it as written by Al Jolson, Billie Rose, and Dave Dreyer. Alas, Jolson was often given credits on sheet music so he could earn more money by popularizing them, but he played no actual part in writing this song and never recorded it! Those were the shady song-plugging days of Tin Pan Alley. But, dozens of others did making it one of the jazz standards of the day!

Click or tap on the triangle in the next image to listen to one of the earlier recordings and one of the few that includes the verse.

Now if you want to take the time and have a bit of fun, here’s an example of what became a favorite vaudeville routine based on our song–the “shadow dance.” It starts a bit slowly but the hammed up performance by Zero Mostel and Tommy Tune is worth the wait! So, click or tap on the triangle in the next image for the intro by Dean Martin and the “schticky” performance of the dancers!

Now, back to our furry friend of the day. I couldn’t find many ukuleles directly associated with a groundhog.  But, our animal friend has a long and historic association with that older cousin of the ukulele, the banjo.  It seems that it wasn’t uncommon back in 19^th century Appalachia to use a groundhog skin to make a primitive banjo. 

There is also a great old-time tune called “Groundhog.”  Here it is played on a fretless banjo just like an old Appalachian mountain one!

At the risk of all my vegan and vegetarian friends—to say nothing of those simply of the squeamish persuasion—I must add a good ole recipe for groundhog stew.  Well, why not?

Or, take the easy way out.

Oooops!

Now go seek out a groundhog, before he sees his shadow, and chase him back into his hole with a tune on “World Play Your Ukulele Day!”      

Let’s wind up this merry stroll into the wildness of wintry February mythology with a groundhog song based on–of all things–a sea shanty! Click or tap on the triangle in the next image for listen and a look.

And now, some groundhog cupcakes and milk while we wait for the shadowy forecast! 

It might be a strange weather prediction for us in these days of division and we could all use a little sweetness!

Keep those critters in the shade and STAY TUNED!

Well, we’re having our first really big snow storm set of the season. Despite the off and on sunshine, and up and down temperatures, I’m looking out the window at our so-called “mauntains” and onto what is a snowy, snowy landscape.  Needless to say, Alison and I are happy to be retired with no “shoulds or musts” on the calendar, just the thankfulness of watching all those folks in their plow-prowed pickups patrolling the wintry streets here in our neighborhood and our Happy Valley. They are ready and able to help however they might be needed!

Having lived for many years in northern climes and then northern Virginia before “escaping” to New England, Alison and I were always amused at the way folks “down South” panicked at the mere thought of snow. Bless their hearts!

So, needless to say, my musical muse began to swell and–shall we say–snowball!

Let’s warm up, so to speak, with a lively bit of “Winter Ragtime.” Click or tap on the triangle in the next image or link for a listen to this oldie from 1906.

Looking back on other song sheets of long ago, it seems that winter and snow were common themes—particularly  touching on romance or recreation or both. 

None, however, touch on the non-romantic, non-beautiful aspects of a heavy snowfall and its effect on simply going about one’s business.  That is, no songs about shovels, black ice, or just plain COLD! Well, maybe a few . . .

Click or tap on the triangle in the next image for listen to this chilly tune!

Bear with me now, gentle readers, as I pull from my memory one of the more obscure tunes that touches on today’s theme–“Twas a Cold Winter’s Evening” also known as “O’Leary’s Bar.” Click or tap on the next image or link to hear a collegiate acapella version of this college-days favorite.  

If you–and who wouldn’t!–like the chords to this one, here they are. So, grab a pint and a favorite singalong instrument and off you go!

[G7]Twas a [C]cold winters evening, the [F]guests were all leaving,
O'[C]Leary was [F]closing [G]bar. When he [C]turned and he said
To the [F]lady in red: “Get [C]out you can’t [F]stay where you [C]are.” [G7]
She-e-e -e. . . [C]shed a sad tear in her [F]bucket of beer,
As she [C]thought of the [F]cold night a-[C]head.
[G7] When a [C]gentleman handsome stepped [F]over the transom,
and [C]these are the [F]words that he [C]said:

[G7] “Her [C]mother [F]never told [C]her the [F]things a young girl should [C]know. [C]About the [F]ways of college [C]boys
and [D7]how they come and [G]go . . . (mostly [G7]go).
Now [C]age has [F]taken her [C]beauty, and [F]sin has left it’s sad [E7]scar.
So-o-o-o Re-[F]member your mothers and [C]sisters [F]boys,
And [D7]let her sleep [G]under the [C]bar. — ([G]Next [Am7]to [G]the [C7] gin).

But, moving on, there is some romance (or romantic intentions) to be found in the notion of “Cold.” Brrrrrr. Probably on the edge of PC these days of #METOO, but a good tune nonetheless.

Here’s the song in its film version from 1949. Click or tap on the triangle in the next image or link for a listen to this beautifully performed counter-duet. Who knew that Ricardo Montalban could sing? That naughty boy!

Cold, snowy weather can bring about forced sequestration with which, sadly, we have been way too pandemically familiar.  But, let’s move on with a look at a few more of those early wintry music sheets.   

Alas, I couldn’t find a YouTube of this rather odd but snow-related song. Anyway, click or tap on the triangle in the next image or link for a great rendition of a 1970s song by the same name as sung and played by the late Doc Watson.

And, alas, there is the notion of “snow” as metaphor for life . . .

Moving on, we mustn’t forget those snowy winter sports and ways to play with or in the snow!

And, of course, an old favorite that could be a motto for we hardy New Englanders! 

“Let It Snow! Let It Snow! Let It Snow!” was written by lyricist Sammy Cahn and composer Jule Styne in 1945. Not really coping with the reality of winter, it was written in sunny, snowless Hollywood back in 1945 during a heat wave. Ah, musical imagination!

Here is one of the earlier recordings of this wintry roasted chestnut. Click or tap on the triangle in the next image for a listen to Rosemary Clooney on this one.

Now, what about wintry, snowy ukuleles–plenty out there to peek at through our snowglasses!

And, of course, our favorite wintry ukulele made right here in our Happy Valley.

And, delightedly, here is my “Snowshoe” uke. Note the mother-of-pearl snowflake on the pegboard.

So stay safe, stay away from ice (except in your martini shaker!) . .

. . . and, even if snowbound, STAY TUNED!

And think SPRING!

This is a posting that I wrote a few years ago and repost each year. Alas, gentle readers, it is still apropos.

Before we moved to “the 413” back in ’05, Alison and I had lived for many years in northern Virginia.  Settled in the early 1600s, the so-called “Old Dominion” was, needless to say, strong on historical reminiscences and commemorations.  So, in 1983, when the date for the Martin Luther King, Jr., national holiday was set, it was conjoined with two other statewide celebrations that had been on the state’s docket for years.  Virginians called this calendric convenience “Lee-Jackson-King” day—a curious amalgam of Civil War and Civil Rights history—observed until the year 2000.

What would Robert E. Lee, “Stonewall” Jackson, and Martin Luther King, Jr., think about all that?  Go figure.  

Anyway, what does this have to do with music, banjos, and ukuleles?  Well, for every photo or illustration I run across depicting African American men, women, or children playing a playing a banjo or a uke, too many are demeaning caricatures. And, way too many show whites in even more demeaning blackface makeup. I don’t need to illustrate these negatives in my musical musings when there are positives out there!

Those demeaning, but all too common, illustrations are testament to a history that should not be glossed over or, worse, forgotten. But, these are not part of this special day we’ll be observing on Monday.   So, for this posting, here are some photos of good folks having a good time making music in the past and—more importantly—today.  And yes, they include ukuleles and a banjo or two!  

Mid-January brings us to one of the newest and most meaningful of all American remembrances—Martin Luther King, Jr., Day.  Newspapers and television will be full of the history of this man and the movement he led to bring civil rights issues to public attention, to congress, and to the law of the land.  

As meaningful as this is to us all—and since it will be thoroughly covered in other media—I’ll just stick with our theme and focus on a tiny facet of all this: music.

To begin. . . The phrase “Jim Crow,” with all its racial and civil rights connotations, had its origins in a song and dance routine from 1828 that was done in blackface makeup by a white minstrel performer, one  Thomas Dartmouth Rice.  

His song, “Jump Jim Crow,” is said to have been inspired by the singing and eccentric dancing of an African slave by that name.  In the cultural context of the early Nineteenth Century, Rice’s song—and its multiplicity of verses—became overwhelmingly popular as he performed all over the country as “Daddy Jim Crow”.

As a result of Rice’s fame and the popularity of his song, by the mid-Nineteenth Century the term “Jim Crow” had morphed from the merely comic into a pejorative meaning a Black, Negro, or African American.  

From this, laws and reguations enforcing racial segregation became known as “Jim Crow Laws.”  These were endemic in towns, counties, and states throughout much of the country.  

Rice’s song “Jump Jim Crow” was also a key initial step in a tradition of American popular music that was based on the imitation, if not outright mockery, of blacks. 

The first song sheet edition of this tune appeared in the early 1830s, and a couple of decades later this genre exploded in popularity with the rise of the blackface minstrel show, both in America and abroad.  

And, even in amateur theatricals.

A ukulele player who frequently appeared in blackface was Cliff Edwards, otherwise known as “Ukulele Ike.” You might remember him best as the voice of Jiminy Cricket in the Disney film “Pinocchio.”  

The Duncan Sisters were a popular duo and there were, of course, many other performers with or without ukuleles.   

In retrospect, some of what was popular in the context of yesteryear’s popular music is not just unpopular today.  Rather, it is unconscionable–way beyond merely politically incorrect. 

Admittedly, this is a touchy topic for a posting.  I much prefer levity, but we cannot move forward without looking back. The observation of Martin Luther King, Jr., Day gives us that opportunity.   It is from history that we learn, even if filtered through the theme of music and our favorite musical instruments.  

We cannot sweep history under the rug.  We cannot unplay those songs. But, here is one song we should play.

This is a song to play over and over again on this important day of remembrance of a great American, his life’s work, and the historical context of our still imperfect society.

Pete Seeger recorded this song back in the late 1940s. His version–the one we hear most often today–was based on an interpretation of an old gospel hymn he had heard in the 1930s sung by Black tobacco workers in the fields of the South and a variation he had learned dating back to 1901 as sung in both Black and White labor union meetings in the North. Tap or click on the triangle in the next image for his version:

And as a finale, tap or click on the next image to hear the Moorhouse College Glee Club in concert:

We have a lot to overcome in our society. But, with the humble tools we have, we shall. When will our song be “We Overcame?”

STAY TUNED!

Not needing to navigate through a lot of snow so far in this quasi-winter of few flakes and fewer sleigh rides, I find myself still motivated to end this rather complicated year with just one more of my seasonal musical musings.  So, gentle readers, bear with me as I retreat from my favored songs of relative obscurity to one of the best-known and most commonly sung American songs in the world—“Jingle Bells.” 

Our song was written by one James Lord Pierpont—an impecunious son of a fiery abolitionist preacher from Medford, Massachusetts. Written a couple of years earlier, it was officially published in 1857 with the title “One Horse Open Sleigh.” This was after Pierpont had moved from relatively snowy Massachusetts to seek his fortune in relatively snowless Georgia.  

Alas, Pierpont has been tarred by some historians as a drifter and ne’er-do-well husband, gold rush con man, anti-abolitionist, Confederate soldier, and otherwise nasty guy. But, he does have Massachusetts connections and he did write our song. After a hundred years or so, that’s probably all that really matters!

Musical historians have noted that the song was probably cobbled together from a variety of sources and that it was originally intended to be sung by Pierpont’s father’s Sunday School choir for Thanksgiving.  Or, as a more likely story, it was written as a slightly ribald drinking song and sung by drunkards who would clink their glasses like bells when the word was mentioned. It all depends on which historian or folklorist is telling the story.  So what else is new in history? But, Medford has the plaque! 

Like many traditional Christmas songs, “Jingle Bells” has a strange and fascinating history. Even the first arrangement, which was less upbeat, is  different than the one we hear today. Anyway, the song is said to have been inspired by popular 19^th century sleigh races in Medford where, in those days, long strands of small brass or iron bells were strapped to horses as a public safety measure. 

A horse pulling a sleigh was almost noiseless and the jingle-jangle sound of the bells gave fair warning to those who might be in the way—a quaint safety measure of the day. 

By the late 1800s, the song “Jingle Bells” had become an integral part of the Christmas musical genre. It was first recorded in 1889 on an Edison cylinder as part of a Christmas medley titled “Sleigh Ride Party,” considered to be Americas first “Christmas album!”  Needless to say, it was a trend setter of sorts, both dubious and not.

Now here’s where musical history takes a bit of a jog as well as a jingle.  In 1857, well after the Sunday School performance, the ever cash-strapped Pierpont, then living in Georgia, copyrighted “One Horse Open Sleigh” and sent it to print. Hence the counterclaim to the song’s origin by the folks in Savannah. Nya, nya, nya.  

So, for a retreat from modern times, click or tap on the triangle in the next image or link to listen to a modern (not a scratchy 19^th century cylinder) rendition of Pierpont’s original lyrics and melody of “The One-Horse Open Sleigh.” Don’t forget to tap a spoon on your glass at the appropriate moments!

However, well before copyrighting and publication, it was Pierpont’s intention to generate some much-needed cash royalties from stage performances, particularly in cities with more lively musical reputations than sleepy Medford. Accordingly, he showed the tune to a few performer pals and it was quickly taken up and first performed on the stage in nearby Boston by a popular white blackface-minstrel performer, one Johnny Pell. 

It soon became a popular, money-making standard for Pierpont on the minstrel circuit and he wrote and published several more polkas and songs that became standards on the minstrel circuit of the day–and relatively forgotten today. A Southern sympathizer, he also wrote several patriotic songs while serving as a Confederate soldier from Georgia–needless to say quite sleigh- and snow-less!

As a so-called story song, “Jingle Bells” tells of a dashing young man-about-town who took his sweetheart sleighing and, in what must have been a moment of inattention to horse and road (wink-wink!), upset them both into the snow—a somewhat disguised but rather suggestive narrative at the time.

The theme was thought humorous as it was well understood that an evening sleigh ride just might give an unescorted couple a rare opportunity to be together—unchaperoned (oh my!) in distant woods or fields and far from prying eyes.  Is our tune tainted because of its brush with blackface minstrelsy, or 19^th century lovers’ shenanigans?  I can’t think so—certainly not by today’s pop music standards!

Moving on . . . Over the past hundred and seventy-plus years, “Jingle Bells” has been performed by everyone from that original Sunday School group to the Mormon Tabernacle Choir.  It’s also been recorded by every big and not so big name in the music business from country to classical.  But, it’s just too good and sing-able a song not to live on, even if it jingle-jangles on a bit too often in too many shopping venues at this time of year.

Next, even though we ukulele strummers are known to say that “more than four strings is just showing off,” I am compelled to include one of my favorite multi-multi-string versions of “Jingle Bells.”  Click or tap on the triangle in the next image or link to hear the late Earl Scruggs and friends attack our song in bluegrass style!

And, where would we be without a ukulele version?  Click or tap on the next image or link to hear The Ukulele Orchestra of Great Britain have a rather bizarre go at this one!

So, keep your non-plastic ukuleles out of the snow (if and when)  .  .  . 

and STAY TUNED as we sleigh away from a less than perfect 2023 and dance into a more than perfect (please, no “upsots!”) 2024!

Here we are just a few days from Christmas with pictures of flooding rather than flakes filling our local papers. Alas,”Nor’ Easters” seem to be more the Winter norm here in the North East this year. Weatherwise, we’ll see. Tap or click on the triangle in the next image for a “country” weather prediction.

Anyway, I am of an age and circumstances that memories of seasonal snowfalls of the past recall more worries about the punctuality and skill of our “plow guy” than the transformative beauty—and holiday spirit—of the winter landscape. Thank goodness for living in our well cared for little retirement community–when and if it snows!     

Alas, not this year but, gentle readers, I digress  .  .  . So, back to the theme of my musing!  

During the early and middle years of the last century, music of the holiday season was in the form of traditional Christmas carols or what could best be called secular “jolly Santa or St. Nick” tunes. 

But, during the early days of World War II–with so many families with members in the military–a sense of longing for being “home for the holidays” took hold. 

As would be expected, one of the most popular songs of those days was, “I’ll Be Home for Christmas.”   But that was only the B-side of the recording that became the granddaddy of all holiday songs—“White Christmas.”

“White Christmas” is an Irving Berlin song with lyrics reminiscing about the memories of an old-fashioned, traditional Christmas setting. 

The first recording was by Bing Crosby and released early in the war years—1942.  According to the Guinness Book of World Records, it was, and still is, the world’s best-selling song with estimated sales of over 50 million records worldwide!   Tap or click on the triangle in the next image or link to hear Crosby’s original, unvarnished version of the song.

It was only when Armed Forces Radio began to play the song that American troops, in their first winter overseas, found its images of Christmas on the home front so appealing.   

“White Christmas” spoke to the longing, nostalgia, and homesickness of the troops for home and for the sweethearts and wives and mothers and fathers they’d left behind.

 It was the enthusiasm and dreams of these GIs who were actually deployed at sea or on snowless islands that propelled the song and made it a hit.

Accounts vary as to when and where Berlin wrote the song.   In fact, a lot of folks at the time believed that he was back in the Army  .  .  .

.  .  .  and himself deployed on some tropical battlefront longing to be back home in the relative comfort and safety of New York’s Tin Pan Alley. 

In fact, most song historians tell us that he wrote it (actually polished up an old tune from his vast file) in 1940, in warm La Quinta, California, while staying in one of those posh, palm treed hotels fancied by the Hollywood elite. The seldom sung intro to the song reflects this. 

At least it shows up in the sheet music.

And, here is at least one YouTube that picks up on the verse, and on a tenor banjo no less! Click or tap on the next image for a look and listen.

The story goes that, after staying up all night composing, Berlin sensed that he had a good thing going and told his secretary, “I want you to take down a song I wrote over the weekend. Not only is it the best song I ever wrote, it’s the best song anybody ever wrote!” Who can argue with that?   

It has often been noted that the mix of Christmas melancholy—”just like the ones I used to know”—with comforting images of home—”where the treetops glisten”—resonated especially strongly with listeners during World War II. 

The song established that there could be commercially successful secular Christmas songs—in this case, written by a Jewish-American songwriter who, not so incidentally, was the composer of “Easter Parade” and “God Bless America.”  

It turns out, the song has a sad back story too.  Berlin’s three-week-old son had died on Christmas day in 1928, so every year on December 25, he and his wife visited their baby’s grave.   However, Berlin thought of Christmas as more of an American holiday than a religious celebration and is known for having a family Christmas tree and gift giving in his home. And, we have the gift of his song.       

In 1942, our song was featured in the film called “Holiday Inn” and cemented its popularity here in the US.

The movie brought together Crosby and Fred Astaire along with Marjorie Reynolds and Virginia Dale.  The song “White Christmas” won the Academy Award for best original song that year. Click or tap on the triangle in the next image or link to see the film version of our song, alas, without the opening verse. 

Our song was was reprised in the 1954 film, also starring Crosby, unsurprisingly titled “White Christmas.”

Now, if you don’t have an earworm already, click or tap on the triangle in the next image or link to see the costumed and choreographed (a bit over the top?) 1950s version.

Although Crosby dismissed his role in the song’s success, bantering later that “a jackdaw with a cleft palate could have sung it successfully,” he was associated with it for the rest of his career.  Just go to any shopping mall this season and I’m sure you’ll hear his crooning once or twice or, probably, more!

Needless to say, there are dozens and Dozens and DOZENS of takes on our song on YouTube. Also, there are a few ukuleles that reflect the mood of a white Christmas even though we would need to dig out our fingerless gloves, and have a sip or two of “Black Jack,” to get into the strum of things!

So, as we move through the Winter Solstice, be on the lookout for the inevitable white stuff, remember the old days with your plow guy, stay warm, stay safe, and stay away from any nasty family discussions about the coming year! Oh, yes. Forget red versus blue for a bit and think white, white snow.

Now, we can’t let this posting simply end without some other covers of our song, in decidedly different styles! Click or tap on the triangles in the next couple of images for our Christmassy earworm to “dance in our heads” for the rest of the holiday season. 

So, Happy Christmas, Kwanza, Hanukkah, Whatever to all! And to all a Good Night! And, of course, STAY TUNED!

It isn’t often that I muse about a song that comes from a story written the same year I was born.  Yet, there is one that has become locked into our Christmas folklore, to say nothing of our eardrums! 

There is not a child today—or a Christmas display this day and age—that fails to include the newbie ninth of Santa’s reindeer, “Rudolph.” Needless to say, his eponymous song is played way too often in malls and stores this season. Nonetheless, the story and song does deserve a bit of recognition in our seasonal musicological sleigh ride.

In the beginning, the character “Rudolph” was created by one Robert Lewis May (1905-1976), a copywriter for the now defunct, Chicago-based Montgomery Ward department store, in a booklet published in 1939.

May created “Rudolph” for the retail and catalog giant that had been buying and giving away thousands of Christmas coloring books every year.  It was decided that by creating their own book they would save money, hence May’s assignment. A business decision! 

The story goes that May, himself Jewish, was staring out his Chicago office window pondering how best to craft a new, marketable Christmas story.  Meanwhile, a thick fog from Lake Michigan blocked his view.  Inspiration!  “Suddenly I had it!” he recalled. “A nose! A reindeer with a bright red nose that would shine through fog like a spotlight!”  May considered naming this ninth reindeer “Rollo” or “Reginald” or several other names before deciding upon the name “Rudolph.”

Alas, there was a stumbling block in that prudish day and age. May’s big bosses were concerned that most folks associated a “red nose” with chronic alcoholism and drunkards. So, his idea was rejected. Bah, humbug!

Determined that he was on to something good, however, May asked an illustrator buddy to draw a “cute reindeer” for him, one with a happily bright, red nose.  The decidedly PC sketch won over management and “Rudolph” began his trek “down in history!” 

Christmas coloring books featuring “Rudolph” were rushed to press and nearly two and a half million copies were distributed. But, the first publication acknowledging May as the creator of “Rudolph” waited until 1947.

By that time, “Rudolph” had become so popular with children around the country that the retailer made a fortune by advertising and selling a host of Rudolph toys and trinkets.  Every kid wanted something and the Ward’s mail order catalog was the place to find them.  

Anyway, for the two or three of my gentle readers who may not be familiar with the “Rudolph” story, let me quote a dry, academic summary:

“Our tale is a poetic chronicle of a young reindeer who has an unusually luminous red nose. Mocked and excluded by his peers because of this distracting trait, “Rudolph” is called upon to prove himself one Christmas Eve when inclement weather at the North Pole results in poor visibility thus jeopardizing the yearly mission of Santa Claus. Potential tragedy! But, recognizing a glowing red nose as an instrument rather than an impediment, Santa commandeers Rudolph to lead his sleigh for the annual deliveries. “Rudolph” agrees and is finally lauded by his fellow reindeer for his heroism and accomplishment. Positive triumph!”

The story reads better as poetry and, for you English Lit Majors, here is a link to a copy of the original illustrated manuscript—written they say in “anapestic tetrameter,” the same as Clement Clarke Moore’s 1837, “‘Twas the Night Before Christmas.”   The manuscript is a bit too long to include in this simple musing, but for you of a scholarly bent who would like to pursue it more fully, you can check out the following link (alas, not a YouTube) for an NPR presentation on this–delightful!

https://www.npr.org/2013/12/25/256579598/writing-rudolph-the-original-red-nosed-manuscript

Now, to our song! 

In 1949, a couple of years after May’s book was published, our story takes an interesting turn.  The song “Rudolph the Red-Nosed Reindeer” was written by May’s brother-in-law, who happened to be the New York songwriter Johnny Marks (1909-1985).  Although he too was Jewish, he specialized in Christmas songs and, along with “Rudolph . . .,” wrote songs like “Rockin’ Round the Christmas Tree,” “A Holly Jolly Christmas,” and “I Heard the Bells on Christmas Day.”  Alas, most of his non-holiday songs were pretty forgettable.  Not so jolly! 

In another interesting turn, our song was recorded in 1949 by—of all people—the “Singing Cowboy” himself, Gene Autry!  It hit number one on the charts that Christmas. 

Autry’s recording sold 1.75 million copies its first Christmas season, eventually selling a total of 12.5 million. Cover versions included, sales exceed 150 million copies, second only to Bing Crosby’s “White Christmas,” a song by another Jewish songwriter, Irving Berlin.  Again, go figure! 

Click or tap on the triangle in the next image for a look and listen!

We won’t say anything here about the way too many (in my humble opinion) movies and TV specials featuring “Rudolph” and the fact that Montgomery Ward and Gene Autry made a LOT of money from all this.  Sadly, not so much went to May and Marks.  They well deserve, however, to “go down in history!”

So, just to leave us with an earworm, here are a few interpretations—from the simple to the . . . Click or tap on the triangles in the next images for a bit of Christmas fun!

And, of course, a banjo-ukulee version!

To avoid your own red nose, stay away from too much eggnog, whiskey, or beer this Christmas. And, STAY TUNED!