Happy Daylight Savings Time! As you set your clocks an hour ahead, you might consider the history of the day as well as an appropriate song. On February 9, 1942, a law passed by Congress pushed ahead all U.S. clocks by one hour for the upcoming years. President Franklin Roosevelt advocated the year-round Daylight Savings Time, which was called “war time,” as a way to save fuel for the Allied war efforts. The law remained in effect until September 30, 1945 when Congress repealed it. A similar national law that turned back the clocks for seven months of the year had been in effect during World War I. But after both World War I and after World War II, the wars’ ends meant that states could once again regulate their own standard times.
Eventually, in 1966, Congress passed the Uniform Time Act imposing a uniform standard for states to follow Daylight Savings Time, although allowing state legislatures to vote for an exemption. In the 1970s and 1980s Congress made additional changes to the law, including setting the time and date for when Daylight Savings Time begins. A 2005 law extended the Daylight Savings Time ending date from October to November, so now Daylight Savings Time begins at 2:00 a.m. on the second Sunday of March and ends at 2:00 a.m. on the first Sunday of November.
An appropriate song for Daylight Savings Time is the 1967 release “Time Has Come Today” by the Chambers Brothers.
The song has been covered by a number of people, including Joan Jett, the Ramones, and Steve Earle (with Sheryl Crow). The song seems to be loved by some great film directors. Hal Ashby used it in a key scene in Coming Home (1978); Brian De Palma used it in Casualties of War (1989); Oliver Stone used it in The Doors (1991); and Spike Lee used it in Crooklyn (1991). The song appears in several other films too, including Remember the Titans (2000), The Zodiac (2006) and many others according to Wikipedia.
In 2012, though, the use of the song was back in the news. Lester Chambers, the lead singer of the Chambers Brothers reached out to fans because he and the band often did not receive royalties for the use of their songs. Chambers explained that he is living on $1,200 a month and relying upon money from a musician’s charity when all he wants is what is rightly his. The campaign has attracted the support of Yoko Ono and others.
The law can change the clock, but can it turn back time to give justice to Lester Chambers? March 2013 Update: Through help from Sweet Relief Musicians Fund, Reddit, Kickstarter and attention through various media outlets, Lester Chambers — who had faced homelessness and health issues — began doing better and once again making music. He survived when someone attacked him during a performance in 2013 after he dedicated a song to Trayvon Martin. In 2014, Chambers was playing with Lester Chambers and the Mud Stompers. As of 2023, he continues to perform and was performing with Moonalice.
What do you think if Daylight Savings Time? What do you think of Lester Chambers’s campaign? Leave your two cents in the comments.
“This is your last chance, and I’m not talking about one of those Major League Baseball Steve Howe kind of last chances.” — Leslie Nielsen in Naked Gun 33 1⁄3 (1994)
Baseball pitcher Steve Howe was born more than fifty years ago this month on March 10, 1958 in Pontiac, Michigan. He died several years ago at the age of 48 by the side of the road when his pickup drifted off the road and overturned at 5:55 a.m. on April 28, 2006.
Howe had been one of the best pitchers in baseball, with highs such as winning Rookie of the Year in 1980 and saving the clinching game of the 1981 World Series for the Los Angeles Dodgers. But it was another kind of “high” that haunted his life, as drug addiction led him to be suspended from baseball multiple times. He was suspended for substance abuse problems seven times, including a “permanent” ban in 1992, although the ban was eventually overturned on appeal.
Howe dealt with addiction from a young age, and his cocaine use was his downfall in baseball. Many questioned how many chances one should get in baseball, leading to the above joke in Naked Gun 33 1/3.
Howe played for the Los Angeles Dodgers (1980–1983, 1985), the Minnesota Twins (1985), the Texas Rangers (1987), and ended his Major League Career with the New York Yankees (1991–1996). In the clip below, you can see a young Howe being introduced before the second game of the 1981 World Series at Yankee Stadium with the other Dodgers. It’s a moment of great success, even though the smiling Howe could not know that within a week he would win the fourth game of the series and be on the mound during the sixth game when his team became World Champions. (video starts at 5:05 where Howe is introduced.)
Howe also could not have known at that moment how drugs and suspensions would destroy his career. Despite his demons, though, he still had talent late in his career, serving as the Yankees’ closer in 1994 and earning 15 saves. But that was his last good year, and by June 1996 the Yankees released him. Two days after his release, authorities arrested him at the airport for having a loaded gun in his suitcase.
He tried for a comeback in 1997 playing with the Sioux Falls team of the independent Northern League. The comeback failed, and he ended up in Arizona owning an energy drink company. When he died, he was driving from Arizona to California to visit family.
I cannot help thinking of his last year playing baseball for the Sioux Falls Canaries. He must have known that his career was over and that his drug use had contributed to that. It already had been a few years since he was a Naked Gun joke. What kind of hope did he hold when he took the field in South Dakota night after night following his days wearing a Yankee uniform in New York City just a year earlier? During the next nine years before he was killed in a car crash did he look back on his time in Sioux Falls with regret or happy that he still tried?
As noted above, some argued that baseball gave him too many chances as it was. He had talent and opportunities that few get, so I understand the argument. But I wonder if we should impose limits on opportunities when life’s chances and opportunities always run out anyway. Life is cruel enough, so maybe we should not make it worse.
Howe played baseball for our amusement too, but by the time he had burned up his talent, fans and teams no longer needed him and he was left on his own. And, as U2 notes, “Sometimes You Can’t Make It On Your Own.” Sometimes you can’t make it with a little help either.
Do athletes get too many chances to make mistakes? Leave your two cents in the comments.
Robert Sherman, who with his brother Richard Sherman co-wrote numerous Walt Disney classics, has passed away at the age of 86. The Sherman brothers composed music for such films as Mary Poppins (1964), Chitty Chitty Bang Bang (1968), The Jungle Book (1967), and other films. They also composed the oft-played, “It’s a Small World After All.” Among their many awards, the brothers received Academy Awards for the score of Mary Poppins and for the best song, which also was from that film, “Chim Chim Cher-ee.”
Richard’s brother Robert has explained that among their classic songs was Walt Disney’s favorite song, “Feed the Birds” from Mary Poppins.
It is a beautiful song that is unusual for a children’s movie. The song is not about dancing and happy animated creatures, but instead it is about a poor (homeless?) woman taking care of birds. One commentator has argued that the scene has religious overtones about “stewardship” and “a responsibility on humanity to care for nature.” It’s an interesting argument that reflects on the pivotal role of the woman feeding the birds in contrast to the children’s capitalist father who balks at the children spending their money on bird feeding. Wikipedia recounts how when Walt Disney first heard the song, he recognized that it was the central meaning of the film about charity and caring for others.
As a child, I found the scene both scary and intriguing (the latter of which might have been from the mystery to my American ears about what Julie Andrews sang when she sang “tuppence a bag”). Speaking of caring for others, the woman who played the small part of the bird woman was Jane Darwell, who had played Ma Joad in The Grapes of Wrath (1940). Disney coaxed her out of retirement to play the part in Mary Poppins, which was her last film and which had some similar themes to her role in The Grapes of Wrath. Not a bad message from her or the Sherman brothers. RIP. In their honor, be nice today.
Although the Washington Post had called this Bruce Springsteen song “cartoonish,” to understand it as one of Springsteen’s greatest songs, one needs to look back to origins going back through Sister Rosetta Tharpe, Woody Guthrie, and Curtis Mayfield.
In 2012, Bruce Springsteen released his album Wrecking Ball (2012) to generally good reviews. Yet, the Washington Post claimed that one of the songs on the album, “Land of Hope and Dreams,” is like a “pose” full of “[c]artoonishly austere American cliches.”
Well, the Post is wrong about the song. Most of us first heard “Land of Hope and Dreams” when it was played during the 1999 reunion tour with the E Street Band. It later appeared in a live version on 2001’s Live in New York City and 2003’s Essential Bruce Springsteen before finally appearing in a studio version on Wrecking Ball in 2012.
Why would Springsteen release a studio version of a song more than ten years after it had already appeared on an album? Besides the fact that the prolific songwriter has been known to sit on songs for decades before release, the timing is perfect for this song for three reasons discussed in more detail below.
First, the new version of “Land of Hope and Dreams” is a beautiful tribute to the late Clarence Clemons. Second, the song brings a little hope to an album about hard times. Finally, the song is not a “pose;” it is one of Springsteen’s most beautiful songs, evoking Woody Guthrie and Curtis Mayfield while turning a classic folk song on its head.
(1) A Fitting Tribute to Clarence Clemons
First, the above new gospel version of the song from the new album is one of the final songs recorded with Clemons, so one may understand that it was important for Springsteen to include Clemons on the album. And because the song goes back to 1999 when Springsteen reunited with the E Street Band, it also evokes the connection among the band mates.
It was not surprising that when Dave Marsh wrote an essay memorializing Clarence Clemons that he entitled the article, “In the Land of Hope and Dreams.” Springsteen often has included references to the E Street Band members in his songs, ranging from “Tenth-Avenue Freeze-Out” to “The Last Carnival,” a tribute to deceased E Street Band member Danny Federici. Here, the placement of “Land of Hope and Dreams,” featuring Clemons’s sax solo, next to the final song on the regular album, “We Are Alive,” where Springsteen imagines his own death, connects the album to the Big Man and his sweet soul departed.
In The Guardian, Springsteen noted that when listening to the new album, “When the sax comes up on ‘Land of Hope and Dreams,’ it’s a lovely moment for me.” What a perfect tribute.
(2) A Song of Hope
Second, the album Wrecking Ball is Springsteen’s recession-era CD, and the song signals a way out of hard times. Springsteen’s last CD, Working on a Dream, came out during the recent recession, but it had been recorded during a period of hope as then Senator Barack Obama was running for president.
By the time Springsteen toured to support Working on a Dream (2009), the economy and the mood of the country had changed, leading to dissatisfaction and some despair. So Springsteen had to rework setlists from an originally upbeat theme to include more of his past songs about hard times. He even added Stephen Foster’s “Hard Times Come Again No More.” During that time, he apparently began thinking about this album, as during the tour he debuted this album’s title song, “Wrecking Ball.”
While there is a touch of sadness in almost every Springsteen song, including classics like “Thunder Road,” he often mixes dark and light. When he sings about despair and hopelessness, he is rarely hopeless. So, on an album about hard times, it is not surprising that he would signal to us that there is some hope: “Tomorrow there’ll be sunshine/ And all this darkness past.” As in the first single, “We Take Care of Our Own,” he embraces one of his common themes that hope lies in caring for each other.
(3) The American Songbook and Trains: “This Train”
Finally, we come to why “Land of Hope & Dreams,” one of Springsteen’s most optimistic songs, is also one of his greatest and not just a cartoon as the Washington Post claims. The song embraces much of the American songbook. With the song’s reference to “bells of freedom” it evokes the Bob Dylan song that inspired the name of this blog.
But, more prominently, “Land of Hope and Dreams” connects to the long tradition of songs about trains. This legacy travels from Robert Johnson, Jimmy Rodgers, and Hank Williams through songs like Cat Stevens’s “Peace Train.”
To understand “Land of Hope and Dreams,” though, we must begin with a classic folk song, “This Train,” which Springsteen has confessed helped inspire “Land of Hope and Dreams.” Big Bill Broonzy recorded the traditional song “This Train,” and the great Sister Rosetta Tharpe had a hit with “This Train” in 1939.
“This Train” goes back even further in time. Woody Guthrie adapted the traditional song as one about going to glory if you are good, because that train “Don’t carry nothing but the righteous and the holy.” The song specifically excludes gamblers, liars, smokers, con men, rustlers, side street walkers, wheeler dealers, and hustlers.
One may hear Guthrie’s version in this scene from Bound for Glory (1976), with David Carradine portraying Woody Guthrie.
It is interesting that Guthrie became associated with a righteous song, when the lyrics seem counter to many of his principles. Yet, one may also see it as attacking the con men of the establishment.
When Guthrie’s editor-agent proposed changing his autobiography’s title from Boomhchasers to Bound for Glory because of the book’s descriptions of Guthrie singing the song to homeless men, Guthrie initially balked. He was worried that readers would think he meant “Bound for Glory” to apply to himself. His understanding of the phrase from the song was that “the common people” are bound for glory. (Joe Klein, Woody Guthrie: A Life.)
“This Train” may be bound for glory, but many sinners have sung the song. Below is a performance by some of the early Sun Records rockers and admitted sinners, including Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Roy Orbison.
The song goes back even further in American history, as “This Train” was used by slaves to convey messages to each other on the Underground Railroad, with “glory” meaning “freedom.” Still, despite the history and inclusiveness attributed to the song, in the lyrics the train that is bound for glory limits its ridership to exclude sinners, however that term is defined.
Springsteen takes that limit and turns it on its head. As he has explained, “Land of Hope and Dreams” is a response to “This Train,” spreading a message of inclusiveness instead of a message of exclusion.
“People Get Ready”
In case anyone missed the message of “Land of Hope and Dreams,” on the new studio version one hears the Victorious Gospel Choir repeating the refrain from Curtis Mayfield’s “People Get Ready.” That song originally was a hit for the Impressions in 1955 (discussed in more detail in a previous Chimesfreedom post).
The gospel songs of Mayfield’s youth inspired him in writing “People Get Ready.” And in looking closer at the lyrics and hearing the song sung below by Alicia Keys, one may understand how the song inspired Springsteen either consciously or unconsciously in writing “Land of Hope and Dreams.”
People get ready there’s a train comin’; You don’t need no baggage, just get on board; All you need is faith to hear the diesels hummin’, You don’t need no ticket, just thank the Lord.
Mayfield did not specifically address the sinners of “This Train” in “People Get Ready.” But his song implied the sinners could still board the train as long as they had faith.
Climb On Board This Train
Springsteen, though, goes even further than Guthrie and Mayfield. His train has no requirements and calls everyone to board.
Springsteen does note that “faith will be rewarded.” Faith in what? God? Rock and roll? He does not say. And that is the beauty of the song. We are all saints and sinners and we are all welcome. Just have faith in something, even if it is each other.
Yes, Washington Post, the welcoming train in American music is an American cliche. But every decade or so it is good for us lost souls to be reminded that we all are on the same journey together.
This train Carries saints and sinners; This train Carries losers and winners; This Train Carries whores and gamblers; This Train Carries lost souls.
{This last video from a Springsteen performance at the Civic Center in Hartford, Connecticut on May 8, 2000 is the E Street Band’s wonderful guitar-heavy version of the song that also appeared on 2001’s Live in New York City album. I love the opening riff of this earlier live version of the song, but I will reserve judgment for which version I prefer after numerous more listens of the newer gospel version.}
Do you prefer the new 2012 version of “Land of Hope and Dreams” at the beginning of this post or the 2001 live version of “Land of Hope and Dreams” at the end of the post? Leave your two cents in the comments.
After hearing that Late Night with Jimmy Fallon was devoting a whole show to Bruce Springsteen, I had little doubt that they would reprise a Niel Young-Bruce Springsteen duet like they did on an earlier show with “Whip My Hair.”
But last night, instead of a Born-to-Run-era Springsteen, the Boss got out his old bandana and came as Born-in-the-USA Springsteen. This time, they sang LMFAO’s “Sexy and I Know It,” with Springsteen in on the joke making fun of his former muscle-shirted self exchanging his usual “whoa, whoa, whoa” with “wiggle, wiggle, wiggle.”
(May 2012 Update: The link from NBC apparently no longer works, but you may also see the video on YouTube here.) If you missed the show and wish to see the Springsteen interview as well as his performances with the E Steet Band of two new songs from the new album — “Death to My Hometown” and “Jack of All Trades” — as well as a rousing “E Street Shuffle” with the Roots, you may find them at Consequences of Sound and at Blogness on the Edge of Town.
What do you think of the cover of “Sexy and I Know It”? Funny or just a retread of “Whip My Hair”? Leave your two cents in the comments. If you like the post, retweet it!
Happy Daylight Savings Time! As you set your clocks an hour ahead, you might consider the history of the day as well as an appropriate song. On February 9, 1942, a law passed by Congress pushed ahead all U.S. clocks by one hour for the upcoming years. President Franklin Roosevelt advocated the year-round Daylight Savings Time, which was called “war time,” as a way to save fuel for the Allied war efforts. The law remained in effect until September 30, 1945 when Congress repealed it. A similar national law that turned back the clocks for seven months of the year had been in effect during World War I. But after both World War I and after World War II, the wars’ ends meant that states could once again regulate their own standard times.
