'Hail to the Redskins' was the fight song of the Washington Redskins, an American football team belonging to the National Football League (NFL) and now known as the Washington Football Team. The song was performed after the team scored touchdowns from the 1938 season until 2019. The music was composed by the team's band leader, Barnee Breeskin, and the lyrics were written by Corinne Griffith, the wife of Washington founder and owner George Preston Marshall.[1]
History[edit]
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In 1937, Marshall moved the team from Boston to Washington. With this move and the introduction of his team to the nation's capital, Marshall commissioned a 110-member band to provide the new fans with the 'pomp and circumstance' and 'pageantry' of a public victory parade. Marshall stated that he wanted his team and their games to emulate the spectacle of the Roman Gladiators at the Coliseum. He also wanted to incorporate elements of the college football experience into the pro game. He outfitted the band with $25,000 worth of uniforms and instruments and asked the band leader, Barnee Breeskin, to compose a fight song worthy of such a team of gladiators and warriors.
The original lyrics were written to reflect the Native American warrior imagery of the team as the 'Redskins.' The lyrics were later reworked to be less offensive to contemporary sensibilities, although the Redskins name became increasingly criticized as a racial slur (explaining the 2020 name change to Washington Football Team). Nonetheless, the fight song is one of the oldest football fight songs in all of American professional football.
'Hail to the Redskins' is the second oldest fight song for a professional American football team; the oldest fight song is 'Go! You Packers! Go!', composed in 1931. During the 1938 season Washington played their new fight song for fans in attendance at the games as they played the Philadelphia Eagles, the Brooklyn Dodgers, the Cleveland Rams, the New York Giants, the Detroit Lions, and the Chicago Bears football teams.
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In 1974, Washington, D.C. singer Beryl Middleton recorded 'Hail to the Redskins', backed up by members of the team's singers. Barnee Breeskin declared this the finest recording of his song.[2]
The most widely recognized recording, which as of 2015 was still in use at Washington home games, features the Redskin Show Orchestra and the team's singers. The music was arranged and conducted by the orchestra's longtime leader Sam 'Sammy' Shreiber, the team's singers were directed by Don Lichty and William 'Billy' Ball and it was recorded at JRB Sound Studios in Washington, D.C.. Some 45 rpm copies were released with a gold label and incorrectly spelled 'Shreiber' as 'Streiber' on both the A and B sides.
Lyrics[edit]
Hail to the Redskins!
Hail Victory!
Braves on the Warpath!
Fight for old D.C.!
Run or pass and score—We want a lot more!
Beat 'em, Swamp 'em,
Touchdown! -- Let the points soar!
Fight on, fight on 'Til you have won
Sons of Wash-ing-ton. Rah!, Rah!, Rah!
Hail to the Redskins!
Hail Victory!
Braves on the Warpath!
Fight for old D.C.!
Changes to lyrics, performance[edit]
The song's original first stanza is often mistakenly thought to have ended with the line 'Fight for old Dixie', but in fact this line was only used between 1959 and 1961,[3][4] as a glance at contemporary game day programs will verify. Each of these programs printed the lyrics, and 'Old D.C.' can be seen in all years except 1959 through 1961. This phrase then returned to 'Fight for ol' D.C.!'
Several other lines found in the original were, however, altered. The original version included lines referring to the practice of scalping and featuring non-standard grammar, apparently in imitation of Native American speech:
Scalp ’em, swamp ‘um
We will take ‘um big score
Read ‘um, Weep ‘um,
Touchdown! — We want heap more[5]
The early arrangements of the song also closed to the opening of the well known southern folk song, 'Dixie' played as a counter-melody. In July 1965, a black Washington fan wrote to the owner of the team, describing the racial unrest that Dixie caused and asking for it to be stopped.[6] According to an article in The Washington Afro-American of October 23, 1965, Dixie was no longer played as a counter-melody starting that year.[7]
Soundtrack Fight Club
Dallas Cowboys incident[edit]
The Redskins played south of the Mason-Dixon line and as there were no established NFL teams in the Southern United States until the 1960s, Marshall aggressively marketed his franchise as the South's team and built a significant fan base there. He would recruit players from Southern schools,[8] feature Southern bands at halftime,[9] and sign contracts to feature the team on Southern radio networks and television networks.[10][11]
When the NFL began considering expansion to Texas, Marshall strongly opposed the move, as it would threaten what had been essentially a three-decade monopoly in the South. Potential owner Clint Murchison, who was trying to bring the NFL back to Dallas, bought the rights to 'Hail to the Redskins' from a disgruntled Breeskin and threatened to prevent Marshall from playing it at games. Marshall agreed to back Murchison's bid, Murchison gave him back the rights to the song, and the Dallas Cowboys were born.[12]
Other usage[edit]
The LG Twins of the Korea Baseball Organization use the tune of 'Hail to the Redskins' in their own fight song.[13]
References[edit]
- ^Mooshil, Maria (2006-12-01). '10 more things to know about Bears fight song'. Chicago Tribune. Retrieved 2013-04-09.
- ^'The Redskins Blog'. Blog.redskins.com. Retrieved 16 December 2014.
- ^King, C.Richard (2016). Redskins: Insult and Brand. U of Nebraska Press. p. 37. ISBN978-0803288454.
- ^O'Toole, Andrew (November 2016). Fight for old DC : George Preston Marshall, the integration of the Washington Redskins, and the rise of a new NFL. p. Chapter 5. ISBN978-0803299467.
- ^Richman, Michael (2009). The Redskins Encyclopedia. Temple University Press. p. 18. ISBN978-1592135448.
- ^video of letter
- ^Garnett, Bernard (23 October 1965). 'The Afro American - Google News Archive Search'. The Afro American. p. 5.
- ^Loverro, Thom (25 August 2006). Hail Victory: An Oral History of the Washington Redskins. John Wiley & Sons. p. 37. ISBN9780471725107.
- ^Richman, Michael (21 August 2009). The Redskins Encyclopedia. Temple University Press. p. 45. ISBN9781592135448.
- ^Thomas, Evan (4 December 2012). The Man to See. Simon and Schuster. p. 168. ISBN9781439127964.
- ^'Washington Redskins Team History | Pro Football Hall of Fame Official Site'. www.profootballhof.com.
- ^'ESPN.com – Page2 – A rivalry for a song ... and chicken feed'. Espn.go.com. Retrieved 16 December 2014.
- ^'LG Twins Fight Song'. YouTube.com. Retrieved 16 December 2014.
External links[edit]
| Wild in the Streets | |
|---|---|
| Directed by | Barry Shear |
| Produced by | Samuel Z. Arkoff James H. Nicholson |
| Written by | Robert Thom |
| Based on | short story 'The Day It All Happened, Baby!' by Robert Thom |
| Starring | Christopher Jones Shelley Winters Richard Pryor Diane Varsi Hal Holbrook |
| Narrated by | Paul Frees (uncredited) |
| Music by | Les Baxter |
| Cinematography | Richard Moore |
| Edited by | Fred R. Feitshans Jr. Eve Newman |
| Distributed by | American International Pictures |
Release date | |
Running time | 97 min. |
| Country | United States |
| Language | English |
| Budget | $700,000[1] |
| Box office | $4,000,000 (rentals)[2] |
| Part of the Politics series on |
| Youth rights |
|---|
|
|
Fighting Soundtrack
Wild in the Streets is a 1968 American comedy-drama film directed by Barry Shear and starring Christopher Jones, Hal Holbrook, and Shelley Winters. Based on the short story 'The Day It All Happened, Baby!' by Robert Thom, it was distributed by American International Pictures. The film, described as both 'ludicrous' and 'cautionary', was nominated for an Academy Award for Best Film Editing and became a cult classic of the 1960s counterculture.
Plot[edit]
Popular rock singer and aspiring revolutionary Max Frost (Christopher Jones) was born Max Jacob Flatow Jr. His first public act of violence was blowing up his family's new car. Frost's band, the Troopers, live together with him, their women, and others, in a sprawling Beverly Hills mansion. The band includes his 15-year-old genius attorney Billy Cage (Kevin Coughlin) on lead guitar, ex-child actor and girlfriend Sally LeRoy (Diane Varsi) on keyboards, hook-handed Abraham Salteen (Larry Bishop) on bass guitar and trumpet, and anthropologist Stanley X (Richard Pryor) on drums. Max's band performs a song noting that 52% of the population is 25 or younger, making young people the majority in the country.
When Max is asked to sing at a televised political rally by Kennedyesque Senate candidate Johnny Fergus (Hal Holbrook), who is running on a platform to lower the voting age from 21 to 18, he and the Troopers appear – but Max stuns everyone by calling instead for the voting age to become 14, then finishes the show with an improvised song, 'Fourteen or Fight!', and a call for a demonstration. Max's fans – and other young people, by the thousands – stir to action, and within 24 hours protests have begun in cities around the United States. Fergus's advisors want him to denounce Max, but instead he agrees to support the demonstrations, and change his campaign – if Max and his group will compromise, accept a voting age of 15 instead, abide by the law, and appeal to the demonstrators to go home peaceably. Max agrees, and the two appear together on television – and in person the next day, using the less offensive mantra 'Fifteen and Ready'.
Most states agree to lower the voting age within days, in the wake of the demonstrations, and Max Frost and the Troopers campaign for Johnny Fergus until the election, which he wins by a landslide. Taking his place in the Senate, Fergus wishes Frost and his people would now just go away, but instead they get involved with Washington politics. When a Congressman from Sally LeRoy's home district dies suddenly, the band enters her in the special election that follows, and Sally – the eldest of the group, and the only one of majority age to run for office – is voted into Congress by the new teen bloc.
The first bill Sally introduces is a constitutional amendment to lower the age requirements for national political office to 14, and 'Fourteen or Fight!' enters a new phase. A joint session of Congress is called, and the Troopers – now joined by Fergus's son, Jimmy (Michael Margotta) – swing the vote their way by spiking the Washington, D.C. water supply with LSD, and providing all the Senators and Representatives with teenaged escorts.
As teens either take over or threaten the reins of government, the 'Old Guard' (those over 40) turn to Max to run for president, and assert his (their) control over the changing tide. Max again agrees, running as a Republican to his chagrin, but once in office, he turns the tide on his older supporters. Thirty becomes a mandatory retirement age, while those over 35 are rounded up, sent to 're-education camps', and permanently dosed on LSD. Fergus unsuccessfully attempts to dissuade Max by contacting his estranged parents (Bert Freed and Shelley Winters), then tries to assassinate him. Failing at this, he flees Washington, D.C. with his remaining family, but they are soon rounded up.
With youth now in control of the United States, politically as well as economically, similar revolutions break out in all the world's major countries. Max withdraws the military from around the world (turning them instead into de facto 'age police'), puts computers and prodigies in charge of the gross national product, ships surplus grain for free to Third World nations, disbands the FBI and Secret Service, and becomes the leader of 'the most truly hedonistic society the world has ever known'.
Ultimately however, Max and his cohorts may face future intergenerational warfare from an unexpected source: pre-teen children. When a young girl finds out Max's age (which is now 24), she sneers, 'That's old!' Later, after Max kills a crawdad that was a pet to several young kids, then mocks their youth and powerlessness, one of the kids resolves, 'We're gonna put everybody over 10 out of business.'
Cast[edit]
- Shelley Winters as Mrs. Max Flatow (Frost)
- Christopher Jones as Max Jacob Flatow Jr., a.k.a. Max Frost
- Diane Varsi as Sally LeRoy
- Hal Holbrook as Senator Fergus
- Millie Perkins as Mrs. Fergus
- Richard Pryor as Stanley X
- Bert Freed as Max Jacob Flatow Sr.
- Kevin Coughlin as Billy Cage
- Larry Bishop as the Hook
- Michael Margotta as Jimmy Fergus
- Ed Begley as Senator Allbright
- May Ishihara as Fuji Elly
- Salli Sachse as hippie mother
- Kellie Flanagan as young Mary Fergus
- Don Wyndham as Joseph Fergus
Production notes[edit]
The film was shot in 15 days.[1]
Run By Us Soundtrack
Lowering the voting age was a genuine issue in 1968 and was not passed until 1970 with Oregon v. Mitchell lowering the presidential minimum voting age to 18 and 1971 with the 26th Amendment lowering local and state election minimum voting ages to 18.
The movie features cameos from several media personalities, including Melvin Belli, Dick Clark, Pamela Mason, Army Archerd, and Walter Winchell. Millie Perkins and Ed Begley have supporting roles, and Bobby Sherman interviews Max as president. In a pre-Brady Bunch role, Barry Williams plays the teenaged Max Frost at the beginning of the movie. Child actress Kellie Flanagan, who plays Johnny Fergus's daughter Mary appeared in director Barry Shear's television special All Things Bright and Beautiful in the same year. She discussed filming Wild in the Streets in a 2014 interview with Adam Gerace, telling him 'I get a huge kick out of Wild in the Streets and always have.'[3]
According to filmmaker Kenneth Bowser, the part eventually played by Christopher Jones was offered to folk singer Phil Ochs. After reading the screenplay, Ochs rejected the offer, claiming the story distorted the actual nature of the youth counterculture of the period.[4]
Music[edit]
A soundtrack album was released on Tower Records and became successful, peaking at #12 on the Billboard charts. Taken from the soundtrack and film, 'Shape of Things to Come' (written by songwriters Barry Mann and Cynthia Weil) and performed by the fictional band Max Frost and the Troopers, was released as a single (backed with 'Free Lovin' ') and became a hit, reaching #22 on Billboard.
Release[edit]
Wild in the Streets was released in theaters in 1968.[5] Its plot was a reductio ad absurdum projection of contemporary issues of the time, taken to extremes, and played poignantly during 1968 —an election year with many controversies (the Vietnam War, the draft, civil rights, the population explosion, rioting and assassinations, and the baby boomer generation coming of age).[6] The original magazine short story, titled 'The Day It All Happened, Baby!' was expanded by its author to book length, and was published as a paperback novel by Pyramid Books.
In 1969, Fred R. Feitshans Jr. and Eve Newman were both nominated for the Oscar for Best Film Editing for their work on this film.
Wild in the Streets was released on VHS in the late 1980s, and in 2005 appeared on DVD, on a Midnite Movies disc with 1971's Gas-s-s-s.
In popular culture[edit]
The League of Extraordinary Gentlemen, Volume III: Century, page 43, panels 1–2: 'I mean that the current president of the United States is Max Foster. Max Foster the pop singer. He's setting up camps for anyone he thinks is too straight. It's hippy fascism.' This is a reference to Wild in the Streets in which singer Max Frost becomes president and has everyone over 35 sent to 're-education camps'. Max Foster is an analogue of American president Richard Nixon.
See also[edit]
The Good Fight Soundtrack
- Prez (1973), a DC Comics series about the first teenage president of the United States
References[edit]
- ^ abMark McGee, Faster and Furiouser: The Revised and Fattened Fable of American International Pictures, McFarland, 1996 p260
- ^'Big Rental Films of 1968,' Variety, 8 January 1969, pg 15.
- ^Gerace, Adam. '...And Then I Wrote'. AdamGerace.com. Retrieved 7 May 2015.
- ^'Panel Discussions on Comic Related' (Interview). Archived from the original on 2011-08-24. Retrieved 2011-07-27.
- ^American Film Institute (1976). The American Film Institute Catalog: Feature Films 1961–1970, Part 2. CA, USA: University of California Press. p. 38. ISBN0-520-20970-2. Retrieved 2010-10-24.
- ^Ebert, Roger (20 May 1968). 'WILD IN THE STREETS'. RogerEbert.com. Chicago Sun-Times.
External links[edit]
- Wild in the Streets on IMDb
- Wild in the Streets at AllMovie
- Wild in the Streets at the TCM Movie Database
- Wild in the Streets at the American Film Institute Catalog
- Wild in the Streets at Rotten Tomatoes