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Modern Renditions of Our National Anthem

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Malcolm Stuart’s letter (Jan. 23) about contemporary renditions of the National Anthem invites my dissonant reply.

I used to despise the “Star Spangled Banner.” How many times had I been required to listen to some stiff, perfunctory recording by a military band at school, or before all baseball and basketball games on the radio? Were these stilted lyrics grafted to this bizarre melodic structure supposed to inspire patriotism or ridicule?

The majesty inherent in Francis Scott Key’s song did not become apparent to me until Jose Feliciano’s quietly daring performance at the 1968 World Series in Detroit. It was the first time I had ever heard anyone use the National Anthem as a template for artistic expression. Since that time, I have become something of a fan of the anthem, and am continually enchanted by the diverse range of styles and visions with which it has been interpreted.

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The greatest of them all: Marvin Gaye’s “put your hands together” rendition at the 1983 National Basketball Assn. All-Star Game, a triumph of rhythm and elan that had the entire audience euphorically clapping in time.

Some other favorites:

Jimi Hendrix’s searingly personal statement on solo guitar at Woodstock, 1969.

Grover Washington Jr.’s velvety and reverential tenor sax at the Spectrum, Philadelphia, December, 1984.

Eight-year-old Stephanie Kemp’s golden-toned, country-flavored, perfectly articulated performance at the Salt Palace, Salt Lake City, March, 1985.

George Howard’s sweet, reedy soprano sax, evoking Arabian music, at the Forum, Inglewood, May, 1985.

Susan Peters’ achingly lovely contrapuntal harp solo at the Forum, January, 1986.

Cab Calloway’s enigmatic, impressionistic “piano bar” version, in which most of the lyrics were only approximated, at the Oakland Colosseum, December, 1986.

Now and again I hear there are movements afoot to replace the “Star Spangled Banner” with “God Bless America.” To this idea I can only echo Stuart’s sentiment, “Yech!”

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PHIL WERNIG

Santa Barbara

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