Tag Archives: Music

The Pope said Nope

Last night we went to see Six at the American Repertory Theater in Cambridge; I bought the tickets, but my husband accompanied me willingly. I simply could not resist a musical about the six wives of Henry VIII and it did not disappoint in its fluffy, fun feminism. The performance was certainly not a deep (or long) dive, but it was interesting in its distillation of the essential character of each woman, whether based on fact or fiction. Each queen had her say (or song), but the entire performance was a collective concert; midstream my husband said it reminded him of Josie and the Pussycats! The musical’s writers, Toby Marlow and Lucy Moss, are younger than us so they were inspired by different pop princesses: Beyonce, Avril Lavigne, Adele, Rhianna, Ariana Grande, Alicia Keys.

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WivesBeard Collection, Victoria and Albert Museum.

Henry and his six wives have been the focus of many popular culture expressions for decades, even centuries: none of them will ever die. What’s interesting to me about re-envisioning is how it reflects on the society which is doing the re-envisioning and what gets distilled down as the universal “truth” of whatever or whomever is being recalled. In the case of the former, the King is nowhere to be seen on the Six stage: obviously he is the elephant in the room but he’s not there in this #metoo moment, this “her-story” (I hate that word; I almost lost the job I now hold because I told the hiring committee I would not teach a course on the books titled “Herstory” as history was about people). It’s all about the women and even though they look and sound very contemporary their characterizations are pretty traditional: Catherine of Aragon is the steadfast queen who says “no way” to Henry, Jane Seymour is “the only one he really loved”, Anne of Cleves is the one who got away, with a very nice annulment settlement, Katherine Howard is the precocious teenager with very poor judgement owing to an abusive past, and Katherine Parr is the grown-up survivor. I’ve heard this all before many times, and there’s a nice spotlight on the court painter Hans Holbein, including the old yarn in which he is sent to Germany to paint the miniature portrait of Anne of Cleves before her betrothal to Henry, and falling in love with her, made her more beautiful than she really was and so raised the King’s expectations to an extent that she could not meet, as well as entire song, “Haus of Holbein,” right in the middle of the performance. The one Queen I did not recognize was Anne Boleyn: she’s a plucky party girl in Six, with many, many references to her unfortunate death, including her showcase song, “Don’t Lose Ur Head”. She does get one of the best lines of the night when narrating her long road to royal marriage, when “the Pope said nope” to the annulment of Henry’s first marriage. But there’s no conviction in Anne, or any of the wives really: it’s hard to inject religion into a pop concert. The conceit of the show was that these women would compete—through their stories–for the title of who suffered the most at Henry’s hands, but near the end they decided they were all in it together, so we didn’t get to clap for our favorite Queen. I was relieved, as I was torn: I know Henry’s first queen suffered the most, but my very favorite, forever, is his last.

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Six Poster

Six Wives BookAll the wives, plucky Anne, personal Tudor history from the last century, and Hans Holbein re-envisioned by Alys Jones.


An Eventful 1851 in Salem

The media—exclusively newspapers—looked back at the year’s events at its end in the nineteenth century just as it does today. This accounting was traditionally presented in the first few days of January by the Salem Observer, and it’s interesting to read what was considered “notable” and worthy of inclusion and what was not (although it would take some research to determine what was not and I’m not doing that now—researching “the negative” is incredibly difficult at the local level). The January 3, 1852 report on the “Events in Salem and Vicinity during the year 1851” prepared for the Salem Observer is below, and below that are my observations of what seems particularly notable (or just interesting): so we have two filters of newsworthiness at work here.

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Weather notations are always interesting: sudden changes in January, a “violent” snow storm in March, a big storm, including flooding, in April, hail in July, the first snowfall on October 27, a “great fall of snow” just before Christmas and very cold weather after.

Crime: always achieves notice. A gang of burglars strikes in January! A particularly crime-ridden May, with a strange attack that sounds like 17th century lithobolia on a house in Danvers, some female counterfeiters in Marblehead, and a stabbing in the street in Salem.

Fire: the partner of crime in notoriety. The Atlantic House in Beverly burned down in January and a Marblehead house in February, the same month in which Benjamin Lang’s house on Lafayette Street in Salem was severely damaged by fire. This is a reference to 49 Lafayette Street, the boyhood home of Benjamin Johnson Lang, who was an extremely famous organist and choral conductor in the later nineteenth century. The house was rebuilt, and both Benjamin Lang Sr. and Benjamin Johnson Lang Jr. held music lessons there before the latter’s departure for Boston and greater things in 1855.

Deaths: it is in the reporting of deaths that you can really perceive how restricted “notability” was as obviously many more people died in Salem and its environs in 1851 than are reported here. One does wonder about the “highly esteemed” young Deborah Howard, however, who died as a result of injuries sustained from a tragic carriage accident in July. I can understand why Captain Nathaniel West’s death (at aged 95) was included, as he was one of the great golden age Salem sea captains. He apparently bequeathed Derby Wharf to the Salem Marine Society in his will, and also left funds for the establishment of a school of navigation—I wonder what happened to that?

Lyceum Lectures: lots of lectures at both the Mechanic Lyceum and the Salem Lyceum and other regional venues as this is the heyday of the Lyceum movement. Most of the lectures seem pretty apolitical: the great abolitionist Lucy Stone spoke before the Salem Anti-Slavery Society rather than at either Lyceum. As we know, things will heat up, but in 1851 Lyceum audiences were hearing about “The American Mind”, “Character”, “New England and Her Institutions” and both women and men by both women and men speakers.

Salem Harbor: is dead. Hawthorne’s characterization is certainly confirmed here, as only one Salem ship is referenced, the barque Dragon, and it reports to Boston Harbor rather than Salem! But there was a regatta in July: wish we could resurrect this event.

Appendix: the “Shadrach” riot reference deserves its own post. On February 21, “Colored Barber” Alexander H. Burton of Salem was arrested on suspicion of being involved in the uproar following the arrest of the runaway Virginia slave Shadrach Minkins under the 1850 Fugitive Slave Law. Burton was released because he had an alibi–but I’d like to know more about his arrest and the connections between Salem’s and Boston’s abolitionist movements.


Bawdy Ballads

One of my favorite tweeters posted an image of a rather racy seventeenth-century ballad yesterday which prompted me to take a break from all the boring administrative things I have to do at this time of the year to search out some more examples of bawdiness for my last English history class. This was a much more pleasant activity than scheduling and it’s always good to end on a high note! Virginity grown troublesome is just one of many later seventeenth century ballads–drinking songs, working songs, walking songs–focused on human relations in general and maids who are either too chaste or too wild in particular: another of my favorites is The wandring virgin; or, The coy lass well fitted; or, the answer to the wand’ring maiden (1672). Every title which refers to ladies from London is an almost certain reference to their looseness, as in the case of The ansvver to the London lasses folly, or, The new-found father discoverd at the camp (1685). Country girls don’t get off easy either, but generally (not always) they are duped and remorseful. Poor Celia, the subject of the 0ft-printed (and apparently sung) ballad Celia’s Complaint (1678-95?) who was “quickly won” by a rogue’s fair words and is now, forever, “quite undone” and an example to all:  My Spotless Virgins Fort, thou strongly didst assault/ My Favor thou didst Court, and this was my great fault/ So soon to yield, to thee the Field, which did my Honour stain/ And now I cry, continually, poor Celia Loved in Vain.

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London Lasses Beineke

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Later seventeenth-century ballads from the Houghton Library at Harvard, the Beineke Library at Yale, and a great database for English broadside ballads: The University of California at Santa Barbara’s Broadside Ballad Archive. You can actually hear variations on these ballads performed, including the classic “Maid’s Complaint for want of a Dil Doul”, on the City Waites’ album Bawdy Ballads of Old England.