Bagpipe Book

You've all heard the skirl of the pipes at Fourth of July celebrations, and watched the pipers and drummers march by. What's more American than a Scottish pipe band?

Joanne, your blog host at Fourth of July History, has just released a new book of folklore and mythology that is all about bagpipes and pipers. Now you can read centuries old stories about the piping tradition.

You can learn more about the book by visiting Bagpipe Folklore, Legends, and Fairy Tales. There you will find vintage photos, engravings, and other images of bagpipes and pipers from around the world, as well as stories, legends, and true-life tales related to piping.

Happy Fourth of July, everyone!

Patriotic Boy Valentine

Valentine Greetings, Patriotic Child
Available as an art print

Benjamin Franklin Join or Die Poster

Join, or Die is a famous political cartoon created by Benjamin Franklin and first published in his Pennsylvania Gazette on May 9, 1754. The original a publication by the Gazette is the earliest known pictorial representation of colonial union produced by a British colonist in America. It is a woodcut showing a snake severed into eighths, with each segment labeled with the initial of a British American colony or region. The cartoon appeared along with Franklin's editorial about the "disunited state" of the colonies, and helped make his point about the importance of colonial unity. During that era, there was a superstition that a snake which had been cut into pieces would come back to life if the pieces were put together before sunset.

Role During French and Indian War

At that time, the colonists were divided on whether to fight the French and their Indian allies for control of the land west of the Appalachian Mountains, in what came to be known as the French and Indian War. It became a symbol for the need of organized action against an outside threat posed by the French and Indians in the mid 18th century. Writer Philip Davidson states that Franklin was a propagandist influential in seeing the potential in political cartoons.[4] Franklin had proposed the Albany Plan and his cartoon suggested that such a union was necessary to avoid destruction. As Franklin wrote,

"The Confidence of the French in this Undertaking seems well-grounded on the present disunited State of the British Colonies, and the extreme Difficulty of bringing so many different Governments and Assemblies to agree in any speedy and effectual Measures for our common defense and Security; while our Enemies have the very great Advantage of being under one Direction, with one Council, and one Purse...."

Role Prior to and during the American Revolution

Franklin's political cartoon took on a different meaning during the lead up to the American Revolution, especially around 1765-1766, during the Stamp Act Congress. British colonists in America protesting British rule used the cartoon in the Constitutional Courant to help persuade the colonists. However, the Patriots, who associated the image with eternity, vigilance, and prudence, were not the only ones who saw a new interpretation of the cartoon. The Loyalists saw the cartoon with more biblical traditions, such as those of guile, deceit, and treachery. Franklin himself opposed the use of his cartoon at this time, but instead advocated a moderate political policy; in 1766 he published a new cartoon "MAGNA Britannia: her Colonies REDUC'D" in 1766. Because of this cartoon, the "Courant" was thought of in England as one of the most radical publications.

The difference between the use of "Join or Die" in 1754 and 1765 is that Franklin had designed it to unite the colonies for defense against France, but in 1765 American colonists used it to urge colonial unity against the British. Also during this time the phrase "join, or die" changed to "unite, or die," in some states such as New York and Pennsylvania.

Soon after the publication of the cartoon during the Stamp Act Congress, variations were printed in New York, Massachusetts, and a couple months later it had spread to Virginia and South Carolina. In some states, such as New York and Pennsylvania, the cartoon continued to be published week after week for over a year.

Legacy of the Cartoon
The cartoon has been reprinted and redrawn widely throughout American history. Variants of the cartoon have different texts, e.g. "Unite or Dead", and differently labeled segments, depending on the political bodies being appealed to. During the American Revolutionary War, the image became a potent symbol of Colonial unity and resistance to what was seen as British oppression. It returned to service, suitably redrawn, for both sides of the American Civil War.


Click on image for enlarged view or go to Join or Die

Last of the British Leave New York

Painted around 1783, this image is available as a high-quality art print from Boatload of Brits.

Sybil Ludington, the "Female Paul Revere"

Sybil Ludington (1761–1839) was the daughter of Colonel Henry Ludington, the commander of the local militia near Fredericksburgh Precinct, New York (later renamed Ludingtonville, and now part of the town of Kent) during the American Revolution.

She was born and raised in what was then part of Dutchess County, New York, near the Hudson river. The eldest of 12, she was often responsible for looking after her younger siblings (Rebecca, Mary, Abigail, Archibald, Henry, Derick, Tertullus, Anna, Fredrick, Sophia, and Lewis). On the night of April 26, 1777, she was putting them to bed when her family received word that British troops had begun burning Danbury, Connecticut, which was only 25 miles away. Her father's troops were scattered over a large area around the house, and Sybil convinced her father to let her ride to warn them.

At the time of the ride, she was 16 years old and would have been considered a young adult.

Her ride started at 9:00 P.M. and ended around dawn. She rode 40 miles, more than twice the distance of Paul Revere, into the damp hours of darkness. She could see the sky aglow from the burning town. "Muster at Ludington's," she shouted at the farmhouses of the millitiamen. She rode through Carmel, on to Mahopac, thence to Kent Cliffs, from there to Farmers Mills and back home. She used a stick to prod her horse and knock on doors. She managed to defend herself against a highway man with her father's musket. When, soaked from the rain and exhausted, she returned home, most of the 400 soldiers were ready to march.

The men arrived too late to save Danbury. At the ensuing Battle of Ridgefield, however, they were able to drive General William Tryon, then governor of the colony of New York, and his men to Long Island Sound.

Sybil was congratulated for her heroism by friends and neighbors, and by General George Washington.

After the war, in 1784, Sybil married a lawyer from Catskill named Edgar Ogden. They had one child, Henry, whose son founded Fort Riley, Kansas. Sybil lived in Unadilla until her death on February 26, 1839. She was 78 years old. She was buried near her father in the Maple Avenue Cemetery in Patterson, New York.

A statue of Sybil, sculpted by Anna Hyatt Huntington, was erected along her route near Carmel in 1961 to commemorate her ride. A smaller copy of the statue is located on the grounds of the DAR Headquarters in Washington, DC and another one is located in Danbury, Connecticut, on the grounds of the public library. In 1975 she was honored with a stamp in the "Contributors to the Cause" United States Bicentennial series.

Each April since 1979, the Sybil Ludington 50-kilometer footrace has been held in Carmel, NY. The course of this hilly road race approximates Sybil's historic ride, and finishes near her statue on the shore of Lake Gleneida.

Paul Revere Calling the Lexington Minutemen to Arms, c.1775

Paul Revere Calling the Lexington Minutemen to Arms, c.1775. Click on image for enlarged view or go to Paul Revere's Ride

Paul Revere's Ride by Henry Wadsworth Longfellow

"Paul Revere's Ride" is an American poem by Henry Wadsworth Longfellow that commemorates the actions of American patriot Paul Revere on April 18, 1775. The poem was written on April 19, 1860 and first published in The Atlantic Monthly in January 1861. It was later published in Longfellow's Tales of a Wayside Inn in 1863. Longfellow's poem is credited with creating the national legend of Paul Revere, a previously little-known Massachusetts silversmith. Longfellow's poem begins:

Listen my children and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in Seventy-five; Hardly a man is now alive[4] Who remembers that famous day and year.

He said to his friend, "If the British march By land or sea from the town to-night, Hang a lantern aloft in the belfry arch Of the North Church tower as a signal light,-- One if by land, and two if by sea; And I on the opposite shore will be, Ready to ride and spread the alarm Through every Middlesex village and farm, For the country folk to be up and to arm."

Then he said "Good-night!" and with muffled oar Silently rowed to the Charlestown shore, Just as the moon rose over the bay, Where swinging wide at her moorings lay The Somerset, British man-of-war; A phantom ship, with each mast and spar Across the moon like a prison bar, And a huge black hulk, that was magnified By its own reflection in the tide.

Meanwhile, his friend through alley and street Wanders and watches, with eager ears, Till in the silence around him he hears The muster of men at the barrack door, The sound of arms, and the tramp of feet, And the measured tread of the grenadiers, Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church, By the wooden stairs, with stealthy tread, To the belfry chamber overhead, And startled the pigeons from their perch On the sombre rafters, that round him made Masses and moving shapes of shade,-- By the trembling ladder, steep and tall, To the highest window in the wall, Where he paused to listen and look down A moment on the roofs of the town And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead, In their night encampment on the hill, Wrapped in silence so deep and still That he could hear, like a sentinel's tread, The watchful night-wind, as it went Creeping along from tent to tent, And seeming to whisper, "All is well!"

A moment only he feels the spell Of the place and the hour, and the secret dread Of the lonely belfry and the dead; For suddenly all his thoughts are bent On a shadowy something far away, Where the river widens to meet the bay,-- A line of black that bends and floats On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride, Booted and spurred, with a heavy stride On the opposite shore walked Paul Revere. Now he patted his horse's side, Now he gazed at the landscape far and near, Then, impetuous, stamped the earth, And turned and tightened his saddle girth; But mostly he watched with eager search

The belfry tower of the Old North Church, As it rose above the graves on the hill, Lonely and spectral and sombre and still. And lo! as he looks, on the belfry's height A glimmer, and then a gleam of light! He springs to the saddle, the bridle he turns, But lingers and gazes, till full on his sight A second lamp in the belfry burns.

A hurry of hoofs in a village street, A shape in the moonlight, a bulk in the dark, And beneath, from the pebbles, in passing, a spark Struck out by a steed flying fearless and fleet; That was all! And yet, through the gloom and the light, The fate of a nation was riding that night;

And the spark struck out by that steed, in his flight, Kindled the land into flame with its heat. He has left the village and mounted the steep, And beneath him, tranquil and broad and deep, Is the Mystic, meeting the ocean tides; And under the alders that skirt its edge, Now soft on the sand, now loud on the ledge, Is heard the tramp of his steed as he rides.

It was twelve by the village clock When he crossed the bridge into Medford town. He heard the crowing of the cock, And the barking of the farmer's dog, And felt the damp of the river fog, That rises after the sun goes down.

It was one by the village clock, When he galloped into Lexington. He saw the gilded weathercock Swim in the moonlight as he passed, And the meeting-house windows, black and bare, Gaze at him with a spectral glare, As if they already stood aghast At the bloody work they would look upon.

It was two by the village clock, When he came to the bridge in Concord town. He heard the bleating of the flock, And the twitter of birds among the trees, And felt the breath of the morning breeze Blowing over the meadow brown. And one was safe and asleep in his bed Who at the bridge would be first to fall, Who that day would be lying dead, Pierced by a British musket ball.

You know the rest. In the books you have read How the British Regulars fired and fled, How the farmers gave them ball for ball, From behind each fence and farmyard wall, Chasing the redcoats down the lane, Then crossing the fields to emerge again Under the trees at the turn of the road, And only pausing to fire and load.

So through the night rode Paul Revere; And so through the night went his cry of alarm To every Middlesex village and farm, A cry of defiance, and not of fear, A voice in the darkness, a knock at the door, And a word that shall echo for evermore! For, borne on the night-wind of the Past, Through all our history, to the last, In the hour of darkness and peril and need, The people will waken and listen to hear The hurrying hoof-beats of that steed, And the midnight message of Paul Revere.