
Browse content similar to How Auld Lang Syne took over the world. Check below for episodes and series from the same categories and more!
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If that was the Rolling Stones, he'd have you in court, wouldn't he? | 0:00:01 | 0:00:02 | |
Every December 31st, millions and millions of people | 0:00:05 | 0:00:09 | |
around the world raise their voices in a chorus of Auld Lang Syne. | 0:00:09 | 0:00:13 | |
# Should old acquaintance be forgot... # | 0:00:14 | 0:00:16 | |
# Never BROCCHHT tae mind... # | 0:00:16 | 0:00:19 | |
How did a simple Scottish folk song | 0:00:19 | 0:00:22 | |
with words most people scarcely understand or get right... | 0:00:22 | 0:00:25 | |
Something about a cup? | 0:00:25 | 0:00:27 | |
# La-la-la... # | 0:00:27 | 0:00:29 | |
..become one of the world's most popular? | 0:00:29 | 0:00:31 | |
Tonight, we are going to chart | 0:00:40 | 0:00:42 | |
Auld Lang Syne's rise to global dominance. | 0:00:42 | 0:00:45 | |
This is a song that Scotland's given to the world. | 0:00:46 | 0:00:48 | |
Hoots, man, it's Scotland, it's New Year! | 0:00:50 | 0:00:53 | |
ACCORDION MUSIC PLAYS | 0:00:53 | 0:00:55 | |
I'm Scottish, right?! | 0:00:55 | 0:00:57 | |
We'll see how Hollywood played its part in spreading the word... | 0:00:57 | 0:01:01 | |
It's so cheesy and schmaltzy, it's got to be Auld Lang Syne. | 0:01:01 | 0:01:04 | |
What does this song mean? | 0:01:04 | 0:01:05 | |
My whole life, I don't know what this song means. | 0:01:05 | 0:01:07 | |
..and listen to its many incarnations. | 0:01:07 | 0:01:10 | |
# And surely, I'll buy mine... # | 0:01:10 | 0:01:14 | |
The good... | 0:01:14 | 0:01:16 | |
# Should auld acquaintance be forgot and never brought to mind... # | 0:01:16 | 0:01:19 | |
..and the not so good. | 0:01:19 | 0:01:21 | |
# Should old acquaintance be forgot... # | 0:01:21 | 0:01:24 | |
# And never brought to mind... # | 0:01:24 | 0:01:28 | |
We'll tackle the words... We'll tak a richt gude-willy waught. | 0:01:28 | 0:01:32 | |
It's very hard to think of anything that isn't sexual. | 0:01:32 | 0:01:35 | |
..and get to grips with the movements. | 0:01:35 | 0:01:37 | |
There is no handholding, there is nothing done, | 0:01:37 | 0:01:40 | |
don't get aff your chair! | 0:01:40 | 0:01:41 | |
Is it that, or is it that? | 0:01:42 | 0:01:44 | |
Wooft! | 0:01:44 | 0:01:46 | |
No, not yet! It's all getting confused, what's going on? | 0:01:46 | 0:01:50 | |
It's a wee thoughtful moment in a night of mayhem and enjoyment. | 0:01:52 | 0:01:55 | |
But before all that, we have to get back to the very roots of this | 0:01:57 | 0:02:01 | |
global phenomenon, to where it all began, the birthplace, | 0:02:01 | 0:02:04 | |
the seed from which world domination would sprout. | 0:02:04 | 0:02:08 | |
The fertile land that nurtured Scotland's most famous son, | 0:02:08 | 0:02:12 | |
and top tatties, the golf course, the Sunshine State, Ayrshire - | 0:02:12 | 0:02:17 | |
the home of Rabbie Burns. | 0:02:17 | 0:02:19 | |
Because without him, | 0:02:20 | 0:02:22 | |
we wouldn't have Auld Lang Syne. | 0:02:22 | 0:02:25 | |
For it was the ploughman poet | 0:02:25 | 0:02:28 | |
that gave us our song. | 0:02:28 | 0:02:30 | |
'In this cottage at Alloway was born Robert Burns, | 0:02:30 | 0:02:33 | |
'greatest of Scottish poets.' | 0:02:33 | 0:02:35 | |
There is a part of the Scottish psyche and soul that is | 0:02:35 | 0:02:39 | |
hugely creative and poetic, and Burns typifies that, for me. | 0:02:39 | 0:02:43 | |
'His poems have bound Scotsmen together | 0:02:43 | 0:02:45 | |
'all over the world, in revered admiration.' | 0:02:45 | 0:02:48 | |
He obviously liked a swally and he obviously liked the birds | 0:02:48 | 0:02:51 | |
and he obviously liked a party, so he seems real. | 0:02:51 | 0:02:55 | |
THEY SING MERRILY | 0:02:55 | 0:02:58 | |
He kind of epitomises an early rock star, | 0:02:58 | 0:03:01 | |
he's touring, he's oot there | 0:03:01 | 0:03:03 | |
with the birds and the booze and the boys, an' that. | 0:03:03 | 0:03:07 | |
We all knew about Robert Burns, we are all very proud of Robert Burns, | 0:03:07 | 0:03:10 | |
and Auld Lang Syne was probably one of the few things | 0:03:10 | 0:03:13 | |
we could all recite immediately, because we'd heard it so often. | 0:03:13 | 0:03:16 | |
Roy, which Scottish poet wrote the words to Old Lang Syne? | 0:03:17 | 0:03:19 | |
Robbie Burns. Correct. | 0:03:19 | 0:03:22 | |
People know about Burns, | 0:03:22 | 0:03:24 | |
but what do they really know about Auld Lang Syne? | 0:03:24 | 0:03:26 | |
Perhaps we should confine our casual conversation to | 0:03:26 | 0:03:29 | |
the subject of your recent poem, Auld Lang Zyne. | 0:03:29 | 0:03:32 | |
Syne. Syne. | 0:03:32 | 0:03:33 | |
Genuinely, I thought Auld Lang Syne was referring to a person | 0:03:33 | 0:03:37 | |
called Syne, who was old and tall. | 0:03:37 | 0:03:40 | |
In music, the title of which seasonal song | 0:03:40 | 0:03:42 | |
is Scottish dialect for "Old long since"? | 0:03:42 | 0:03:44 | |
Maybe at New Year, this old man called Lang Syne | 0:03:44 | 0:03:48 | |
lived on his own, and you took a cup of kindness round to him. | 0:03:48 | 0:03:52 | |
"We'll take a cup of kindness yet" is a recurring line in which song? | 0:03:52 | 0:03:57 | |
It's like a recipe for tablet or the taste for Irn Bru, | 0:04:01 | 0:04:04 | |
it's sort of buried deep within our kind of DNA. | 0:04:04 | 0:04:08 | |
I know it's maybe not nice to say this, | 0:04:08 | 0:04:10 | |
but I think it's a bit of a dirge. | 0:04:10 | 0:04:13 | |
BELL TOLLS | 0:04:13 | 0:04:17 | |
HE PLAYS AULD LANG SYNE ON THE VIOLIN | 0:04:18 | 0:04:21 | |
Poor Burns - no royalties, no nothing! | 0:04:23 | 0:04:25 | |
Everybody is singing his songs! | 0:04:25 | 0:04:27 | |
If that was the Rolling Stones, he'd have you in court, wouldn't he? | 0:04:27 | 0:04:30 | |
'As officers linked arms, struggling to keep the gateway clear, | 0:04:30 | 0:04:34 | |
'the pickets' response was witty and mocking.' | 0:04:34 | 0:04:37 | |
# For auld lang syne, my dear... # | 0:04:37 | 0:04:42 | |
Er...I think I'm going to go for Early One Morning. | 0:04:42 | 0:04:47 | |
Auld Lang Syne means the party's over, it's time to go home. | 0:04:47 | 0:04:51 | |
'Cheer up, Fred! How about some music? | 0:04:51 | 0:04:55 | |
'To take over the world, a song needs to have a good tune.' | 0:04:55 | 0:04:58 | |
# For auld lang syne, my jo | 0:04:58 | 0:05:02 | |
# For auld lang syne... # | 0:05:02 | 0:05:05 | |
This is the original Burns Auld Lang Syne, | 0:05:05 | 0:05:08 | |
performed beautifully by Mairi Campbell. | 0:05:08 | 0:05:11 | |
The Clintons and Sean Connery approve, | 0:05:11 | 0:05:14 | |
but Burns didn't care for the music, describing it as "mediocre". | 0:05:14 | 0:05:18 | |
And therefore, the song quite literally changed its tune. | 0:05:18 | 0:05:22 | |
To take over the world, as Sir Sean perfectly illustrates, | 0:05:23 | 0:05:27 | |
you need a bit of a crowd-pleasing number. | 0:05:27 | 0:05:29 | |
Get the masses on their feet and get them singing! | 0:05:29 | 0:05:32 | |
Join me with 75,000 people here in Edinburgh, and thousands more | 0:05:32 | 0:05:37 | |
across the country, for our own song of friendship, Auld Lang Syne. | 0:05:37 | 0:05:42 | |
# Should old acquaintance be forgot... # | 0:05:42 | 0:05:45 | |
It was three years after Burns' death that | 0:05:45 | 0:05:48 | |
Auld Lang Syne as we know it appears in print for the first time. | 0:05:48 | 0:05:52 | |
George Thomson, an Edinburgh-based publisher, | 0:05:52 | 0:05:54 | |
brought the words and music together | 0:05:54 | 0:05:56 | |
in his Select Collection of Original Scottish Airs of 1799. | 0:05:56 | 0:06:01 | |
They say imitation is the sincerest form of flattery, | 0:06:02 | 0:06:05 | |
and for Auld Lang Syne, | 0:06:05 | 0:06:07 | |
there have been hundreds upon hundreds of covers and variations. | 0:06:07 | 0:06:11 | |
Cue the music. | 0:06:11 | 0:06:13 | |
# Should old acquaintance... # | 0:06:13 | 0:06:18 | |
# Be forgot... # | 0:06:18 | 0:06:20 | |
# And never brought to mind... # | 0:06:20 | 0:06:25 | |
# Should old acquaintance be forgot... # | 0:06:25 | 0:06:29 | |
# And days of auld lang syne... # | 0:06:29 | 0:06:33 | |
It's such a simple tune, it is ultimately very adaptable. | 0:06:33 | 0:06:37 | |
# Should auld acquaintance be forgot | 0:06:37 | 0:06:41 | |
# And never brought to mind... # Oh! | 0:06:41 | 0:06:44 | |
It's probably the most covered song of all time, and it's | 0:06:44 | 0:06:49 | |
probably had some of the most atrocious versions ever done of it. | 0:06:49 | 0:06:53 | |
I've got a sneaking regard for Chas and Dave. | 0:06:53 | 0:06:56 | |
# Should old acquaintance be forgot and never brought to mind... # | 0:06:56 | 0:07:02 | |
Huge Chas and Dave fan. | 0:07:02 | 0:07:04 | |
That's a lie. | 0:07:05 | 0:07:06 | |
It gives absolutely no quarter to the sentimental side, | 0:07:08 | 0:07:12 | |
it's just knees up, here we go, let's have a bloody good time! | 0:07:12 | 0:07:16 | |
It's quite rousing. | 0:07:19 | 0:07:20 | |
I could feel myself kind of thinking, | 0:07:22 | 0:07:24 | |
"Will I do the Lambeth Walk to this? | 0:07:24 | 0:07:26 | |
"Will I eat jellied eels? | 0:07:28 | 0:07:29 | |
"Or just turn it off?" | 0:07:30 | 0:07:31 | |
I turned it off. | 0:07:33 | 0:07:34 | |
# Should old acquaintance be forgot... # | 0:07:34 | 0:07:40 | |
When you see, like, Mariah Carey... | 0:07:40 | 0:07:42 | |
# And never brought to mind... # | 0:07:42 | 0:07:46 | |
Scottish people just go, "Aagh!" | 0:07:46 | 0:07:48 | |
# Five, four, three, two... # | 0:07:48 | 0:07:51 | |
We don't like it being messed with. | 0:07:51 | 0:07:53 | |
# Should old acquaintance be forgot and never brought to mind... # | 0:07:53 | 0:08:01 | |
I think, when it's a classic song like that, | 0:08:01 | 0:08:03 | |
unless you can do something really, really wonderful with it... | 0:08:03 | 0:08:07 | |
# For old lang syne, my dear... # | 0:08:07 | 0:08:12 | |
..then leave it alone! | 0:08:12 | 0:08:14 | |
Happy New Year! | 0:08:14 | 0:08:17 | |
As far as I'm concerned, Cliff Richard can do whatever he wants. | 0:08:19 | 0:08:22 | |
# Our Father, who art in heaven | 0:08:22 | 0:08:27 | |
# Hallowed be thy name... # | 0:08:27 | 0:08:29 | |
Yes, yes, I think you could see Cliff as a pioneer, | 0:08:29 | 0:08:31 | |
boldly going where no singer had gone before. | 0:08:31 | 0:08:34 | |
# Our Father, who art in heaven | 0:08:34 | 0:08:40 | |
# Hallowed be thy name... # | 0:08:40 | 0:08:44 | |
It's amazing to me that no-one ever thought of putting other | 0:08:44 | 0:08:49 | |
lyrics to that, to that melody. | 0:08:49 | 0:08:52 | |
Mind you, I hadn't thought of it. | 0:08:52 | 0:08:54 | |
And then he sang it, and the world knew why no-one had done it before. | 0:08:55 | 0:09:00 | |
I don't know why, then, he didn't, you know, | 0:09:00 | 0:09:03 | |
take Stairway To Heaven and sing it to the tune of EastEnders, | 0:09:03 | 0:09:05 | |
because that would work just as well, wouldn't it? | 0:09:05 | 0:09:08 | |
It doesn't fit. It doesn't properly fit the tune. | 0:09:09 | 0:09:12 | |
# Our Father... # | 0:09:12 | 0:09:14 | |
# Our Father, who art in h'en... # | 0:09:14 | 0:09:18 | |
# Hallowed be thy name... # | 0:09:18 | 0:09:22 | |
You're left with one leg up in the air, or one arm up in the air at the end of that line, | 0:09:22 | 0:09:26 | |
and he's got to squeeze a couple of words in, | 0:09:26 | 0:09:28 | |
it's too hard to get them in, it doesn't quite work for me. | 0:09:28 | 0:09:30 | |
# Amen, amen, amen... # | 0:09:30 | 0:09:35 | |
People found it offensive! | 0:09:35 | 0:09:36 | |
Thank you, but it's not over! | 0:09:36 | 0:09:38 | |
# Amen, amen... # | 0:09:38 | 0:09:39 | |
DJs seemed to find it so controversial that some of them refused to play it. | 0:09:39 | 0:09:43 | |
# Amen, amen, amen... # | 0:09:43 | 0:09:46 | |
INTERVIEWER: Did you play it? | 0:09:46 | 0:09:47 | |
No. HE LAUGHS | 0:09:47 | 0:09:50 | |
'It made it all the sweeter for me that in spite of the opposition,' | 0:09:54 | 0:09:57 | |
we did it. | 0:09:57 | 0:09:58 | |
Me and Auld Lang Syne, we got on really well! | 0:10:02 | 0:10:05 | |
# Sing amen... # | 0:10:06 | 0:10:08 | |
I'd do it again. Is there another old, traditional | 0:10:08 | 0:10:11 | |
Scottish song that I can do something with? I don't know. | 0:10:11 | 0:10:13 | |
# ..I'll buy mine | 0:10:13 | 0:10:16 | |
# We'll tak a cup o' kindness yet... # | 0:10:16 | 0:10:21 | |
What I love is when somebody really, really understands the lyric | 0:10:21 | 0:10:25 | |
and understands what they are singing about. | 0:10:25 | 0:10:27 | |
And the one person that I think is | 0:10:27 | 0:10:29 | |
the best in the world at singing Auld Lang Syne is Eddi Reader. | 0:10:29 | 0:10:33 | |
# It's got to be-e-e-e-e perfect... # | 0:10:33 | 0:10:38 | |
'Well, Tom, funnily enough, that's exactly who I'm off to see. | 0:10:39 | 0:10:43 | |
'Hitting the right note, Eddi's version taps into the very | 0:10:43 | 0:10:46 | |
'essence of Auld Lang Syne's universal appeal.' | 0:10:46 | 0:10:49 | |
I think it is actually impossible to kind of listen to this song, | 0:10:49 | 0:10:53 | |
or to sing this song, without getting some of the emotion. | 0:10:53 | 0:10:56 | |
I'm a middle-aged Scottish man, I'm emotionally, you know, bereft, | 0:10:56 | 0:11:00 | |
but when this song comes on, it kind of turns the key | 0:11:00 | 0:11:02 | |
and opens up the floodgates, you know? Yeah, why does it do that? | 0:11:02 | 0:11:06 | |
But your version is the one that absolutely... | 0:11:06 | 0:11:09 | |
That kills you, does it? | 0:11:09 | 0:11:10 | |
Oh, yeah. The key goes in the lock, and it's like... | 0:11:10 | 0:11:13 | |
In fact, at this point, I'm just going to stop! | 0:11:13 | 0:11:15 | |
# Should auld... # | 0:11:15 | 0:11:17 | |
So, it stops there. | 0:11:17 | 0:11:19 | |
# Should auld acquaintance be forgot | 0:11:19 | 0:11:24 | |
# And never brought tae mind | 0:11:24 | 0:11:28 | |
# Should auld acquaintance... # | 0:11:28 | 0:11:31 | |
You're still up there... | 0:11:31 | 0:11:32 | |
# ..Be forgot | 0:11:32 | 0:11:34 | |
# And the days of auld lang syne... # | 0:11:34 | 0:11:40 | |
And I think with that one, you're just... | 0:11:40 | 0:11:42 | |
you're left in that hanging kind of place, with that. | 0:11:42 | 0:11:46 | |
Whereas, the other one gives you a little bit of comfort, | 0:11:46 | 0:11:49 | |
a little bit of a hand on your shoulder. | 0:11:49 | 0:11:51 | |
That version, it stays in the melancholic place, you know, | 0:11:51 | 0:11:54 | |
it's all about the days gone by, it's all about the people | 0:11:54 | 0:11:57 | |
gone by, and it stays there and it kind of celebrates that. | 0:11:57 | 0:12:02 | |
The most important thing about the song, for me, | 0:12:02 | 0:12:05 | |
anyway, apart from where it came from or the different versions, | 0:12:05 | 0:12:08 | |
is that the verse, "Here's a hand, my trusty fiere" - my friend - | 0:12:08 | 0:12:13 | |
"And gies a haund o' thine" - or give us a hand of thine - | 0:12:13 | 0:12:16 | |
I sometimes sing, "Gies a HAUD o' thine," | 0:12:16 | 0:12:18 | |
because I like that, it's like grabbing somebody. | 0:12:18 | 0:12:21 | |
Yeah, and all about the importance of friendship and belonging | 0:12:21 | 0:12:24 | |
and fellowship and all that thing. | 0:12:24 | 0:12:25 | |
Yeah, but the actual physical act of going, "Gimme yer haund!" Exactly. | 0:12:25 | 0:12:29 | |
And then, everybody does it. | 0:12:29 | 0:12:30 | |
And I don't know one song on the whole planet | 0:12:30 | 0:12:34 | |
that makes people do that. | 0:12:34 | 0:12:36 | |
I actually hadn't thought about that bit, I hadn't thought about a song that makes you... | 0:12:36 | 0:12:40 | |
Hold each other. Hold each other. | 0:12:40 | 0:12:42 | |
Phil Cunningham says to me, "Did you hear about the Scotsman | 0:12:42 | 0:12:45 | |
"who loved his wife so much, he nearly telt her?" | 0:12:45 | 0:12:47 | |
So it's quite a difficult thing for us to do that, to hold each other. | 0:12:47 | 0:12:51 | |
Yeah, it is. And that song made us do it. Clever man! | 0:12:51 | 0:12:56 | |
'Yes, I did have a tear in my eye.' | 0:12:56 | 0:12:59 | |
I cannae handle it! | 0:12:59 | 0:13:00 | |
'OK, enough already.' | 0:13:00 | 0:13:02 | |
# Should auld acquaintance be forgot | 0:13:02 | 0:13:06 | |
# And never brought... # | 0:13:06 | 0:13:09 | |
Now, for Auld Lang Syne to take over the world, | 0:13:09 | 0:13:11 | |
we know it needs a catchy tune. | 0:13:11 | 0:13:13 | |
But it also needs to have lyrics that everyone knows, right? | 0:13:13 | 0:13:17 | |
Well, yes and no. | 0:13:17 | 0:13:19 | |
I don't think you could find anybody that could sing more than the first verse. | 0:13:20 | 0:13:24 | |
# Should old acquaintance be forgot | 0:13:24 | 0:13:29 | |
# And never... Something, something, something... # | 0:13:29 | 0:13:34 | |
# Should old acquaintance be forgot and never brought to mind... | 0:13:34 | 0:13:38 | |
# Da-da-da-da-da... For auld lang syne! # | 0:13:38 | 0:13:42 | |
Should auld acquaintance be forgot and auld lang syne... | 0:13:42 | 0:13:46 | |
So, here's a... Oh, no. | 0:13:48 | 0:13:52 | |
We twa... | 0:13:52 | 0:13:54 | |
Oh, no! | 0:13:55 | 0:13:57 | |
# For auld lang syne... # | 0:13:57 | 0:14:01 | |
It's usually two or three lines that we keep repeating, isn't it? | 0:14:01 | 0:14:04 | |
# For auld lang syne... # | 0:14:04 | 0:14:07 | |
What does auld lang syne mean? | 0:14:07 | 0:14:09 | |
"Lang", maybe long. "Syne", time? | 0:14:09 | 0:14:12 | |
Long time, old long times, don't know. | 0:14:12 | 0:14:15 | |
# And auld lang syne... # | 0:14:15 | 0:14:18 | |
Then you've got the argument, because it should be, "For auld lang syne." | 0:14:18 | 0:14:22 | |
But people sing, "For THE SAKE OF..." and you get dirty looks if you do that. | 0:14:22 | 0:14:25 | |
# For the sake of auld lang syne. # | 0:14:25 | 0:14:27 | |
STEPHEN FRY: Full points, spot-on! | 0:14:27 | 0:14:30 | |
If you're a Burns aficionado, which I'm not, | 0:14:30 | 0:14:33 | |
apparently they'll shoot you if you do that. | 0:14:33 | 0:14:35 | |
# For auld lang syne... # | 0:14:35 | 0:14:39 | |
My grandfather used to get incandescent with rage | 0:14:39 | 0:14:43 | |
if anybody on TV said "zyne" instead of "syne". | 0:14:43 | 0:14:47 | |
Auld lang zyne. Syne. Syne. | 0:14:47 | 0:14:50 | |
It really annoys me. And it shouldn't, but I don't like it. | 0:14:50 | 0:14:53 | |
As long as you hit auld lang "zyne", you'll be fine. | 0:14:53 | 0:14:56 | |
# Auld lang zyne... # | 0:14:56 | 0:14:59 | |
Something also about Burns saying, | 0:14:59 | 0:15:01 | |
"You'll buy your pint and I'll buy mine"? | 0:15:01 | 0:15:04 | |
# And surely I'll buy mine... # | 0:15:04 | 0:15:09 | |
"Aye, we'll get together... You can buy your own drink, by the way!" | 0:15:09 | 0:15:12 | |
# We twa hae run aboot the braes... # | 0:15:12 | 0:15:17 | |
"Twa" sounds like "three" to me, cos it's like French, right? | 0:15:17 | 0:15:21 | |
"We twa," then it's like, why's there three people cutting about? | 0:15:21 | 0:15:24 | |
What are they up to, doon at the braes? | 0:15:24 | 0:15:26 | |
# And here's a hand, my trusty fiere... # | 0:15:26 | 0:15:30 | |
"Here's a haun, my trusty fiere, and gies a haun o' thine," | 0:15:30 | 0:15:33 | |
it does something, you can actually feel it in here. | 0:15:33 | 0:15:37 | |
# We'll tak a right gude-willy waught, for auld lang syne. # | 0:15:37 | 0:15:42 | |
"We'll tak a right gude-willy waught, for auld lang syne." | 0:15:42 | 0:15:45 | |
Er... | 0:15:45 | 0:15:46 | |
What is that? | 0:15:46 | 0:15:48 | |
That "willy waught", that was funny, when we were at school. | 0:15:48 | 0:15:52 | |
"Gude-willy waught"... | 0:15:52 | 0:15:55 | |
It's very hard to think of anything that isn't sexual. | 0:15:55 | 0:15:58 | |
A willy waught is a decent drink. | 0:15:58 | 0:16:01 | |
It could be whisky, it could be just a pint, it could be... | 0:16:01 | 0:16:04 | |
A good old drink, for the sake of auld lang syne. | 0:16:04 | 0:16:08 | |
# But we've wandered mony a weary foot, sin auld lang syne... # | 0:16:08 | 0:16:13 | |
When you look at the lines and you read them properly, | 0:16:13 | 0:16:16 | |
it just brings the colour of the song and the words just come | 0:16:16 | 0:16:19 | |
to life in your mind, and it's a good thing to do. | 0:16:19 | 0:16:22 | |
OK, so we've got the music and the lyrics, but as any band | 0:16:22 | 0:16:27 | |
will know, to get a hit, you've got to take your song on the road. | 0:16:27 | 0:16:30 | |
And for Auld Lang Syne, it was no different. | 0:16:30 | 0:16:33 | |
The Scots have a long history of leaving home for pastures new, and | 0:16:35 | 0:16:39 | |
from the end of the 18th century, Auld Lang Syne travelled with them. | 0:16:39 | 0:16:42 | |
The song's sentiment of friendship, family | 0:16:42 | 0:16:46 | |
and a good dose of melancholy stayed in the hearts of the Scottish | 0:16:46 | 0:16:49 | |
diaspora, becoming stronger and more rooted as they became | 0:16:49 | 0:16:52 | |
part of the fabric of the countries they settled in. | 0:16:52 | 0:16:55 | |
One destination vital to our song's global domination was | 0:16:58 | 0:17:02 | |
the good old US of A. | 0:17:02 | 0:17:03 | |
ROCK GUITAR SOLO TO TUNE OF AULD LANG SYNE | 0:17:03 | 0:17:09 | |
The Scots just couldn't get enough of the Land of the Free. | 0:17:13 | 0:17:16 | |
They played their part in its establishment - | 0:17:16 | 0:17:19 | |
half the signatories of the Declaration of Independence | 0:17:19 | 0:17:22 | |
were Scottish, or of Scottish descent - | 0:17:22 | 0:17:24 | |
the Scots fought in its wars, and with them came their music. | 0:17:24 | 0:17:29 | |
Well, I've come to New York to meet a couple of fellas, | 0:17:34 | 0:17:37 | |
to get an insight into what impact our Celtic contingent, | 0:17:37 | 0:17:40 | |
and that song, had on America. | 0:17:40 | 0:17:43 | |
Taxi! | 0:17:43 | 0:17:45 | |
One example of Auld Lang Syne's influence in America is | 0:17:45 | 0:17:49 | |
through its role in times of conflict. | 0:17:49 | 0:17:51 | |
Military historian Bobby Wintermute has some fascinating insights. | 0:17:51 | 0:17:55 | |
Tell me a bit about the importance | 0:17:55 | 0:17:58 | |
of Auld Lang Syne during the Civil War. | 0:17:58 | 0:18:00 | |
Because that was a song that was, as I understand it, around | 0:18:00 | 0:18:03 | |
very much at that time and very much on the conscience of people. | 0:18:03 | 0:18:06 | |
Oh, yes, very much so. | 0:18:06 | 0:18:08 | |
And the Union tries to discourage, if not outright ban, the song. | 0:18:08 | 0:18:12 | |
Because, of course, the sentiments of returning home, | 0:18:12 | 0:18:16 | |
of reconciliation, were very sensitive. | 0:18:16 | 0:18:19 | |
So, they banned Auld Lang Syne? | 0:18:19 | 0:18:21 | |
They tried to restrain it, they tried to restrict it. | 0:18:21 | 0:18:23 | |
But then, conversely, after the signing of the surrender terms, | 0:18:23 | 0:18:28 | |
General Grant orders the band to play Auld Lang Syne, | 0:18:28 | 0:18:32 | |
recognising that the country, and that they themselves, | 0:18:32 | 0:18:36 | |
had been through a tremendous upheaval, | 0:18:36 | 0:18:38 | |
and that now was the time for healing. | 0:18:38 | 0:18:41 | |
It's incredible he would choose that song, though... Oh, yes. | 0:18:41 | 0:18:45 | |
..given that there were plenty of other songs around at that time. | 0:18:45 | 0:18:48 | |
Many others, but Auld Lang Syne had become, by this point, | 0:18:48 | 0:18:51 | |
almost part of the American songbook. | 0:18:51 | 0:18:54 | |
It's extraordinary. It is. It really is. | 0:18:54 | 0:18:56 | |
Next up, Central Park and Burns scholar Thomas Keith, | 0:19:00 | 0:19:04 | |
for a chat under the watchful eye of Rabbie Burns' very own statue. | 0:19:04 | 0:19:08 | |
Why did that song in particular become such an important thing here? | 0:19:10 | 0:19:14 | |
There is something of a friendship and family feeling about it, | 0:19:14 | 0:19:19 | |
that was immediately understood. | 0:19:19 | 0:19:21 | |
And I think it has something to do with that melody... Uh-huh. | 0:19:21 | 0:19:24 | |
As well as the Burns lyrics, | 0:19:24 | 0:19:26 | |
because the Burns lyrics are sometimes known and sometimes not. | 0:19:26 | 0:19:30 | |
Now, give us a sense of just how important it was, | 0:19:30 | 0:19:33 | |
that phrase, as well. | 0:19:33 | 0:19:34 | |
Because it was really taken on board by the Americans in a way | 0:19:34 | 0:19:37 | |
that perhaps wasn't by the Scots back home. | 0:19:37 | 0:19:40 | |
Yeah, I think it had, er, multiple meanings. I mean, it, it, er... | 0:19:40 | 0:19:44 | |
It, of course, was a song of reunion, not a song of parting, | 0:19:46 | 0:19:51 | |
as we think of it now. | 0:19:51 | 0:19:52 | |
You find, starting in the 1880s, all kinds of greetings cards. | 0:19:52 | 0:19:56 | |
You had Auld Lang Syne for every occasion, | 0:19:56 | 0:19:59 | |
perhaps except New Year, there were a few New Year's cards, | 0:19:59 | 0:20:02 | |
but you had Auld Lang Syne for Valentine's Day, Auld Lang Syne | 0:20:02 | 0:20:06 | |
for the Fourth of July, Auld Lang Syne for Easter, Auld Lang Syne | 0:20:06 | 0:20:09 | |
for Halloween, Auld Lang Syne for St Patrick's Day. Really? | 0:20:09 | 0:20:14 | |
Auld Lang Syne for secular Christmas, | 0:20:14 | 0:20:17 | |
Auld Lang Syne for religious Christmas. | 0:20:17 | 0:20:19 | |
It was an understood phrase among Americans. | 0:20:19 | 0:20:23 | |
Auld Lang Syne has had a truly remarkable impact on America, | 0:20:29 | 0:20:33 | |
part of the soundtrack to which America's history has played out... | 0:20:33 | 0:20:38 | |
Oh, Scotland! | 0:20:38 | 0:20:40 | |
..resonating outwards from the early homesteads, | 0:20:40 | 0:20:42 | |
all the way to the White House. | 0:20:42 | 0:20:45 | |
In 1936, on accepting the Democratic nomination for a second election, | 0:20:45 | 0:20:50 | |
a jubilant President Roosevelt wanted to hear it after his speech. | 0:20:50 | 0:20:54 | |
Get the band to play Auld Lang Syne again. | 0:20:54 | 0:20:57 | |
Auld Lang Syne! | 0:20:57 | 0:20:59 | |
BAND STARTS TO PLAY AULD LANG SYNE | 0:20:59 | 0:21:03 | |
I think the band was going to play something... | 0:21:06 | 0:21:08 | |
LAUGHTER | 0:21:08 | 0:21:11 | |
And it... | 0:21:11 | 0:21:12 | |
BAND STARTS TO PLAY AULD LANG SYNE | 0:21:12 | 0:21:14 | |
And in 1989, it was the song that Ronald and Nancy Reagan sang | 0:21:14 | 0:21:17 | |
as they prepared to depart the White House for the last time. | 0:21:17 | 0:21:21 | |
# ..Brought to mind | 0:21:21 | 0:21:25 | |
# Should old acquaintance be forgot... # | 0:21:25 | 0:21:33 | |
OK, time to check out a few modern-day Scots | 0:21:38 | 0:21:42 | |
who've followed in the tradition | 0:21:42 | 0:21:43 | |
and established themselves a new life in the New World. | 0:21:43 | 0:21:47 | |
First up, Aberfeldy-born star of stage and screen, Alan Cumming... | 0:21:48 | 0:21:52 | |
Let's see the teeth. | 0:21:52 | 0:21:53 | |
OK, job's yours. | 0:21:55 | 0:21:57 | |
..who swapped Scotland for the high life of New York. | 0:21:57 | 0:22:00 | |
Well, that was clumsy. | 0:22:00 | 0:22:01 | |
Dougie! How are you, Alan? You'll have had your tea! I've had my tea! | 0:22:03 | 0:22:08 | |
Good to see you. You too. | 0:22:08 | 0:22:09 | |
So, do you think people who come across and start living, | 0:22:09 | 0:22:12 | |
especially Scottish people coming across and live, | 0:22:12 | 0:22:14 | |
particularly in America, that they become even more patriotic? | 0:22:14 | 0:22:18 | |
Um, well, I think you can go very much of the haggis and heather way. | 0:22:18 | 0:22:24 | |
And I mean, people here are very encouraging of that, like, | 0:22:24 | 0:22:27 | |
practically every day of my life, I get people going, | 0:22:27 | 0:22:30 | |
"Alan, I'm Scottish!" | 0:22:30 | 0:22:32 | |
And you go, "Oh, really? Where from?" "I don't know." | 0:22:32 | 0:22:36 | |
And, you know, that's the whisky in the blood side of things. | 0:22:36 | 0:22:39 | |
'Time to chap up Elgin's very own star of Grey's Anatomy, | 0:22:41 | 0:22:44 | |
'actor and director Kevin McKidd...' | 0:22:44 | 0:22:47 | |
We've got an ATB accident two minutes out. Here we go. | 0:22:47 | 0:22:50 | |
'..who now calls LA home.' | 0:22:50 | 0:22:52 | |
Kevin, how are you? Hey! How are you doing? Good to see you. Do you want to have a blether? | 0:22:52 | 0:22:56 | |
'He doesn't actually live in a caravan!' | 0:22:56 | 0:22:58 | |
So, Hogmanay here in Los Angeles, slightly | 0:22:58 | 0:23:01 | |
different from back in Elgin? It is, it is, it doesn't cut it, really. | 0:23:01 | 0:23:06 | |
I almost feel now, there's no point if you're not in Scotland. Really? | 0:23:06 | 0:23:09 | |
Not that there's no point, but it's just not the same. | 0:23:09 | 0:23:11 | |
I don't find it to be the same, you know? I like to be on my home turf. | 0:23:11 | 0:23:16 | |
I get kind of depressed when I'm not in Scotland for Hogmanay. | 0:23:16 | 0:23:19 | |
Right, really? I get kind of... | 0:23:19 | 0:23:21 | |
"Pfff! Right, I'm going to my bed," you know, | 0:23:21 | 0:23:23 | |
whereas if I'm in Scotland, I'm like, I'm the guy... | 0:23:23 | 0:23:26 | |
I'm the guy up until six in the morning, you know. | 0:23:26 | 0:23:30 | |
Seeing what's left of all the empty bottles! | 0:23:30 | 0:23:33 | |
Also in LA, celebrity reporter Ross King... | 0:23:35 | 0:23:38 | |
Written by Tim Rice and the two boys from ABBA, Elaine Paige | 0:23:38 | 0:23:41 | |
and Barbara Dickson and I Know Him So Well... | 0:23:41 | 0:23:43 | |
..who traded a view of the Clyde for the Hollywood sign... | 0:23:43 | 0:23:46 | |
The movie comes out right at the end of the year... ..in his back yard! | 0:23:46 | 0:23:49 | |
We got together - chaos. | 0:23:49 | 0:23:51 | |
Ross! Dougie! How are you? How did you get past security? I don't know! | 0:23:51 | 0:23:56 | |
Now, of course, you are a showbiz reporter, | 0:23:56 | 0:23:59 | |
you must have been with some serious big stars and sung Auld Lang Syne from time to time, have you? | 0:23:59 | 0:24:03 | |
Actually, yes. Um... | 0:24:03 | 0:24:07 | |
I do remember singing | 0:24:07 | 0:24:09 | |
Auld Lang Syne round a piano | 0:24:09 | 0:24:13 | |
at Catherine Zeta-Jones and Michael Douglas's wedding, | 0:24:13 | 0:24:15 | |
with Catherine belting it out, and Mick Hucknall from Simply Red. | 0:24:15 | 0:24:19 | |
And they actually got the words right. | 0:24:19 | 0:24:21 | |
I remember singing it with Vinnie Jones, | 0:24:21 | 0:24:24 | |
who got the words completely wrong. | 0:24:24 | 0:24:26 | |
COCKNEY ACCENT: # For the sake of old lang syne... # | 0:24:26 | 0:24:29 | |
Did you tell him? Didn't say a word. "Bravo, Vinnie!" I went. "That was beautiful!" | 0:24:29 | 0:24:34 | |
Auld Lang Syne as a song, is that something that you have, | 0:24:34 | 0:24:37 | |
in the past, been known to drink a few drinks and sing? | 0:24:37 | 0:24:41 | |
You know, I can do it like everyone, I can do the first verse, | 0:24:41 | 0:24:44 | |
but it's one of these songs that I think, it's like, you know, | 0:24:44 | 0:24:47 | |
how you imagine if you were kind of programmed as a child spy in | 0:24:47 | 0:24:52 | |
Russia, and then 25 years later, some song will play and you'll be like... | 0:24:52 | 0:24:57 | |
"I must kill!" You know, I think that's what Auld Lang Syne is like. | 0:24:57 | 0:25:01 | |
Because it's sort of, whenever you hear it, | 0:25:01 | 0:25:03 | |
it just kind of sparks this emotional outpouring in you. | 0:25:03 | 0:25:08 | |
One of the verses I love most is... What is it? | 0:25:08 | 0:25:11 | |
"We twa hae paidl'd in the burn, from morning time till dine, | 0:25:11 | 0:25:18 | |
"But seas between us braid hae roar'd till auld lang syne." | 0:25:18 | 0:25:22 | |
The verse kind of says to me, | 0:25:22 | 0:25:24 | |
it's about these two pals, you know, from the same town, | 0:25:24 | 0:25:27 | |
but now there is a huge sea between them, | 0:25:27 | 0:25:29 | |
they live apart, one of them lives probably back in the home town, | 0:25:29 | 0:25:33 | |
and one of them has done what I have kind of done | 0:25:33 | 0:25:35 | |
and gotten far away, physically, from that place. | 0:25:35 | 0:25:38 | |
But there is a yearning there, you know, for that connection | 0:25:38 | 0:25:44 | |
and that camaraderie and that brotherhood. | 0:25:44 | 0:25:48 | |
So, I just think there's something about the words in that song | 0:25:48 | 0:25:53 | |
that really, um, get you. | 0:25:53 | 0:25:55 | |
The song Auld Lang Syne, is that important to you? | 0:25:55 | 0:25:57 | |
And has it become more important since coming over here? | 0:25:57 | 0:26:00 | |
Um, it leaves me quite emotional. | 0:26:00 | 0:26:02 | |
Even just now, thinking about it, whenever I hear it here, | 0:26:02 | 0:26:05 | |
it does make me think of home. | 0:26:05 | 0:26:07 | |
And whenever I hear it, I'm just proud. | 0:26:07 | 0:26:10 | |
And you're getting upset now, obviously... Yeah, very. | 0:26:10 | 0:26:13 | |
Just thinking about it. | 0:26:13 | 0:26:15 | |
To sing it, does it unlock lots of emotions in you that perhaps, | 0:26:15 | 0:26:19 | |
as Scottish people, | 0:26:19 | 0:26:21 | |
we maybe are not in touch with as much as we could be, perhaps? | 0:26:21 | 0:26:25 | |
I will always think of my mum playing the piano. | 0:26:25 | 0:26:27 | |
And, um... Yeah. | 0:26:30 | 0:26:33 | |
You know, just... | 0:26:33 | 0:26:34 | |
She would just, at the end of even a family party, she would play it. | 0:26:34 | 0:26:40 | |
And, um, that's a special one. | 0:26:40 | 0:26:42 | |
Absolutely, the most special. Yeah. | 0:26:42 | 0:26:46 | |
So, let's get a sense now of how much Ross King has | 0:26:46 | 0:26:48 | |
settled into life in Los Angeles. | 0:26:48 | 0:26:50 | |
I saw this earlier on, this is incredible. Look at this! | 0:26:50 | 0:26:53 | |
There we are. You can take the boy out of, but... | 0:26:53 | 0:26:57 | |
You've got to have your tablet! Amazing I've still got my own teeth! | 0:26:57 | 0:27:00 | |
Well, almost. | 0:27:00 | 0:27:02 | |
Macaroon bars, Tunnock's Caramel Wafers, Tea Cakes, | 0:27:02 | 0:27:05 | |
and Broon's Scottish Fudge! | 0:27:05 | 0:27:07 | |
In my concert, I wanted to sing something Scottish, | 0:27:07 | 0:27:09 | |
so I sang a song from The Steamie, and it's set on New Year's Eve, | 0:27:09 | 0:27:14 | |
so I sang that song, and I did it with a cello, | 0:27:14 | 0:27:19 | |
my cellist played it, so at the end, the cellist went... | 0:27:19 | 0:27:23 | |
HE HUMS AULD LANG SYNE | 0:27:23 | 0:27:29 | |
Not a dry eye in the house. Fantastic. | 0:27:29 | 0:27:31 | |
Totally, just like, everyone weeping. Whenever I've done it. | 0:27:31 | 0:27:34 | |
Even, you know, even abroad! | 0:27:34 | 0:27:38 | |
You're exploiting it, as well! Totally exploiting it. For purely sentimental reasons. | 0:27:38 | 0:27:42 | |
But it has done it itself, for centuries, so... Absolutely. | 0:27:42 | 0:27:46 | |
# For auld lang syne, my dear... # | 0:27:49 | 0:27:54 | |
A song can be embraced around the globe, | 0:27:54 | 0:27:56 | |
but to remain popular for centuries, | 0:27:56 | 0:27:58 | |
it needs to have more than just a good tune and a catchy chorus. | 0:27:58 | 0:28:02 | |
Auld Lang Syne has at its heart a sentiment that has proved universal. | 0:28:02 | 0:28:08 | |
That song will bring me to tears every time, | 0:28:08 | 0:28:11 | |
not actual floods of tears, not like... | 0:28:11 | 0:28:14 | |
But I will get just a little pricking behind the eyes. | 0:28:14 | 0:28:17 | |
Because it does make you think of times gone by. | 0:28:17 | 0:28:21 | |
I think when you're singing Auld Lang Syne, you can | 0:28:25 | 0:28:27 | |
almost feel your ancestry bearing down on you. | 0:28:27 | 0:28:30 | |
You remember grannies, aunties, uncles that aren't there any more, | 0:28:30 | 0:28:34 | |
and that's what the song is about, it's about remembering | 0:28:34 | 0:28:37 | |
people from your past and raising a glass to them. | 0:28:37 | 0:28:39 | |
That song means different things on different levels, | 0:28:41 | 0:28:46 | |
the older you get, and that's the sign of a really good song. | 0:28:46 | 0:28:50 | |
# We two have paddled in the stream... # | 0:28:50 | 0:28:55 | |
It's about remembering old friends, so if you're six, what are you reminiscing about? | 0:28:55 | 0:28:59 | |
The guy that you haven't seen for a week? "Remember Derek? What happened to him?" | 0:28:59 | 0:29:03 | |
"You're seeing him tomorrow." "Oh, right enough." | 0:29:03 | 0:29:05 | |
The way I think about it, it's thinking about pals and family you've not seen for a while. | 0:29:08 | 0:29:12 | |
And that thing that Scottish people love doing, | 0:29:12 | 0:29:14 | |
singing about being far away from Scotland, which is | 0:29:14 | 0:29:18 | |
probably why it has spread round the world, | 0:29:18 | 0:29:21 | |
because Scottish people have spread round the world. | 0:29:21 | 0:29:23 | |
'Not a word has been printed or spoken about their departure, | 0:29:23 | 0:29:27 | |
'but there is a small crowd there to join in Old Lang Syne.' | 0:29:27 | 0:29:30 | |
Auld Lang Syne, with its popular tune and themes of friendship | 0:29:30 | 0:29:34 | |
and remembrance, has had real resonance | 0:29:34 | 0:29:36 | |
and special meaning in times of conflict. | 0:29:36 | 0:29:39 | |
# For the sake of old lang syne... # | 0:29:39 | 0:29:44 | |
And not just for Scottish soldiers. | 0:29:44 | 0:29:48 | |
There is no question, this is a song with friendship | 0:29:48 | 0:29:52 | |
and sentiment at its heart, taking on a huge significance | 0:29:52 | 0:29:55 | |
during the Christmas truce of World War I. | 0:29:55 | 0:29:58 | |
The truce was a series of unofficial ceasefires | 0:29:58 | 0:30:02 | |
that took place along the Western Front in 1914. | 0:30:02 | 0:30:06 | |
The guns fell silent as troops from both sides celebrated | 0:30:06 | 0:30:10 | |
man's humanity through friendship and, of course, song. | 0:30:10 | 0:30:15 | |
A letter written by Captain Sir Edward Hamilton Westrow Hulse | 0:30:15 | 0:30:18 | |
of the Scots Guards to his mother describes the remarkable events. | 0:30:18 | 0:30:23 | |
'My dearest mother, just returned to billets again after the most | 0:30:24 | 0:30:28 | |
'extraordinary Christmas in the trenches you could possibly imagine. | 0:30:28 | 0:30:32 | |
'Words fail me completely in trying to describe it. | 0:30:32 | 0:30:36 | |
'Scots and Huns were fraternising in the most genuine possible manner. | 0:30:36 | 0:30:40 | |
'Every sort of souvenir was exchanged. | 0:30:40 | 0:30:43 | |
'And so we went on, singing everything | 0:30:45 | 0:30:48 | |
'from Good King Wenceslas to the Tommies' Song, | 0:30:48 | 0:30:51 | |
'and ended up with Auld Lang Syne, which we all, | 0:30:51 | 0:30:55 | |
'English, Scots, Irish, Prussian and Wurttembergers, joined in. | 0:30:55 | 0:30:59 | |
'It was absolutely astounding, and if I had seen it | 0:30:59 | 0:31:04 | |
'on a cinematograph film, I should have sworn that it was faked.' | 0:31:04 | 0:31:08 | |
In the early part of the 20th century, | 0:31:14 | 0:31:16 | |
a new industry was emerging in America, one that would bring | 0:31:16 | 0:31:19 | |
Auld Lang Syne to an even greater audience around the world. | 0:31:19 | 0:31:24 | |
The influence of Tinseltown on the success of Auld Lang Syne | 0:31:24 | 0:31:28 | |
cannot be underestimated. | 0:31:28 | 0:31:30 | |
Right from the very first clapperboard, | 0:31:30 | 0:31:32 | |
Hollywood knew a good song when it heard one. | 0:31:32 | 0:31:36 | |
I think Hollywood probably has played a part in remarketing | 0:31:36 | 0:31:41 | |
and rebranding a song that you were never sure | 0:31:41 | 0:31:45 | |
if it was really brilliant or actually just a bit naff. | 0:31:45 | 0:31:48 | |
The song was and is the perfect soundtrack for those | 0:31:48 | 0:31:52 | |
key emotional moments so beloved by the movies. | 0:31:52 | 0:31:56 | |
It presses nice wee emotional buttons, Auld Lang Syne, | 0:31:56 | 0:31:59 | |
because it makes you reminisce. | 0:31:59 | 0:32:00 | |
Goodbye, pal! So long! | 0:32:00 | 0:32:04 | |
So it's used craftily, I think, by directors, | 0:32:04 | 0:32:06 | |
to just turn the tears on, let's get them greetin'! | 0:32:06 | 0:32:09 | |
Lassie...will ye... | 0:32:09 | 0:32:13 | |
..sing me... | 0:32:15 | 0:32:16 | |
..a song once more? | 0:32:18 | 0:32:20 | |
I'm sure I've watched a few things which have made me | 0:32:20 | 0:32:23 | |
want to physically heave, the sentiments being so thickly laid on. | 0:32:23 | 0:32:28 | |
# Should old acquaintance be forgot | 0:32:28 | 0:32:33 | |
# And never brought to mind... # | 0:32:33 | 0:32:37 | |
And I kind of have a really vivid memory of being a wee girl | 0:32:37 | 0:32:40 | |
and seeing Shirley Temple sing that song, | 0:32:40 | 0:32:42 | |
and it made me think, | 0:32:42 | 0:32:44 | |
"The whole world knows about Auld Lang Syne." | 0:32:44 | 0:32:47 | |
We called wee lassies like that, at school, wee grannies. | 0:32:47 | 0:32:52 | |
Like, "Look at that wee granny, | 0:32:52 | 0:32:54 | |
"singing. What are you doing'? | 0:32:54 | 0:32:56 | |
"Why are you comforting a soldier? Why are YOU comforting a soldier? | 0:32:56 | 0:33:00 | |
"You're supposed to be out playing, why are you in there, you wee granny?" | 0:33:00 | 0:33:04 | |
# We'll take a cup o' kindness yet... # | 0:33:04 | 0:33:07 | |
I do like it if somebody tries, like Shirley Temple, tries to sing, | 0:33:07 | 0:33:11 | |
"gie us", it's really quite sweet! | 0:33:11 | 0:33:14 | |
# And gie us a hand o' thine... # | 0:33:14 | 0:33:18 | |
She's getting a wee bit gallus there. | 0:33:18 | 0:33:20 | |
"Gie us a hand o' thine." | 0:33:20 | 0:33:22 | |
Good effort, well done. | 0:33:22 | 0:33:24 | |
# For the days of auld lang syne. # | 0:33:24 | 0:33:30 | |
ROBERT FLORENCE: See if I was on my deathbed | 0:33:30 | 0:33:32 | |
and the ghost of Shirley Temple started singing at me? | 0:33:32 | 0:33:35 | |
I probably would get a bit emotional. | 0:33:35 | 0:33:37 | |
Terrified as well, but emotional, I think, thinking about Scotland | 0:33:37 | 0:33:41 | |
and, you know, thinking about all the... | 0:33:41 | 0:33:44 | |
the hills and all that, the stuff I'm never going to see. | 0:33:44 | 0:33:48 | |
Ssh! He's asleep. | 0:33:48 | 0:33:51 | |
Aww! And, across the decades, Auld Lang Syne has continued | 0:33:51 | 0:33:56 | |
to feature in some of Hollywood's biggest hits. | 0:33:56 | 0:33:59 | |
I love that scene in When Harry Met Sally | 0:34:01 | 0:34:03 | |
when he tells her he loves her and all the reasons he loves her. | 0:34:03 | 0:34:06 | |
I came here tonight because when you realise you want to spend the rest | 0:34:06 | 0:34:09 | |
of your life with somebody, you want the rest of your life to start as soon as possible. | 0:34:09 | 0:34:13 | |
And Auld Lang Syne is playing and Meg Ryan, pre-surgery... | 0:34:13 | 0:34:17 | |
(What a different woman, wasn't she?) | 0:34:17 | 0:34:19 | |
..has got all that, | 0:34:19 | 0:34:21 | |
you know, that glistening tear, then he goes into questioning the song. | 0:34:21 | 0:34:25 | |
What does this song mean? | 0:34:25 | 0:34:26 | |
My whole life, I don't know what this song means. | 0:34:26 | 0:34:28 | |
Should old acquaintance be forgot - | 0:34:28 | 0:34:30 | |
does that mean we should forget old acquaintances? | 0:34:30 | 0:34:33 | |
Or if we forget them, we should remember them? | 0:34:33 | 0:34:35 | |
Which is not possible, we already forgot them! | 0:34:35 | 0:34:37 | |
I just love it, it still makes me laugh when I see it, | 0:34:37 | 0:34:39 | |
because I thought, "Yeah, that's the way we all feel! What is it?" | 0:34:39 | 0:34:43 | |
I think, actually, it was culturally important that Harry | 0:34:43 | 0:34:46 | |
broke down the lyrics of Auld Lang Syne | 0:34:46 | 0:34:48 | |
for an international audience. It's important. | 0:34:48 | 0:34:51 | |
Well, maybe it just means that | 0:34:51 | 0:34:53 | |
we should remember that we forgot them, or something. | 0:34:53 | 0:34:55 | |
Whether they ever come up with an answer, I don't know, but | 0:34:55 | 0:34:58 | |
they get off with each other, and that's what we are interested in. | 0:34:58 | 0:35:00 | |
Is it in Sex And The City? | 0:35:06 | 0:35:08 | |
They choose, I think, a lovely way of doing Auld Lang Syne, | 0:35:11 | 0:35:15 | |
with Mairi Campbell singing it. | 0:35:15 | 0:35:17 | |
I got a call from the production team for Sex And The City, | 0:35:17 | 0:35:21 | |
to say that Sarah Jessica Parker requested that this song was | 0:35:21 | 0:35:24 | |
the one they used in the New Year's scene. | 0:35:24 | 0:35:26 | |
# Should auld acquaintance be forgot... # | 0:35:26 | 0:35:31 | |
And I went, "Oh, jeepers! I'm going to have to go and see this movie." | 0:35:31 | 0:35:36 | |
# Should auld acquaintance be forgot... # | 0:35:36 | 0:35:40 | |
I like the way they used it in the film, I was quite taken aback. | 0:35:40 | 0:35:46 | |
The focus leaves the shoes and the dresses | 0:35:46 | 0:35:49 | |
and moves into forgiveness and compassion. | 0:35:49 | 0:35:52 | |
# For auld lang syne... # | 0:35:52 | 0:35:56 | |
If anybody had ever told me | 0:35:56 | 0:35:58 | |
that I would well up watching Sex And The City, | 0:35:58 | 0:36:01 | |
I would have said you were crazy, but I doff my hat to that moment. | 0:36:01 | 0:36:06 | |
# For auld lang syne. # | 0:36:06 | 0:36:10 | |
I think the first time I realised that it was being sung | 0:36:11 | 0:36:15 | |
elsewhere was when I saw It's a Wonderful Life. | 0:36:15 | 0:36:17 | |
Merry Christmas! Merry Christmas! Merry Christmas, George. | 0:36:17 | 0:36:22 | |
I don't know about anybody else, | 0:36:22 | 0:36:24 | |
but I start crying as soon as that movie starts. | 0:36:24 | 0:36:26 | |
Oh, George! | 0:36:26 | 0:36:28 | |
Everyone does love that film, and the end is just so happy, | 0:36:28 | 0:36:33 | |
and it's so cheesy and schmaltzy | 0:36:33 | 0:36:35 | |
that if you're going to have any song in it, | 0:36:35 | 0:36:37 | |
it's got to be Auld Lang Syne, it just ticks all the boxes. | 0:36:37 | 0:36:39 | |
To my big brother, George, the richest man in town! | 0:36:39 | 0:36:42 | |
You're already in tears, you're like, | 0:36:44 | 0:36:46 | |
"I cannae bear this, this is too beautiful." | 0:36:46 | 0:36:48 | |
# Should old acquaintance be forgot... # | 0:36:48 | 0:36:51 | |
Then you hear THAT starting, you're like, | 0:36:51 | 0:36:53 | |
"No' that an' all, for God's sake! Gies a chance here!" | 0:36:53 | 0:36:56 | |
# For old lang syne, my dear | 0:36:56 | 0:37:01 | |
# For old lang syne... # | 0:37:01 | 0:37:05 | |
It's the perfect combination, | 0:37:05 | 0:37:06 | |
it shows exactly what the power of Auld Lang Syne is, | 0:37:06 | 0:37:10 | |
that you're feeling sorry, you're feeling a wee bit better, | 0:37:10 | 0:37:14 | |
then you're feeling delighted by the end of it. | 0:37:14 | 0:37:16 | |
# For old lang syne. # | 0:37:16 | 0:37:20 | |
It's perfect, isn't it? | 0:37:20 | 0:37:22 | |
Just absolutely perfect. | 0:37:22 | 0:37:24 | |
Auld Lang Syne's appeal isn't just confined to the movies, | 0:37:28 | 0:37:32 | |
or Scots, for that matter. | 0:37:32 | 0:37:34 | |
The song's sentiments struck a chord with all who heard it. | 0:37:34 | 0:37:38 | |
Embraced and adapted into native languages across the globe, | 0:37:38 | 0:37:41 | |
the words are often changed, | 0:37:41 | 0:37:42 | |
but the very core of the song's message remains. | 0:37:42 | 0:37:46 | |
HE SINGS IN BENGALI | 0:37:46 | 0:37:50 | |
In India and Bangladesh, you have the Bengali song, | 0:37:50 | 0:37:53 | |
Memory Of The Good Old Days, Purano Shei Diner Kotha. | 0:37:53 | 0:37:56 | |
From 1919 until 1948, the lyrics of Korea's national anthem were sung | 0:38:02 | 0:38:08 | |
to the tune that was introduced to the country by Western missionaries. | 0:38:08 | 0:38:12 | |
A novelty clock whose chime was Auld Lang Syne gave Muhammad Jameel Didi | 0:38:13 | 0:38:17 | |
of the Maldives the music to which their national anthem was set. | 0:38:17 | 0:38:22 | |
Its popularity in Russia results from an admiration | 0:38:23 | 0:38:27 | |
of the people's poet, Robert Burns. | 0:38:27 | 0:38:29 | |
The USSR were the first to honour him | 0:38:29 | 0:38:32 | |
with a commemorative stamp, in 1956. | 0:38:32 | 0:38:36 | |
In China, Auld Lang Syne is so long established, | 0:38:38 | 0:38:41 | |
many people assume it is a native song. | 0:38:41 | 0:38:44 | |
It is popular at farewell parties in Mexico... | 0:38:49 | 0:38:52 | |
And closer to home, it's the tune to many European Scouting gatherings. | 0:38:54 | 0:38:59 | |
HE SINGS IN DANISH | 0:38:59 | 0:39:01 | |
The Danes have it as a folk song. | 0:39:01 | 0:39:04 | |
THEY SING IN DUTCH | 0:39:06 | 0:39:10 | |
And the Dutch use Auld Lang Syne for their football song, | 0:39:10 | 0:39:14 | |
We Love Orange. | 0:39:14 | 0:39:16 | |
Auld Lang Syne has certainly popped up in some surprising | 0:39:21 | 0:39:24 | |
and unusual places around the globe, none more so than right here, | 0:39:24 | 0:39:28 | |
the Land of the Rising Sun, Japan. | 0:39:28 | 0:39:32 | |
MUSIC: "Turning Japanese" by The Vapors | 0:39:32 | 0:39:36 | |
The Japanese got their hands on Auld Lang Syne in the 1890s, | 0:39:36 | 0:39:41 | |
when it was introduced into the school curriculum by | 0:39:41 | 0:39:43 | |
an American teacher, Luther Whiting Mason, in a wave of westernisation. | 0:39:43 | 0:39:48 | |
The Japanese, like others, played with the words, | 0:39:48 | 0:39:51 | |
making it their own, but the heart remains. | 0:39:51 | 0:39:54 | |
It sings of remembrance, nostalgia and friendship, | 0:39:54 | 0:39:57 | |
The Light Of The Fireflies - Hotaru No Hikari. | 0:39:57 | 0:40:01 | |
As the song has become something of a Japanese school anthem, | 0:40:01 | 0:40:05 | |
time to go back to the classroom, I reckon. | 0:40:05 | 0:40:07 | |
THEY SING IN JAPANESE | 0:40:12 | 0:40:16 | |
Coincidentally, Auld Lang Syne fits perfectly into the Japanese | 0:40:25 | 0:40:28 | |
musical five-note scale, and the girls of | 0:40:28 | 0:40:33 | |
Ochanomizu High School Chorus Club certainly do the song proud. | 0:40:33 | 0:40:36 | |
Different words, different language, | 0:40:44 | 0:40:46 | |
and still that tune gets you right here! Amazing. | 0:40:46 | 0:40:50 | |
Tell me about that song, what does it mean? | 0:40:51 | 0:40:54 | |
We sing this song | 0:40:54 | 0:40:58 | |
when we graduate from school. | 0:40:58 | 0:41:01 | |
And, yes, I have many memories about this song. | 0:41:01 | 0:41:07 | |
THEY CHATTER IN JAPANESE | 0:41:07 | 0:41:12 | |
That's amazing. I just asked, "What is the song about?" | 0:41:12 | 0:41:15 | |
It's caused a massive amount of debate. | 0:41:15 | 0:41:18 | |
SHE SPEAKS IN JAPANESE | 0:41:18 | 0:41:22 | |
I guess it means different things to different people. | 0:41:26 | 0:41:28 | |
Just like Auld Lang Syne! | 0:41:28 | 0:41:30 | |
'Time to bring Hotaru No Hikari up to date. | 0:41:31 | 0:41:34 | |
'Many businesses in Japan use it | 0:41:34 | 0:41:36 | |
'to let customers know it's closing time. | 0:41:36 | 0:41:39 | |
'DJ and TV host Kaoru Kanazawa has promised to show me this in action.' | 0:41:39 | 0:41:44 | |
This is one shop? Yes! Look at the size of it! | 0:41:44 | 0:41:47 | |
'So, we're off to the shops.' | 0:41:47 | 0:41:48 | |
TUNE OF AULD LANG SYNE PLAYS OVER PA | 0:41:54 | 0:41:58 | |
That was the song, I heard the song there! Mm-hm. | 0:42:03 | 0:42:06 | |
Can you recognise this song? | 0:42:06 | 0:42:08 | |
Yeah, yeah, it's, well, | 0:42:08 | 0:42:09 | |
to the tune of Auld Lang Syne as I would recognise it, but... | 0:42:09 | 0:42:12 | |
Exactly. Hotaru No Hikari... In Japanese, yeah. Wow! | 0:42:12 | 0:42:17 | |
My goodness. | 0:42:17 | 0:42:19 | |
We all know we have to leave. | 0:42:23 | 0:42:25 | |
It's quite strange for me, I have to say, hearing it, | 0:42:25 | 0:42:28 | |
but it's nice, actually, it's lovely. | 0:42:28 | 0:42:30 | |
So, everyone is leaving, I think we are the last ones here! | 0:42:30 | 0:42:33 | |
So, where are we going now? Do you want a drink? | 0:42:33 | 0:42:36 | |
Yes, I do, very good idea. Very good idea indeed. Let's go, then. | 0:42:36 | 0:42:39 | |
Let's go. We are getting hurried out now! My goodness. | 0:42:39 | 0:42:43 | |
'I thought she'd never ask. It's not only shops that use the song. | 0:42:43 | 0:42:46 | |
'Everything from restaurants to Disneyland Tokyo end their day | 0:42:46 | 0:42:50 | |
'with a gentle "sling your hook", | 0:42:50 | 0:42:52 | |
'all to the strains of Auld Lang Syne. Brilliant!' | 0:42:52 | 0:42:56 | |
# You're big in Japan tonight | 0:42:56 | 0:42:58 | |
# Big in Japan... # | 0:42:58 | 0:43:00 | |
Hotaru No Hikari, this song, reminds us about good times of school. | 0:43:00 | 0:43:05 | |
So, when we hear this at the shop, or at the department store, | 0:43:05 | 0:43:11 | |
to get that we have to leave this place, you don't feel that bad. | 0:43:11 | 0:43:15 | |
Like Irish pubs, or British pub, or maybe Scottish pub as well, | 0:43:15 | 0:43:19 | |
maybe they say, "Folks, get out! Party's over! | 0:43:19 | 0:43:22 | |
"Drink it and just go!" Exactly. We don't say that. No. | 0:43:22 | 0:43:26 | |
I guess we are polite people. Much more gentle. | 0:43:26 | 0:43:28 | |
Anyway, how are you enjoying that Scottish whisky? | 0:43:31 | 0:43:33 | |
It is so nice, smooth and kind of a little bit of sweetness in it. | 0:43:33 | 0:43:38 | |
It's nice. Nice, like you! | 0:43:38 | 0:43:40 | |
HE LAUGHS Bless you! Cheers. Sweet. | 0:43:40 | 0:43:43 | |
You look quite similar in colour. Yeah. | 0:43:43 | 0:43:46 | |
HE SINGS HOTARU NO HIKARI IN JAPANESE | 0:43:46 | 0:43:51 | |
There it is, the song, which means, very politely, we are | 0:43:55 | 0:43:58 | |
being thrown out of this bar! Exactly, but in a beautiful way. | 0:43:58 | 0:44:01 | |
It's a very nice way. | 0:44:01 | 0:44:03 | |
So, that's the end of my trip to Japan, it's all over. | 0:44:03 | 0:44:06 | |
No, no, there is one more thing that you have to do when you're in Japan. | 0:44:06 | 0:44:10 | |
OK... | 0:44:10 | 0:44:13 | |
DOUGIE AND KAORU SING IN JAPANESE | 0:44:13 | 0:44:21 | |
Thank you for coming to Japan! It was a pleasure. | 0:44:24 | 0:44:26 | |
An absolute pleasure. And thank you for not singing that last verse and leaving me | 0:44:26 | 0:44:30 | |
to do it on my own! It's very kind of you. | 0:44:30 | 0:44:33 | |
Yes indeed, Tokyo, thank you very much indeed, good night! | 0:44:36 | 0:44:39 | |
Auld Lang Syne certainly proved a little challenging in Japanese. | 0:44:43 | 0:44:46 | |
But that's nothing compared to how the world got to grips - | 0:44:46 | 0:44:49 | |
quite literally - with the Scottish etiquette of when to "gie a hand". | 0:44:49 | 0:44:54 | |
The dance that comes with the song and the crossing of the arms, | 0:44:56 | 0:44:59 | |
it's mind-boggling. | 0:44:59 | 0:45:02 | |
I've got no idea what you do with your hands. | 0:45:02 | 0:45:04 | |
And I still don't know, actually, when the arms cross over the other way. | 0:45:06 | 0:45:10 | |
Is it that, or is it that? Or does it matter? Can it be either? | 0:45:10 | 0:45:14 | |
I think it's this. | 0:45:14 | 0:45:16 | |
I don't think it's ever this. | 0:45:16 | 0:45:18 | |
But I might be wrong. | 0:45:20 | 0:45:22 | |
There is always a bit of stramash, with people going, | 0:45:22 | 0:45:25 | |
"No, it's not now, when do we move forward, when do we not? | 0:45:25 | 0:45:27 | |
"When do we do this?" And you really are fudging it, looking at people. | 0:45:27 | 0:45:31 | |
Really, anything I do in a touching sense, anything involving any | 0:45:32 | 0:45:37 | |
physical contact, I let the other person take the lead. | 0:45:37 | 0:45:40 | |
I really just wait and feel what the mood's like in the room. | 0:45:41 | 0:45:45 | |
I always make sure to ask them afterwards | 0:45:46 | 0:45:48 | |
if it was a pleasant experience for them, as well. | 0:45:48 | 0:45:50 | |
# For auld lang syne. # | 0:45:50 | 0:45:55 | |
I've not had any complaints so far. | 0:45:55 | 0:45:58 | |
# ..a cup o' kindness yet... # | 0:45:58 | 0:46:00 | |
What used to bother me | 0:46:00 | 0:46:01 | |
about Auld Lang Syne were the kind of hand fascists. | 0:46:01 | 0:46:05 | |
# And here's a hand... # | 0:46:05 | 0:46:07 | |
And the hand crosses over - "Here's a haund, my trusty fiere," | 0:46:07 | 0:46:10 | |
the person on this side, "and gies a haund o' thine." | 0:46:10 | 0:46:15 | |
That's how it's done. | 0:46:15 | 0:46:17 | |
I think there is a notion that Scottish males aren't very tactile. | 0:46:19 | 0:46:24 | |
You needed to kind of manly up by, for some reason, | 0:46:24 | 0:46:28 | |
making a saltire with your arms. Maybe that's a bit more butch. | 0:46:28 | 0:46:33 | |
I do get really annoyed when people cross hands right at the start. | 0:46:35 | 0:46:38 | |
I'm like, "No, not yet!" | 0:46:38 | 0:46:40 | |
That matters to me. | 0:46:43 | 0:46:45 | |
You might just be going "deedle-eedle" | 0:46:45 | 0:46:47 | |
in the background, but, you know, do the movements, darling! | 0:46:47 | 0:46:50 | |
Didn't somebody make the Queen do it? Tony Blair or somebody? | 0:46:50 | 0:46:53 | |
You're not supposed to touch Her Majesty the Queen, | 0:46:53 | 0:46:56 | |
that's very bad form, but it's the one time when you can "gie a hand". | 0:46:56 | 0:47:00 | |
I don't know if she runs forward. | 0:47:02 | 0:47:04 | |
I can't see it, myself. | 0:47:06 | 0:47:08 | |
But you will certainly get a "haund" of Her Majesty the Queen. | 0:47:08 | 0:47:12 | |
At the end, there is the massive crush, as well, | 0:47:14 | 0:47:18 | |
the in and out, it's a bit like an extreme form of the Hokey Cokey. | 0:47:18 | 0:47:23 | |
It's all getting confused! What's going on? | 0:47:25 | 0:47:27 | |
If you end up in the middle | 0:47:29 | 0:47:31 | |
and you've not expected it the first time, and waves of cross-armed | 0:47:31 | 0:47:35 | |
people are coming at you, | 0:47:35 | 0:47:36 | |
shouting about having willy waughts and... Och! | 0:47:36 | 0:47:39 | |
It's scary. | 0:47:41 | 0:47:43 | |
# For auld lang syne. # | 0:47:43 | 0:47:46 | |
Auld Lang Syne has been used to mark the end of many an occasion | 0:47:49 | 0:47:53 | |
over the years. But this is the one we most associate with our song. | 0:47:53 | 0:47:58 | |
New Year is very, very important to Scottish people, much more so than | 0:47:59 | 0:48:03 | |
Christmas or Easter or birthdays or any of that kind of thing. | 0:48:03 | 0:48:06 | |
31st of December, the countdown to midnight. | 0:48:08 | 0:48:12 | |
CHEERING | 0:48:12 | 0:48:13 | |
BELL CHIMES | 0:48:13 | 0:48:15 | |
Fireworks, friends and family. | 0:48:17 | 0:48:22 | |
There is that expectation of New Year, it has to be a great time! | 0:48:24 | 0:48:27 | |
So, sometimes, you're singing the song, thinking, "Come on! This is the one!" | 0:48:29 | 0:48:33 | |
At Hogmanay, you are allowed to be as Scottish as you like, | 0:48:33 | 0:48:36 | |
which usually means steamin', over the back of the telly. | 0:48:36 | 0:48:38 | |
That's why you don't know what I'm saying just now, | 0:48:38 | 0:48:40 | |
cos you're steamin', over the back of the telly! | 0:48:40 | 0:48:43 | |
You know, if there is ever a threat of something changing a little bit | 0:48:43 | 0:48:46 | |
at Hogmanay - raging! | 0:48:46 | 0:48:48 | |
Putting Jools Holland on BBC One in Scotland - no! | 0:48:48 | 0:48:51 | |
Excuse me, I want shortbread and I want Jackie Bird | 0:48:51 | 0:48:54 | |
and all the nonsense, and I want to moan about it as well, | 0:48:54 | 0:48:56 | |
but don't dare change it! | 0:48:56 | 0:48:58 | |
We've been singing Auld Lang Syne in Scotland to mark | 0:48:58 | 0:49:02 | |
Hogmanay for many a year. | 0:49:02 | 0:49:04 | |
But its association with | 0:49:04 | 0:49:06 | |
New Year's Eve in the rest of the world is crucial to | 0:49:06 | 0:49:09 | |
its success in becoming one of the most recognised songs on the planet. | 0:49:09 | 0:49:13 | |
And to see that on a grand scale, we need to go back to America. | 0:49:13 | 0:49:18 | |
Now, this is where Auld Lang Syne really establishes itself | 0:49:18 | 0:49:22 | |
as the New Year song of the modern era. New York's Times Square. | 0:49:22 | 0:49:27 | |
An estimated one million people take to the streets here, | 0:49:27 | 0:49:30 | |
with a further TV audience of a billion, | 0:49:30 | 0:49:32 | |
to celebrate the passing of the old and usher in the new. | 0:49:32 | 0:49:36 | |
Can you imagine a million people, right here? It'd be incredible! | 0:49:36 | 0:49:41 | |
CHEERING | 0:49:42 | 0:49:46 | |
Times Square may be where it's at for the Big Apple's New Years - | 0:49:46 | 0:49:50 | |
that's American for Hogmanay - but the root to Auld Lang Syne's | 0:49:50 | 0:49:53 | |
involvement goes back over 85 years, to the hotel a few blocks away. | 0:49:53 | 0:49:59 | |
'Here is Mr New Year's Eve himself, Guy Lombardo!' | 0:49:59 | 0:50:03 | |
BAND PLAYS INTRO | 0:50:03 | 0:50:05 | |
CHEERING AND APPLAUSE | 0:50:05 | 0:50:08 | |
Well, thank you, George Bryan, and, ladies and gentlemen, | 0:50:13 | 0:50:15 | |
it's certainly wonderful having you all here to help celebrate | 0:50:15 | 0:50:18 | |
New Year's Eve at the Roosevelt Grill. | 0:50:18 | 0:50:20 | |
"Mr New Year" is no understatement. | 0:50:20 | 0:50:24 | |
Guy Lombardo and his Royal Canadian Big Band were | 0:50:24 | 0:50:27 | |
instrumental in cementing Auld Lang Syne as America's New Year's anthem. | 0:50:27 | 0:50:34 | |
At the stroke of midnight, when you see 12 o'clock, | 0:50:34 | 0:50:36 | |
we're going to hear Auld Lang Syne played for the Roosevelt Grill... | 0:50:36 | 0:50:40 | |
Guy heard the song being sung by Scottish | 0:50:40 | 0:50:43 | |
immigrants in Canada in his youth. | 0:50:43 | 0:50:46 | |
From 1929 to his death in 1977, Guy's show was beamed directly | 0:50:46 | 0:50:51 | |
to US homes, firstly on radio, | 0:50:51 | 0:50:54 | |
then TV, reaching an audience of millions. | 0:50:54 | 0:50:58 | |
In fact, so accustomed to hearing Guy conduct Auld Lang Syne, | 0:50:58 | 0:51:01 | |
most Americans thought HE had written it. | 0:51:01 | 0:51:04 | |
And where it all began - the Roosevelt Hotel, | 0:51:04 | 0:51:07 | |
to meet Guy's godson and one-time drumming band member, Joe Van Blerck. | 0:51:07 | 0:51:12 | |
So, how did it come about that Auld Lang Syne was the tune that | 0:51:12 | 0:51:16 | |
was played by the band, at the bewitching hour? | 0:51:16 | 0:51:19 | |
Well, when they were playing on radio, of course, | 0:51:19 | 0:51:22 | |
they played on the CBS network | 0:51:22 | 0:51:24 | |
before midnight on New Year's Eve, | 0:51:24 | 0:51:26 | |
they played on the NBC network after midnight, and right around midnight, | 0:51:26 | 0:51:31 | |
they needed music to bridge the gap between the two broadcasts. | 0:51:31 | 0:51:34 | |
And that's when they decided that Auld Lang Syne would be | 0:51:34 | 0:51:37 | |
the perfect song to play. | 0:51:37 | 0:51:39 | |
And the sponsor of their show was Robert Burns cigars. | 0:51:39 | 0:51:43 | |
This is the Robert Burns panatela, an especially wonderful cigar. | 0:51:43 | 0:51:49 | |
And that's how it became associated with New Year's Eve, | 0:51:49 | 0:51:52 | |
and of course became Guy Lombardo's theme song and became | 0:51:52 | 0:51:55 | |
associated with him, and he, of course, became Mr New Year's Eve. | 0:51:55 | 0:52:00 | |
BAND PLAYS AULD LANG SYNE | 0:52:00 | 0:52:04 | |
It was almost as if the New Year couldn't start | 0:52:07 | 0:52:10 | |
until Auld Lang Syne had finished. That's right, it couldn't start | 0:52:10 | 0:52:13 | |
until Guy Lombardo said it was the New Year. | 0:52:13 | 0:52:16 | |
That's a lot of power! It is. | 0:52:16 | 0:52:18 | |
Happy New Year, everybody, a very happy New Year! | 0:52:18 | 0:52:21 | |
Especially from all of us, and especially from Clairol... | 0:52:21 | 0:52:26 | |
Well, there you go, that's how it took over the world. | 0:52:28 | 0:52:32 | |
So, come midnight on Hogmanay, no matter where you are or who | 0:52:32 | 0:52:35 | |
you're with, spare a thought to Auld Lang Syne and raise your voices. | 0:52:35 | 0:52:40 | |
But for goodness' sake, try and get the words right, would you? | 0:52:40 | 0:52:43 | |
# Should auld acquaintance... # | 0:52:44 | 0:52:48 | |
Friendship is human to human. | 0:52:48 | 0:52:50 | |
Any race, any people, understand that human sentiment. | 0:52:50 | 0:52:55 | |
This is a song that Scotland's given to the world, | 0:52:57 | 0:53:00 | |
it's an international anthem. | 0:53:00 | 0:53:01 | |
I'm sure they sing it on Jupiter at Hogmanay! | 0:53:03 | 0:53:05 | |
Auld Lang Syne is about humans loving each other | 0:53:08 | 0:53:12 | |
and wishing each other well. | 0:53:12 | 0:53:14 | |
And, you know, long may this last, you're thinking! | 0:53:14 | 0:53:17 | |
It should be the Scottish national anthem, really. | 0:53:19 | 0:53:23 | |
And no matter what, when the bells go, you're up on your feet | 0:53:23 | 0:53:28 | |
and singing that song. | 0:53:28 | 0:53:30 | |
Or should I say, bluffing your way through it! | 0:53:30 | 0:53:32 | |
You couldnae dae that with Rocking Around the Christmas Tree. | 0:53:35 | 0:53:39 | |
I wish I'd written it! | 0:53:41 | 0:53:42 | |
"Should auld acquaintance be forgot and never brought to mind, | 0:53:48 | 0:53:51 | |
"Should auld acquaintance be forgot, for auld lang syne." | 0:53:51 | 0:53:54 | |
I mean... | 0:53:54 | 0:53:55 | |
I rest my case, Your Honour. | 0:53:55 | 0:53:58 | |
# For auld lang syne, my dear | 0:54:04 | 0:54:08 | |
# For auld lang syne | 0:54:08 | 0:54:11 | |
# We'll take a cup of kindness yet | 0:54:11 | 0:54:16 | |
# For auld lang syne. # | 0:54:16 | 0:54:21 |