{"id":67746,"date":"2026-07-01T15:00:28","date_gmt":"2026-07-01T15:00:28","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/01\/martina-mcbrides-independence-day-the-songs-real-meaning\/"},"modified":"2026-07-01T15:00:28","modified_gmt":"2026-07-01T15:00:28","slug":"martina-mcbrides-independence-day-the-songs-real-meaning","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/01\/martina-mcbrides-independence-day-the-songs-real-meaning\/","title":{"rendered":"Martina McBride&#8217;s &#8216;Independence Day&#8217;: The Song&#8217;s Real Meaning"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t[<em>This story was originally published on July 3, 2019<\/em>.]<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhen <a href=\"https:\/\/www.rollingstone.com\/t\/martina-mcbride\/\" id=\"auto-tag_martina-mcbride\" data-tag=\"martina-mcbride\">Martina McBride<\/a>\u2019s \u201cIndependence Day\u201d was released to country radio in April 1994, it was easy to mistake the country song for a U-S-A! U-S-A! anthem. It was titled after America\u2019s most patriotic holiday after all, and its irresistible chorus of \u201cLet freedom ring!\u201d seemed custom-made for small-town Fourth of July celebrations to come. But the true meaning behind \u201cIndependence Day,\u201d written by Gretchen Peters and recorded by powerhouse vocalist <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/martina-mcbride-drops-out-trump-freedom-250-concert-1235569756\/\">McBride<\/a>, was lost on many listeners \u2014 the seemingly July 4th holiday hit turned out to be a story of domestic violence and one woman\u2019s drastic measures to escape abuse at home.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI started getting all these letters \u2014 handwritten letters, back in the day \u2014 from women saying, \u2018This is my song,\u2019\u201d McBride says now. \u201cI got a few letters that said, \u2019I heard this song on the radio, I\u2019ve been battered for 10 years, and I left. This was the thing that made me realize that it\u2019s not my fault, that I need to make a change.\u2019\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThroughout the past 25 years, both McBride and Peters have watched as their song has taken on a life entirely of its own \u2014 not just in its cathartic impact for victims of abuse, but also in its misinterpretation for political means. Sean Hannity used the song as a theme on his radio show from shortly after 9\/11 until 2014; Sarah Palin chose it as a walk-on song during her Vice Presidential campaign. Peters, in particular, has been saddled with a patriotic anthem she did not write.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cAs the writer, I always believe that it\u2019s very powerful to know what your story\u2019s about and know your characters, but not necessarily put it all in there,\u201d she says. \u201cBecause I think it invites the listener to play a part. The danger there is that those kinds of songs are much more easily misconstrued.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Martina McBride - Independence Day (Official Video)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/4VPpAZ9_qAw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Peters began writing \u201cIndependence Day\u201d<\/strong> around 1992, her fifth year working in Nashville. Early into her career, she had been discovered and signed to Tree Publishing Company by Paul Worley, a session musician who had just begun to carve out a successful path as a producer. He had noticed the lack of women writers on Tree\u2019s roster and signed Peters for her unique storytelling approach.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tPeters had taken a somewhat meandering route to country music. Growing up in Westchester County, New York, with a journalist father who covered the Civil Rights movement, she was raised listening to <a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/greenwich-village-book-bob-dylan-complete-unknown-1235155610\/\">Village folk music<\/a> \u2014 Bob Dylan, Joni Mitchell, Leonard Cohen. Her parents divorced when she was eight, and by the time she was in her mid-teens Peters had moved with her mother to Boulder, Colorado. It was the mid-Seventies, and Peters got involved in the local music scene, playing in a few \u201chippie country-rock\u201d bands and, in her spare time, sneaking off to a record store to purchase the latest Nashville records.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cIt was not cool to be a country music fan at the time, at all,\u201d she says, laughing. \u201cI would go in there\u2026it was kind of like going to see my dealer, you know? He\u2019d slip me a few George Jones records and say, \u2018Go listen to this, kid.\u2019\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt was the storytelling that brought her to the genre\u00a0\u2014 that particular country way of mixing precision of detail with profound sadness and melancholy. Years later, it clicked for Peters that songwriting itself could be a suitable profession. Nashville signees like Nanci Griffith and Steve Earle caught her attention \u2014 if these more \u201cfolksy\u201d songwriters could make it in the country music biz, why couldn\u2019t she? When she did finally make it out to Nashville, the first song she was paid for was called \u201cTraveler\u2019s Prayer,\u201d performed by George Jones.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tPeters took about a year and a half to write \u201cIndependence Day,\u201d although, as Worley tells it, \u201cit took Gretchen a year and a half to write any song.\u201d She had the chorus, and she had the characters, and she had her point-of-view: \u201cThe little girl, the daughter, was the character that I identified with,\u201d she says.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut the ending gave her trouble. To be clear, she had the ending written, but it made her worried.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI was so afraid of the ending that I kept trying to figure out another way to end it,\u201d she says. \u201cI look back at that and the irony of that doesn\u2019t escape me, because I feel like the woman in the song spent a long time looking for another ending.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe dramatic conclusion \u2014 subconsciously on Peters\u2019 part, she says \u2014 echoes the story of Francine Hughes, one of the first women to be found not guilty due to temporary insanity involving \u201cbattered-woman syndrome.\u201d In 1977, after being repeatedly raped and beaten by her alcoholic husband, Hughes poured gasoline around their bed while he slept and set it on fire, escaping the burning home with her three children. The \u201cday of reckoning,\u201d as referenced in the song, is an act of retribution for abuse.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn \u201cIndependence Day,\u201d the daughter discovers the fire when she returns from the Fourth of July parade, and is quickly whisked away \u201cto the county home.\u201d We never find out if the mother survived or not. It was that potent mixture of violence and ambiguity that made Peters, as a \u201crelatively young and hungry\u201d songwriter, nervous that no one would even want the song. But in the end, the desire to tell the truth, and not to project a false sense of hope, won over.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cThe thing for me about writing stories and characters is that if you\u2019re doing it right, the characters start to tell you what the song is about,\u201d says Peters. \u201cIt\u2019s not you manipulating the people like marionettes. It\u2019s really much more about the characters telling you what\u2019s true about themselves\u2026 And so it was just a matter of me sitting with that woman and that daughter long enough to realize that, yes, this is the way the story ends. And then to have the nerve to end it that way.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In 1991, Tree Publishing was bought<\/strong> <strong>out<\/strong> by Sony Records, and Worley began producing for a then 25-year-old McBride, who had just been signed to Sony\u2019s RCA Records. McBride recorded one Peters song, \u201cWhen You Are Old,\u201d for her debut album <em>The Time Has Come<\/em> in 1992. When it came time to record the follow-up, <em>The Way That I Am<\/em>, McBride chose to include Peters\u2019 \u201cMy Baby Loves Me,\u201d an up-tempo love song that would go on to become her first Top Five hit on the <em>Billboard<\/em> charts.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   alignleft alignleft lrv-u-max-width-100p\" style=\"width:1024px\">\n<div class=\"c-lazy-image  lrv-u-border-a-2\">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((803\/1024)*100%);\">\n<p>\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-flex lrv-u-flex-direction-column lrv-u-align-items-center\">\n<p>\t\t\t\t\t<span class=\"u-border-color-black u-border-lr-2 lrv-u-padding-tb-025 lrv-u-padding-lr-075 lrv-u-border-b-2 lrv-u-width-100p lrv-u-text-align-center a-font-basic-secondary-s\">\u201cIt doesn\u2019t feel so much like it belongs to me,\u201d says songwriter Gretchen Peters of \u201cIndependence Day.\u201d (Photo: Rick Diamond\/Shutterstock)<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"lrv-u-text-transform-uppercase lrv-a-font-body-xs lrv-u-margin-t-050 lrv-u-text-align-center\">Rick Diamond\/Shutterstock<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tPeters had recorded demo versions of \u201cIndependence Day,\u201d and when one of them ended up in Worley\u2019s hands, he immediately wanted to show it to McBride.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cShe heard the song and just fell in love with it,\u201d he says. \u201cWe both did. We\u2019d never heard a song like that.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWhat drew me to it was the brilliance of the lyrics,\u201d says McBride. \u201cIf you write it down on paper, it\u2019s like a work of literature, it\u2019s like a poem.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHaving grown up in a small Kansas town, McBride remembers how domestic violence was \u201csomething that was never talked about\u201d when she was a kid. Her own unawareness of the issue, rather than causing her to balk, made her that much more passionate about bringing the song\u2019s message out into the world.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn later years, Worley would go on to discover and produce for country superstars like Lady Antebellum, Big &amp; Rich, and the Dixie Chicks. (\u201cGoodbye Earl\u201d was his production, too.) For \u201cIndependence Day,\u201d he wasn\u2019t afforded the luxury of rehearsal time with session musicians that he was given for those later records. But he did play guitar for it, and by his account, the song was pretty much all recorded in one afternoon.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cMartina and I sat down together to do pre-production, and I came up with that guitar lick,\u201d recalls Worley. \u201cWe figured out that was going to be our point of entry. And I had the band that we wanted booked, and it took off from there. That [song] is mostly a track, meaning a group of musicians in a studio all playing at the same time.\u201d Major changes from the Peters demo included adding that propulsive guitar, speeding up the song\u2019s tempo and gussying up the church bells in the iconic chorus. But what it really boiled down to, says Worley, were two goals: don\u2019t lose Martina\u2019s vocals, and don\u2019t lose the story.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In April 1994, when RCA head Joe Galante<\/strong> approached McBride to release \u201cIndependence Day\u201d as the third single from <em>The Way That I Am<\/em>, it came as a welcomed surprise. Dale Turner, the label\u2019s VP of promotion at the time, said that RCA expected \u201ca small pocket of resistance\u201d from radio programmers. But fear over the song drawing ire for its subject matter wasn\u2019t really present until seven weeks after its release, in June 1994, when Nicole Brown Simpson\u2019s murder was plastered across the news.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cIt was interesting because we received initial pushback on the song, and I was so confused by that,\u201d says McBride. \u201cI was like, \u2018Why wouldn\u2019t they play this song?; My record promotion people came to me and said, \u2018It probably isn\u2019t going to work, there\u2019s a lot of radio stations that just aren\u2019t going to play it.\u2019\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tListener feedback, of course, played a huge factor in radio programmers\u2019 scheduling; phone call surveys, particularly in major cities like Los Angeles or Dallas, helped determine whether a new song was connecting with a station\u2019s market.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cEven at that point in time, in the early to mid-Nineties, there were a lot of stations that conducted callout research with the audience,\u201d says Chris Huff, the current program director at KILT\/Houston who acted as music director at KPLX (now The Wolf) in Dallas during the song\u2019s run on the charts. \u201cIt was a random sample of listeners every week, getting their opinions on records, and basing music decisions on that research.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWith \u201cIndependence Day\u201d only seven weeks on the chart and a music video already out, McBride convinced her promotional team to give her the numbers of stations who wouldn\u2019t play the song, and she began conducting her own callout research, talking to music directors and \u201chaving open conversations\u201d about their hesitation.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cThey were like, \u2018I don\u2019t think this needs to be on my radio station. I don\u2019t think people need to be hearing this,\u2019\u201d she recalls. \u201cAnd I\u2019m like, \u2018Well, it\u2019s on your news every hour. This is topical.\u2019 And then I had one music director who said, \u2018You know, if that [music] video is on, and my young daughter walks through the room, I have to have a discussion with her and explain it to her.\u2019 And I thought to myself, \u2018<em>Well, maybe that\u2019s not such a bad idea. What\u2019s wrong with that?<\/em>\u2018\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAccounts differ as to how much radio play \u201cIndependence Day\u201d received, between when it was released in April of \u201894 and when it peaked in August of that year \u2014 at Number 12 on the <em>Billboard<\/em> U.S. Hot Country Songs, and Number 10 on <em>Radio &amp; Records<\/em>\u2019 country chart. Lon Helton, who managed the country chart at <em>R&amp;R<\/em> for 26 years, confirms that there was never an outright \u201cban\u201d on the song for its subject matter, nor a mass listener <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/fans-turn-on-dixie-chicks-251772\/\">boycott<\/a> \u00e0 la the Dixie Chicks in 2003.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tStill, there certainly was reluctance from programmers that was reported on at the time. According to a September 1994 <em>Billboard<\/em> article, McBride was required to give a PSA for the St. Louis Battered Children Center in order for the song to get played on local station WIL. And two stations in Austin, KASE and KVET, supposedly \u201cpassed\u201d on the song entirely.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHelton believes that the subject matter could\u2019ve determined how often the song was present on the radio \u2014 getting only 15 plays a week instead of 50, for instance \u2014but that there were other factors as well. After all, McBride was still early into her career; she had yet to have a Number One single, and her only Top Five hit at that point was \u201cMy Baby Loves Me.\u201d And despite her talent and instantly recognizable voice, she was entering into a crowded field.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cGarth Brooks led the class of \u201889 of new country artists: Garth Brooks, Clint Black, Alan Jackson, Travis Tritt, Mary Chapin Carpenter,\u201d says Helton, \u201cand so in \u201889, \u201890, \u201891, we broke a tremendous amount of new artists. By the time Martina\u2019s in there in \u201892, it\u2019s getting harder and harder to break in.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhat does get agreed upon, however, is that, in spite of the initial concern of sensitivity, Nicole Brown Simpson\u2019s murder and O.J. Simpson\u2019s arrest may have actually increased demand for \u201cIndependence Day\u201d on the radio.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cThat happened in the middle of that song\u2019s life as a single, and the fan reaction was so strong that some radio stations just reversed position on it because suddenly, \u2018Oh, well this is timely,\u2019\u201d says Peters. \u201cI can\u2019t even begin to understand the mental gyrations.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>If listeners weren\u2019t moved<\/strong> by the song\u2019s overall story, they were at least moved by its chorus. Peters can remember hearing McBride\u2019s voice blast across stations on the Fourth of July the very first year it came out, but at the time she didn\u2019t consider the association to be \u201cin the rah-rah, jingoistic way.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI remember a friend of mine, maybe a year or so after it came out, she went to this Fourth of July parade in Columbia, Tennessee, called Mule Day,\u201d she says, \u201cand it\u2019s just like a really rural, small town Fourth of July parade. She told me they were line-dancing on a flatbed truck to \u2018Independence Day.\u2019 She said, \u2018I just can\u2019t get over the disconnect between the lyrics and then these people in red, white, and blue square-dance dresses.\u2019 It was just crazy. And I just laughed it off.\u2019\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWorley recalls being in the audience when McBride performed \u201cIndependence Day\u201d at the CMA Awards that year, where it took home the trophies for Song of the Year and Video of the Year. As McBride sang the chorus onstage, barefoot, Worley says, \u201cPeople went crazy. Like I\u2019d never seen before.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe song became a live staple for McBride. At concerts, she took to opening \u201cIndependence Day\u201d by singing the chorus first, a cappella, before the band came in for the first verse. During her filmed 1998 performance of the song at Farm Aid \u2014 the annual benefit concert for family farmers originally organized by Willie Nelson, John Mellencamp, and Neil Young \u2014 McBride holds the note on the word \u201cstrong\u201d for a full 12 seconds. Cries and whoops emanate from the audience.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Martina McBride - Independence Day (Live at Farm Aid 1998)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/IQmFVslbRw4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHer Farm Aid performance three years later carries a different tone. Just two weeks after September 11th, McBride stands on stage in a white tank top and sparkling boot-cut jeans, her chestnut hair down past her shoulders, flanked by two giant waving American flag cut-outs. Audience members jump out of their seats to wave flags, hold up larger flags, and hold up jean jackets with flag patches ironed on the back. There\u2019s a lot more fist-pumping; at one point McBride throws down the mic stand as she\u2019s pacing back and forth across the stage.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI have mixed feelings about it, to be honest,\u201d says McBride. \u201cI have always had such a connection to the real meaning of the song, and it\u2019s\u2026\u2018annoying\u2019 isn\u2019t the word\u2026interesting that some people just don\u2019t understand what the song is about at all.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut at the time of the 2001 Farm Aid performance, she says, it felt like the right thing to do. \u201cWe were all so raw, we\u2019d never been through anything like that before. The decisions that we were making \u2014 that I was making \u2014 were based on emotion, and trying to have solidarity and pulling together as a country. When I realized that the words to that chorus, \u2018let freedom ring,\u2019 kind of mirror what we were all feeling at the time, I made that decision to do that. But looking back, I never want to take away from what the song is really about.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Martina McBride - Independence Day (Live at Farm Aid 2001)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/5Q3LyECse3g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Peters says she\u2019s never spoken<\/strong> to McBride about \u201cthe so-called political life\u201d of the song. \u201cIf she had something to say about it, she would, I think. I also feel like it\u2019s kind of unnecessary, because she and I both know damn well what the song is about.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhen Hannity began using \u201cIndependence Day\u201d for his radio show bumper, there wasn\u2019t much that McBride or Peters could do \u2014 he was in his legal right to use the track.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWhen the Sean Hannity thing happened, it didn\u2019t feel so benign to me,\u201d Peters says. \u201cIt felt like they were twisting the song. And I used to think that it was just a matter of somebody didn\u2019t listen to the song, they just listened to the chorus. That was my take on it then. My take on it in more recent years is that they don\u2019t care.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBy the time Sarah Palin chose \u201cIndependence Day\u201d as a walk-on song, after the 2008 Vice Presidential debates, Peters felt that it was the last straw.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cMy husband said, \u2018You\u2019ve gotta take your song back. This is ridiculous,\u2019\u201d she remembers. \u201cSo I thought about it for a while, and I was particularly incensed that [Palin] would use a song about an abused woman, and a horrible situation that she was in, to prop herself up on a platform that basically is against everything that I believe in, and that could\u2019ve helped that woman [in the lyrics]. Everything that she politically stood for would\u2019ve kept that woman down.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tShe was referring especially to Palin\u2019s firm anti-abortion stance, which included cases resulting from rape or incest. So with the royalties that she received from \u201cIndependence Day\u201d for the duration of the 2008 campaign, Peters donated to Planned Parenthood in Palin\u2019s name. The news quickly hit wire services around the world; <em>Democracy Now!<\/em> invited Peters to perform on a segment of the show. \u201cI never felt the white hot heat of anything like that, and I never wish to again,\u201d she says, referencing multiple death threats she received during that time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFor her part, McBride has made issues of domestic violence and advocacy work a core tenet of her career. She\u2019s been a spokesperson for the National Domestic Violence Hotline and worked with the National Teen Dating Abuse Hotline, and hosted a variety of charity initiatives for various other causes such as Kids Wish Network. Her subsequent hits after \u201cIndependence Day\u201d have consistently had a humanitarian bent: she went to Number One in 1997 with \u201cA Broken Wing,\u201d about leaving an emotionally abusive relationship, and centered the stories of women in songs like \u201cIn My Daughter\u2019s Eyes\u201d and \u201cThis One\u2019s for the Girls.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tLike McBride, Peters still gets fans sending her letters and coming up to her after shows to thank her for \u201cIndependence Day.\u201d But with all that\u2019s happened the past 25 years \u2014 the programmers\u2019 hesitance, the song becoming McBride\u2019s signature, the co-opting by right-wing figureheads \u2014 it can sometimes feel like she\u2019s representing a work of music that\u2019s no longer her own.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI\u2019ll be completely honest with you, it used to make me a little bit uncomfortable, because I didn\u2019t know how to deal with it,\u201d she says of fans coming up to her after she performs the song. \u201cI didn\u2019t know how to react. I just would feel like, oh my God, this person has gone through hell\u2026and then I realized they just wanna have a moment.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tShe doesn\u2019t perform \u201cIndependence Day\u201d that often in her live sets \u2014much less so than her own recordings, but also less than other songs she\u2019s penned for other artists. She says she still feels a connection to most hits she\u2019s written as her own work of art; \u201cIndependence Day,\u201d however, became its own beast.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cAll of the permutations it went through \u2014 the political misappropriation and all of that \u00a0just served to move it more into the public consciousness and less in my life somehow,\u201d says Peters. \u201cI think that\u2019s why it doesn\u2019t feel so much like it belongs to me. It\u2019s hard to know.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Peters remembers when, on July 4th<\/strong> last year, she came across a <a href=\"https:\/\/kafkasdoor.com\/2018\/07\/04\/independence-day\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">blog post<\/a> written by Zach Schultz, a gay man who had grown up in Kentucky during the Nineties. \u201cIndependence Day\u201d was \u201ca staple at every Fourth of July church picnic I ever attended,\u201d he wrote, and like everyone else at those picnics, Schultz interpreted the song as a symbol of patriotism for the holiday.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAs an adult, the song took on a new meaning for Schultz \u2014 one with a newfound layer of liberation and political intention, for celebrating Independence Day as a day to \u201cfreely criticize the policies of my country\u201d that oppress women, migrants and other marginalized groups. \u201cI choose to celebrate not for the America in which we currently live, but for the America I believe we can achieve in the future,\u201d he concluded.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWhat he wrote moved me so much because that was where I was coming from, when I wrote it,\u201d says Peters. \u201cThat\u2019s what caused me to sit back down at the piano and go, OK, what was I feeling when I wrote this, and how can I get back there? And reading his essay gave me a shove in that direction. Like, this is your song, and this is what it\u2019s about. It\u2019s not about all those other things. It\u2019s not the Fourth of July, it\u2019s not about \u2018yay, America,\u2019 it\u2019s about freedom and the incredible bravery of human beings to find their freedom.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTo hear Peters\u2019 story is to feel the anxious tug that pulls beneath the surface in the lives of songwriters, producers, music videographers, or anyone whose job it is, in part, to build up the work of other artists with more public-facing careers \u2014 the nagging sensation that your work must always be seen in the context of someone else\u2019s. Rarely, though, does the political meaning of one\u2019s art get so systematically misconstrued that the original creator feels the need, and develops the courage, to step into the spotlight.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHearing the song breeze by on the radio, it\u2019s hard not to interpret \u201cIndependence Day\u201d as anything but jubilant, a song that plainly and bravely tells a truth not fully understood by its youthful protagonist. It stands as a reminder that there\u2019s always time to go back and relisten.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-country\/independence-day-martina-mcbride-real-meaning-855248\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[This story was originally published on July 3, 2019.] When Martina McBride\u2019s \u201cIndependence Day\u201d was released to country radio in April 1994, it was&#8230;<\/p>\n","protected":false},"author":5,"featured_media":67747,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-67746","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/67746","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=67746"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/67746\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/67747"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=67746"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=67746"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=67746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}