Hubbry Logo
Humble PieHumble PieMain
Open search
Humble Pie
Community hub
Humble Pie
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Humble Pie
Humble Pie
from Wikipedia

Humble Pie are an English rock band formed by former Small Faces vocalist and guitarist Steve Marriott and former Herd vocalist and guitarist Peter Frampton in Moreton, Essex, in 1969. The original line-up was completed by former Spooky Tooth bassist Greg Ridley and former Apostolic Intervention drummer Jerry Shirley. They are known as one of the first supergroups of the late 1960s and enjoyed success in the early 1970s with songs such as "Black Coffee", "30 Days in the Hole", "I Don't Need No Doctor", "Hot 'n' Nasty" and "Natural Born Bugie". Frampton left the band in 1971 and was replaced by Clem Clempson.

Key Information

History

[edit]

1968: Background and formation

[edit]

Marriott befriended Frampton during the latter months of 1968 and the pair bonded over their unwanted 'teen heart-throb' status in the UK and their shared desire to be taken more seriously as musicians. Frampton was at something of a loose end professionally, having recently left the Herd. Marriott, acting as mentor to his younger new friend, agreed to help Frampton find a new musical direction.

Marriott had initially wanted Frampton to join his established group Small Faces as a second guitarist in order to expand their musical horizons, rather than form an entirely new group with him. This proposal met with resistance from his Small Faces bandmates Ronnie Lane and Ian McLagan. Frampton guested during a few of the band's live shows in October which, although well received by audiences, seemingly did nothing to convince Marriott's reluctant bandmates to allow Frampton to join them on a permanent basis. Consequently, Marriott was soon helping Frampton to form his own band as a backup plan.

In December 1968 at the behest of their long-time recording engineer/producer Glyn Johns, the Small Faces served as a backing band for French singer Johnny Hallyday during recording sessions in Paris for his latest album, "Rivière... Ouvre Ton lit" (aka "Je Suis Né Dans La Rue"), and Marriott invited Frampton along to participate. The week-long sessions may have been another of Marriott's attempts to test the waters to expand the Small Faces lineup, but tensions were reportedly brought to a head and the seeds sown for the group's break-up in the new year. The Hallyday sessions therefore proved to be the Small Faces' final studio recordings. Embryonic versions of "Bang!" and "What You Will" from Humble Pie's debut album were recorded by the Small Faces and Frampton during the sessions, and the five musicians can be heard playing together (and also in various combinations with Hallyday's regular band) throughout the album, with Frampton's distinctive guitar work especially prominent. Their performances together offer a tantalising glimpse of how an expanded Small Faces lineup might have sounded.

It was not to be, however. For reasons that remain ill-defined to this day, Lane and McLagan were now more opposed than ever to Frampton joining the group. As a result, Marriott's efforts to put a band together from scratch for Frampton became more concerted, and Greg Ridley and Jerry Shirley were successfully auditioned. An increasingly-frustrated Marriott stormed off stage during a Small Faces live performance with Alexis Korner at the Alexandra Palace on New Year's Eve, and backstage he duly announced to his bandmates that he was leaving. He then approached Frampton with a view to joining him in the band he had helped to form for him.

1969–1970: Official formation and UK chart success

[edit]

After fulfilling outstanding live performance commitments, including a European tour in January, the Small Faces' dissolution was formally announced in March 1969, and Marriott and Frampton's plans to form a new group together were unveiled (although the band were already formed and had been rehearsing together since January).

Having been instantly labelled by the UK music press as a supergroup, the band chose the name Humble Pie in order to downplay such expectations and signed with Andrew Loog Oldham's record label Immediate Records. Their debut album, As Safe as Yesterday Is, was released in August 1969, along with the single, "Natural Born Bugie"/"Wrist Job", which reached No. 4 hit in the UK Singles Chart; the album peaked at No. 16 in the UK album charts. As Safe as Yesterday Is was one of the first albums to be described by the term "heavy metal" in a 1970 review in Rolling Stone magazine, though in this case, it was meant to be an insult rather than a genre label.[1][2]

Their second album, Town and Country, was rush-released in the UK in November 1969 while Immediate Records were on the verge of financial collapse and the band was away on its first tour of the US. This album featured a more acoustic sound and songs written by all four members. Humble Pie concerts at this time featured an acoustic set, with a radical re-working of Graham Gouldman's "For Your Love" as its centrepiece, followed by an electric set. Recent tape archives show that the band recorded around 30 songs in its first nine months of existence, many of which remained unreleased for decades, including an interpretation of Henry Glover's "Drown in My Own Tears".

1970–1971: Focus on American success

[edit]
The band in 1971. From left: Frampton, Shirley, Marriott, Ridley.

During 1970, with the Immediate label having finally collapsed, Humble Pie signed to A&M Records and Dee Anthony became their manager. Anthony was focused on the US market and suggested the band discard the acoustic set and instigate a more raucous sound with Marriott as the front man. The group's first album for A&M, Humble Pie, was released later that year and alternated between progressive rock and hard rock. A single, "Big Black Dog", was released to coincide with the album and failed to chart, however the band was becoming known for popular live rock shows in the US.

It was during this period that Peter Frampton acquired his famed "Phenix" guitar, the black 1954 Les Paul Custom that became his signature instrument and his favourite guitar for the next decade. Humble Pie was playing a run of shows at the Fillmore West in San Francisco in early December 1970 and during the first show Frampton was plagued by sound problems with his then-current guitar, a semi-acoustic Gibson 335, which was prone to unwanted feedback at higher volumes. After the show he was approached by fan and musician Mark Mariana, who loaned him the modified 1954 Gibson Les Paul, and by the end of the second show Frampton had become so enamoured of the guitar that he offered to buy it on the spot, but Mariana refused payment. Frampton played it almost exclusively for the next ten years.[3]

Humble Pie played in a free concert at Hyde Park, London with Grand Funk Railroad & Head Hands & Feet on 3 July 1971. On 9 July 1971 Humble Pie opened for Grand Funk Railroad at their historic Shea Stadium concert, an event that broke the Beatles record for fastest selling stadium concert, to that date. Also in 1971, Humble Pie released their most successful album to date, Rock On, as well as a live album recorded at the Fillmore East in New York entitled Performance: Rockin' the Fillmore. The live album reached No. 21 on the US Billboard 200 and was certified gold by the RIAA. "I Don't Need No Doctor" became an FM radio standard in the US, peaking at No. 73 on the Billboard Hot 100 and propelling the album up the charts. By the time of the album's release, Frampton had left the band and went on to enjoy success as a solo artist.

1972–1975: Clem Clempson, The Blackberries and further success

[edit]

Frampton was replaced by Clem Clempson and Humble Pie moved toward a harder sound emphasising Marriott's blues and soul roots. Their first record with Clempson, Smokin', was released in March 1972, along with two singles "Hot 'n' Nasty" and "30 Days in the Hole" (the latter of which became one of their best-known efforts). It was the band's most commercially successful record and reached No. 6 on the US charts, helped by a busy touring schedule. After the success of Smokin', the band's record label A&M released Humble Pie's first two Immediate albums as one double album titled Lost and Found. The marketing ploy was a success and the album charted at No. 37 on the Billboard 200.

Looking for a more authentic R&B sound, Marriott hired three female backing vocalists, The Blackberries. The trio consisted of Venetta Fields, Clydie King and Sherlie Matthews, who was later replaced by Billie Barnum. They had performed with Ike and Tina Turner as The Ikettes and with Ray Charles as The Raelettes.[4] This new line-up included Sidney George on saxophone for the recording of Eat It, a double album released in April 1973 made up of Marriott originals (some acoustic), R&B numbers, and a Humble Pie concert recorded in Glasgow. The album peaked at No. 13 in the US charts. Album number seven, Thunderbox, was released in February 1974 and Street Rats a year later.

Street Rats (February 1975) was created at the same time as Marriott was producing a solo album and a collaboration album with Greg Ridley. After the release of this album and their 1975 "Goodbye Pie Tour", Humble Pie disbanded, citing musical differences. Marriott went on to produce his first solo album Marriott and promptly moved back to the UK.

1979–1981: Steve Marriott's Humble Pie without Frampton and Ridley

[edit]

In late 1979, Marriott and Shirley, now managed by Leber-Krebs, revived Humble Pie, adding Bobby Tench,[5] former vocalist and guitarist from The Jeff Beck Group, along with bassist Anthony "Sooty" Jones from New York. They submitted "Fool for a Pretty Face", a song Marriott and Shirley had just written, to record labels. They secured a recording contract with Atlantic Records subsidiary Atco and in the UK their material was released by Jet Records, owned by former Small Faces manager Don Arden. They recorded the album On to Victory (April 1980) and "Fool for a Pretty Face" reached No. 52 on the US Billboard Hot 100. On to Victory peaked at No. 60 on the Billboard 200.

Humble Pie toured the US in 1980 as part of the 'Rock 'N' Roll Marathon Bill' with Frank Marino & Mahogany Rush, Angel & Mother's Finest. Humble Pie toured with Ted Nugent & Aerosmith in 1981 and also recorded the album Go for the Throat (June 1981).[5] This album was originally recorded by the band as a raw-edged Rhythm and Blues album, but their record company wanted a slicker album.[5]

In April 1981, at the beginning of the promotional tour for the Go for the Throat album, Marriott crushed his hand in a hotel room door, delaying earlier scheduled appearances by the band, and he later developed a duodenal ulcer forcing the cancellation of all further tour dates in late July 1981. Soon afterwards this line-up disbanded[6] due to the loss of the Atlantic contract and the ceasing of financial support from Leber-Krebs. And to make matters even worse, the band's equipment truck was stolen as well.[5]

1982: Steve Marriott forms a new band billed as Humble Pie

[edit]

In 1982 Marriott was back on the road with Jim Leverton (bass, backing vocals), former Steppenwolf keyboardist Goldy McJohn and Chicago-born drummer Fallon Williams III. This grouping was originally set to be called The Official Receivers, The Three Trojans (after McJohn departed) or The Pie, but ended up billed by promoters as Humble Pie. McJohn was let go after suffering drug troubles and the remaining trio toured Australia in October 1982 billed as Small Faces to entice patrons. In January 1983 Leverton ran into trouble at U.S. Immigration and was deported back to England.

Marriott based himself in the Atlanta, Georgia, area, where his second wife Pamela Stephens was from, and continued to tour clubs as Humble Pie. Atlanta musician Keith Christopher (from The Brains) took over bass and a young guitarist from Tennessee, Tommy Johnson, joined as well. After a deal with Capricorn Records fell through due to the label ceasing to trade, this line-up went into Pyramid Eye Studios in Chattanooga, Tennessee, to record three songs intended for an album which didn't materialize.

Following Johnson leaving and being replaced by Phil Dix, they were scheduled to record demos with Yes and ELP producer Eddy Offord at Eddy's studio in Atlanta with Rick Richards of Georgia Satellites as the new guitarist. But before recording sessions began, Rick and Keith were fired from the band by Marriott for showing up late to one of the sessions. The recordings were finished with Fallon on drums and Dave Hewitt (from Babe Ruth) on bass, but failed to attract a record label.[7]

On 4 September 1983 Humble Pie performed at the Electric Cowboy Festival in Columbia, Tennessee, where Marriott was carried onstage by a roadie due to a very large cast on his leg. They appeared as a last-minute replacement for the English group Madness. After this there were some more US club dates, which were Marriott's last official live performances under the name Humble Pie. He then disbanded the group and returned to England in late 1983.

1988–2000: Jerry Shirley's Humble Pie, new Marriott and Frampton songs

[edit]

Jerry Shirley obtained the rights to the name Humble Pie in 1988 and reformed the group with different musicians. This project was called New Humble Pie or Humble Pie featuring Jerry Shirley, where Shirley was the only original member. The band began performing concerts and was based in Cleveland, Ohio, where Shirley was working as an on-air radio personality at Cleveland's WNCX. The line-up included vocalist Charlie Huhn, who also played lead and rhythm guitar. While Huhn and Shirley were the only permanent members of the group,[8] several other musicians appeared, including Wally Stocker and a returning Anthony "Sooty" Jones on bass. Jones was quickly replaced by Sean Beavan (who was engineering their 1989 independent single release "Still Rockin'").[9]

In August 1989 they appeared in the line-up at the Woodstock Festival's 20th Anniversary Celebration.[10] By 1990, Scott Allen had replaced Beavan on bass and a little later that year, Cleveland guitarist Alan Greene had joined in place of Stocker.[9] Bassist Sam Nemon played with this lineup from 1992 to 1996, when Brad Johnson took over. In August 1999 Shirley was seriously injured in an auto accident and later returned to England.[8]

Frampton and Marriott started collaborating again in 1990. Two songs from this collaboration, "The Bigger They Come" and "I Won't Let You Down", with Steve Marriott's vocals, appeared on Frampton's album Shine On: A Collection. Marriott died in a house fire on 20 April 1991.[11]

2000–2003: Former members reform, Back on Track album and Steve Marriott Memorial concert

[edit]

In 2000 Charlie Huhn continued on as Humble Pie without Shirley to fulfill live dates. Rick Craig of Halloween joined the line up with bassist Kent "Bubba" Gascoyne and Jamie Darnell on drums. Michigan guitarist Patrick Thomas took Craig's place later that year and Ian Evans (from The Outlaws) replaced Gascoyne. After completing touring duties they disbanded and Huhn went on to join Foghat.

Having returned to the U.K, Shirley re-formed Humble Pie in 2001 with a line-up including the original bassist Greg Ridley, former Humble Pie member vocalist and guitarist Bobby Tench and new rhythm guitarist Dave Colwell (of Bad Company). They recorded Humble Pie's thirteenth studio album, Back on Track (2002), which comprised new songs and was released by Sanctuary Records.[12] Keyboard players Zoot Money and Victor Martin were brought in for recording sessions. A brief tour of UK and Germany with Company of Snakes followed with new keyboardist Dean Rees and guitarist Johnny Warman. But Ridley fell ill late in 2002 and the band split up.

Shirley appeared at the Steve Marriott Tribute Concert held at the London Astoria in 2001, to commemorate the 10th anniversary of Marriott's death. The concert featured a grouping of early Humble Pie members Frampton, Clempson, Ridley and Shirley.[13] Former member guitarist Bobby Tench also appeared as the frontman for the house band, which included Zak Starkey, keyboard player Rabbit Bundrick and bassist Rick Wills. This concert was released as a DVD by Chrome Dreams in 2005 entitled The Steve Marriott Astoria Memorial Concert 2001,[14] and as an album with the title One More for the Ol' Tosser (2006).[15]

In May 2003 Ridley had recovered enough to undertake two gigs, one at a club in Bucharest, Romania, with a group he called Greg Ridley's Humble Pie that included Ridley, Rees, Chris George (guitar), Stefan John (guitar) and Karl Randall (drums). He died later that year, on 19 November 2003, in Alicante, Spain of pneumonia and resulting complications. He was 62.[16]

2018 reunion and beyond

[edit]

During 2018 Jerry Shirley still owned the Humble Pie name and instigated a new lineup which he would direct but not tour with. Shirley stated: "We all have a great sense of love and pride for Humble Pie, the [former] members their families and what we were able to achieve and it goes without saying that no one will ever replace Steve, Peter or any member of the band. My goal is keep the legacy of Humble Pie intact as one of the greatest live acts in rock, while satiating the need for generations of our beloved fans to again enjoy our music performed live by world class musicians".[17]

Shirley chose Dave Colwell, who had played and recorded with the band on the 2002 album Back on Track as a front man and lead guitarist, alongside former Savoy Brown and Cactus singer Jimmy Kunes. The new line up included second guitarist James "Roto" Rotondi, bassist David C. Gross (replaced later in 2018 by Ivan "Funkboy" Bodley) and drummer Bobby Marks. They began a fifteen-show tour of the U.S on 31 August 2018 in Riverhead, New York. The band performed songs from the Humble Pie catalogue and other songs such as Bad Company's "Can't Get Enough (of your Love)" and Free's "All Right Now".[17]

In 2023 Shirley's "Humble Pie Legacy" lineup of Dave Colwell (guitar), Jim Stapley (vocals, guitar, Hammond, harmonica), Ivan Bodley (bass) and Bobby Marks (drums) continued.[18]

Personnel

[edit]

Original members

  • Steve Marriott – guitar, vocals, keyboards, harmonica (1969–1975, 1979–1983; died 1991)
  • Jerry Shirley – drums, keyboards (1969–1975, 1979–1981, 1988–1999, 2001–2002, 2018–present)
  • Greg Ridley – bass, vocals, guitar (1969–1975, 2001–2002; died 2003)
  • Peter Frampton – guitar, vocals, keyboards (1969–1971)

Current members

  • Jerry Shirley – drums, percussion (1969–1975, 1979–1981, 1988–1999, 2001–2002, 2018–present)
  • Dave "Bucket" Colwell – guitar, backing vocals (2001–2002, 2018–present)
  • Ivan "Funkboy" Bodley – bass (2018–present)
  • Bobby Marks – drums, percussion (2018–present)
  • Jim Stapley – vocals, guitar, keyboards (2022–present)

Discography

[edit]

Studio albums

[edit]
Year Album UK
[19]
US
[20]
CA
[21]
AUS
[22]
GE
[23]
NDL
[24]
Certification Label
1969 As Safe as Yesterday Is 32 6 Immediate
1969 Town and Country Immediate
1970 Humble Pie A&M
1971 Rock On 118 87 A&M
1972 Smokin' 20 6 13 9 26 US: Gold[25] A&M
1973 Eat It 34 13 10 41 A&M
1974 Thunderbox 52 58 A&M
1975 Street Rats 100 98 A&M
1980 On to Victory 60 89 ATCO
1981 Go for the Throat 154 ATCO
2002 Back on Track Sanctuary

Live albums

[edit]
Year Album UK
[19]
US
[20]
CA
[21]
AUS
[22]
GE
[23]
Certification
1971 Performance: Rockin' the Fillmore 32 21 17 20 40 US: Gold[25]
1996 King Biscuit Flower Hour Presents – Humble Pie In Concert
2000 Extended Versions (Reissue of the 1996 King Biscuit Flower Hour Presents 'In Concert')
Natural Born Boogie: The BBC Sessions
2002 Live at the Whisky A Go-Go '69
2010 Hot 'n' Nasty: Rockin' the Winterland (Reissue of the 1996 King Biscuit Flower Hour Presents 'In Concert')
2012 Live '73 (Reissue of the 1996 King Biscuit Flower Hour Presents 'In Concert')
2013 Live '81
2013 Performance: Rockin' the Fillmore: The Complete Recordings Box set (4-cd) 89
2017 Official Bootleg Vol. 1 Box set (3-cd)
2018 Official Bootleg Vol. 2 Box Set (5-cd)
2019 Up Our Sleeve – Official Bootleg Vol. 3 Box Set (5-cd)
2019 Tourin' – Official Bootleg Vol. 4 Box Set (4-cd)

Compilations

[edit]
  • Lost and Found (1973) (US Cash Box – 41)
  • Back Home Again (1976)
  • Greatest Hits (1977)
  • Best of Humble Pie (1982)
  • A&M Classics, Volume 14 (1987)
  • A Piece of the Pie (1993)
  • Early Years (1994)
  • Hot n' Nasty: The Anthology (1994)
  • The Scrubbers Sessions (1997)
  • The Immediate Years: Natural Born Boogie (1999)
  • Running with the Pack (1999)
  • Twentieth Century Masters: The Millennium Collection (2000)
  • The Atlanta Years (2005)
  • The Definitive Collection (2006)
  • The A&M Vinyl Box Set (2017)
  • The A&M CD Box Set (2022)
  • I Need a Star in My Life (2022)

Singles

[edit]
Year Single Chart Positions
UK US CAN AU
1969 "Natural Born Bugie" 4 19
"The Sad Bag of Shaky Jake"
1970 "Big Black Dog"
1971 "Shine On"
"I Don't Need No Doctor" 73 72
1972 "Hot 'n' Nasty" 52 35
"30 Days in the Hole"
1973 "Black Coffee" 113
"Get Down to It"
"Shut Up and Don't Interrupt Me"
1974 "Ninety-Nine Pounds"
"Oh la de Da"
1975 "Rock and Roll Music" 105
1980 "Fool for a Pretty Face" 52
1981 "Tin Soldier" 58

Videos and DVDs

[edit]
  • The Steve Marriott Astoria Memorial Concert 2001 (2005) Chrome Dreams

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Humble pie is an idiomatic expression referring to a situation in which a person is compelled to apologize humbly or admit a mistake in a humiliating way, often after being proven wrong. The phrase "to eat humble pie," first recorded in , derives from the earlier term "umble pie," a real dish consisting of a pie filled with umbles—the edible or inner organs (such as the heart, liver, and entrails) of a deer or other animal—that was typically served to servants and lower-class individuals in medieval and early modern . The literal umble pie emerged in the 17th century, with "umbles" tracing back to the "numbles" around 1330, itself from the "nombles," meaning the or similar animal parts. This dish symbolized social inferiority, as the more desirable cuts of meat were reserved for the upper classes during feasts, leaving the for the "humble" or lowly. The phonetic similarity between "umble" and "humble"—the latter entering English in the late from "humble," denoting or lowliness—led to a folk etymological that transformed the culinary reference into a for submission and . Historical records, such as Samuel Pepys's diary entries from 1662 and 1663, document the consumption of umble pies as a common, if modest, meal. In modern usage, "eating " conveys the act of swallowing one's pride, typically in professional, social, or personal contexts where overconfidence or error leads to public correction. The remains prevalent in English-speaking cultures, appearing in , , and everyday speech to describe moments of forced , such as a retracting a false claim or an acknowledging defeat graciously. While the original pie is now obsolete, the phrase endures as a vivid reminder of historical class distinctions embedded in language.

Etymology and Origins

Linguistic Roots

The term "umble," central to the phrase "umble pie," derives from the "nombles" or "numble," referring to the edible of a deer, such as the heart, liver, and lungs. This word entered English through Norman French influences following the 1066 , originating from the "nombles," which denoted the loin or inner parts of animals like or , ultimately tracing back to the Latin "lumbulus," a of "lumbus" meaning "." The initial "n-" in "nombles" was often assimilated and dropped in English usage, leading to the phonetic variant "umble," as seen in common expressions like "an umble" paralleling the loss of "n" in words such as "" from earlier "napron." In contrast, "humble" as an signifying lowly or modest has a separate etymological path, stemming from the "humble" and Latin "humilis," meaning low or slight, derived from "" for earth, evoking ideas of grounded . This distinction highlights that "umble" was a specialized culinary term unrelated to , while "humble" carried moral and social connotations of submissiveness. The phonetic similarity arose because of the shared initial vowel sounds after the dropped "n" in "umble," facilitating later through . The first recorded uses of "umble pie" appear in 17th-century English texts, notably in the diary of Samuel Pepys, who described consuming it on July 5, 1662—"the umbles baked in a "—and again on July 8, 1663, praising an "umble hot out of her ." These references, from around the 1640s onward, document "umble pie" as a dish of lower-class , with early mentions solidifying its place in print by the late . Over time, a phonetic shift occurred through folk etymology, where "umble pie" merged with "humble pie" during the 17th and 18th centuries amid spelling standardization and the growing pun on humility. This evolution was driven by the auditory resemblance and cultural associations of offal pies with subservience, leading to the variant "humble pie" in texts like Kenelm Digby's 1669 The Closet, though the full idiomatic sense emerged later. The process exemplifies how phonetic variants in Middle English often blended via popular reinterpretation, without altering the original offal-based meaning.

From "Umble Pie" to "Humble Pie"

The transition from "umble pie" to "humble pie" exemplifies , a process where words evolve through popular misconception rather than logical derivation, occurring primarily in the 17th and 18th centuries. "Umble pie," derived from "umbles" (the edible of a deer, such as heart, liver, and entrails), was a dish associated with lower-status meals during hunts. By the mid-17th century, speakers began associating "umble" with "humble" due to phonetic similarity and the social connotations of consuming inferior cuts, leading to a reanalysis that imposed the moral sense of onto the term. This shift is evident in early literature, such as ' entry from July 8, 1663, where he records, "Mrs. Turner came in, and did bring us an umble pie hot out of her oven, extraordinarily good." The variant "" first appears in print in the 1669 The Closet of the Eminently Learned Sir Kenelme Digbie Kt. Opened, which includes a "To season Humble Pyes." This period's growing body of printed texts, including cookbooks and personal accounts, amplified the confusion, as readers encountered "umble" without its archaic French roots (nombles) clearly explained, prompting the assimilation to the more familiar "humble." The influence of and rising rates in the further entrenched the form "." Standardized spelling in major works helped fossilize the , reflecting broader linguistic trends toward regularization amid expanding . Regional variations emerged as the term crossed the Atlantic, with retaining the pun's culinary origins while American adoption focused on the literal dish. The earliest U.S. printed appears in the American edition of Hannah Glasse's The Art of Cookery Made Plain and Easy, which describes a pie as "" (also called "lumber pie"), adapting the British tradition to colonial contexts without yet emphasizing the idiomatic sense. This marks the phrase's integration into , differing slightly in emphasis from British usage by prioritizing practical recipe nomenclature over immediate .

Historical Context

Medieval and Early Modern Cuisine

In medieval , numbles— the of deer, specifically the liver, kidneys, heart, and entrails—were traditionally allocated to huntsmen and their assistants following a hunt. These "numbles," derived from nomble meaning the animal's midsection, were considered the huntsman's perquisite after the claimed the prime cuts. As described in the early 15th-century hunting treatise The Master of Game by Edward, Second , the numbles encompassed "the parts of a deer between the thighs, that is to say, the liver and kidneys and entrails," and were often prepared as a boiled dish served at post-hunt feasts to the lower-ranking participants. This practice reflected the strict forest laws enforced under Henry II (r. 1154–1189), who expanded royal forests to their greatest extent to preserve exclusively for the king and , leaving as a for servants and huntsmen. Preparation of numbles in the medieval period typically involved boiling the cleaned , dicing it, and mixing with , , , wine, onions, and spices such as "powdo fort" (a mix including pepper), as documented in contemporary manuscripts like (c. 1390). This emphasized the economical use of animal byproducts in feasts where venison haunches were reserved for elites, while sustained the working huntsmen amid the era's game-preserving regulations. By the , umble pie evolved into a more elaborated dish, appearing in 17th-century cookbooks with variations incorporating from deer, sheep, or pigs, blended with fruits, spices, and sweeteners to suit household tables. Gervase Markham's The English Huswife (1615) reflects this shift, situating humble pie—made from "livers, hearts and entrails of animals"—as a staple for lower-status diners at banquets, distinct from the finer meats served to superiors. A representative from Robert May's The Accomplisht Cook (1660) illustrates the preparation: the umbles were layered with minced or marrow, mixed into a of , currants, raisins, dates, , cloves, mace, , and pepper, then baked in , finished with a glaze of rose-water , butter, caraway, and . This version, often using sheep or pig umbles when was scarce, transformed the humble into a spiced, fruit-infused confection suitable for broader domestic use.

Social and Class Implications

In medieval England, hierarchical feasting practices underscored rigid class structures, particularly during venison hunts where the claimed the prime cuts of deer for their tables, leaving the numbles—entrails and —for servants and huntsmen. This division was not merely practical but enforced through sumptuary laws designed to preserve social distinctions by regulating dietary access. The 1363 Statute Concerning Diet and Apparel, for instance, restricted lower classes such as grooms and laborers to limited meals, with subsequent meals confined to and simple fare, prohibiting excessive consumption of "precious " to prevent the erosion of privileges. Such regulations extended to game meats like , which forest laws reserved exclusively for the , symbolizing their dominion over land and resources while relegating offal-based dishes to the subordinate ranks. Numbles emerged as a potent of within manor houses and royal courts, embodying the feudal obligations that bound lower classes to their superiors. Huntsmen, as specialized servants, were rewarded with the numbles after a successful kill, a perquisite that acknowledged their labor but reinforced their inferior status through the consumption of what was deemed lowly fare. This practice tied directly to the feudal hierarchy, where vassals and retainers fulfilled duties in exchange for sustenance from the lord's hunt, yet the humble ingredients served as a constant reminder of their place below the who enjoyed lavish roasts. In courtly settings, serving numbles dishes to attendants during feasts further highlighted these dynamics, blending utility with to affirm and . During the (1485–1603), the preparation of dishes in great households typically involved lower-class servants, as evidenced by account books that detail operations under male oversight but with ancillary roles for women in processing ingredients and assembling foods. Gendered labor divisions placed women, often from the servant class, in supportive tasks like chopping ingredients and , reflecting broader patterns where domestic foodwork reinforced class and hierarchies. These accounts, such as those from noble estates, illustrate how the creation of such dishes perpetuated subservience, with laborers handling remnants unfit for higher tables to sustain the household's stratified order. The social significance of umble pie waned in the post-Enlightenment era, particularly by the , as economic shifts and the rising facilitated the democratization of meat consumption across society. Improved and market access allowed broader protein intake, diminishing the exclusivity of prime cuts and elevating offal dishes from markers of to occasional fare. This transition blurred traditional class lines in diet, reducing the pie's role as a symbol of feudal subservience amid growing and reduced reliance on hierarchical rewards.

Idiomatic Development

Emergence as an Idiom

The transition of "" from a literal dish to a figurative denoting and apology began in the early , building on the phonetic between "umble pie"—a modest offal-based —and the "humble" meaning lowly or submissive. The earliest confirmed figurative use appears in a 1812 political poem published in the Carolina Federal Republican, where "eating " metaphorically described yielding in a dispute, implying abasement through consuming inferior . This semantic shift leveraged the association of umble pie with lower social classes, transforming the act of eating it into a of self-debasement and forced . By the 1830s, the had gained traction in , as evidenced by its inclusion in Robert Forby's 1830 Vocabulary of , which defined "to eat " as compelling someone to "lower his tone, and be submissive." This period marked the solidification of the expression through literary and journalistic contexts, where it alluded to social comeuppance and public retraction of overreach. further popularized it in his 1850 novel , using variations like "umble pie" to evoke themes of and class reversal in everyday . The on "humble" reinforced the idiom's conceptual core, linking the of lowly pie to voluntary or enforced . The idiom's regional spread to occurred concurrently with its British emergence, influenced by transatlantic exchanges of literature and print media. By the mid-19th century, it appeared in U.S. publications as a borrowed expression for admitting error, reflecting shared Anglo-American cultural motifs of and . This adoption paralleled the idiom's evolution from a niche to a widely recognized for .

Evolution of Meaning

In the early 20th century, the idiom "eat humble pie" increasingly connoted not just humiliation but a deliberate act of apology or concession following an error, particularly in political and social contexts. This shift was evident in British press coverage of labor disputes, such as the 1926 General Strike, where Wigan miners who returned to work early were derided for "eating humble pie" after breaking ranks with the national effort, highlighting the phrase's application to public admissions of defeat or misjudgment. The usage underscored a move toward viewing the idiom as a rhetorical tool for critiquing leaders or groups compelled to retract bold positions, blending shame with accountability. By the mid-20th century, modern nuances emerged, incorporating irony and humor in self-deprecating scenarios, where individuals voluntarily "eat humble pie" to diffuse tension or showcase rather than face forced submission. In self-reflective contexts, such as personal anecdotes or , the phrase now often carries a lighthearted tone, allowing speakers to acknowledge flaws without profound . Globally, while direct adaptations vary, the idiom's core idea of apologetic has inspired parallels in non-English languages, though English expansions dominate through media and , emphasizing emotional over strict defeat. For instance, French expressions like "faire amende honorable" (make honorable amends) echo the apologetic intent, but English variants have proliferated in international , extending the phrase to corporate apologies or diplomatic retreats. Linguistic analysis reveals a marked increase in the idiom's frequency since the , reflecting broader cultural emphasis on in public life, as tracked in corpus data from sources like Ngrams, where occurrences rose steadily into the 21st century. This surge underscores the phrase's versatility in digital communication and global English dominance, solidifying its role in nuanced expressions of .

Usage and Cultural References

In Literature and Language

The "eat " has appeared in classic literature to underscore themes of social satire and forced . Similarly, Shakespearean works contain echoes of the through puns on "umble" () and , as in (c. 1597), where references to umbles reflect the lower-class associations that later evolved into the expression's figurative meaning. In 20th-century , the features in critiques of class hierarchies and the of the privileged. (general literary usage context) The operates as a in , functioning primarily as a for admitting and enduring , often extended in similes such as "eating a slice of " to convey partial concession. It appears in proverbs emphasizing moral correction, and collocations like "forced to eat " highlight the involuntary nature of the apology, reinforcing its role in tension around and . Linguistic studies classify "eat humble pie" as a fixed , opaque in meaning to modern speakers due to its etymological shift from literal pie to figurative . Christine Ammer's Have a Nice Day—No Problem!: A of Clichés (1987) defines it as "to admit that one has been wrong, usually in an embarrassing way," noting its status as a non-literal expression resistant to substitution.

Modern Examples and Variations

In contemporary , the "eat " is frequently invoked to describe leaders issuing public apologies or concessions following or missteps. For instance, during the 1998 Monica Lewinsky , U.S. President was compelled to publicly admit his inappropriate relationship, an act framed as eating humble pie before the nation in his testimony. Similarly, in the during the 2020s, Prime Minister faced repeated calls to eat humble pie amid post-Brexit controversies, including the 2021-2022 partygate , where he ultimately conceded errors in handling rules, leading to his premiership's unraveling. The phrase appears in modern media and pop culture to underscore themes of and self-correction, particularly in and professional settings. In the 2006 film The Devil Wears Prada, protagonist Andy Sachs endures a severe dressing-down from her demanding boss , prompting a moment of personal reckoning that embodies the idiom's essence of forced . Television series like (U.S. version, 2005-2013) depict office dynamics where characters confront overconfidence and humbly adjust after professional setbacks, reflecting the idiom's role in everyday comedic narratives. Variations of the idiom have emerged in casual , such as "eat a slice of ," which softens the original while retaining its of partial admission of fault. Since the , ironic adaptations have proliferated in online , often twisting the phrase in memes to mock public figures' reluctant apologies, amplifying its satirical edge in digital communication. The maintains relevance in current English usage, particularly in contexts of , as evidenced by its persistence in corporate . For example, in 2010, CEO Michael O'Leary issued newspaper advertisements apologizing to easyJet's founder, an instance of the company eating to resolve a libel dispute. Linguistic analyses confirm its ongoing frequency in , especially in apology scenarios across English-speaking countries, where it ranks among recognizable fixed expressions in comprehension studies.

References

Add your contribution
Related Hubs
User Avatar
No comments yet.