A Quote by Eddi Reader
I can speak French, understand Gaelic and know my history. That's the training music has given me.
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When I do Gaelic music, I've learned about Gaelic culture; I've tried to learn the language. Whenever I do mouth music and there's Gaelic speakers in the audience, and they come up and go, 'Good job,' I'm always like, 'Phew.'
I speak some French, Spanish, a little German and Gaelic.
I went to Brown to be a French professor, and I didn't know what I was doing except that I loved French. When I got to Paris and I could speak French, I know how much it helped me to establish relationships with Karl Lagerfeld, with the late Yves St. Laurent. French, it just helps you if you're in fashion. The French people started style.
It wasn't so long ago that it was not popular to speak Gaelic in Ireland because the areas that Gaelic is spoken in were much poorer areas.
The Gaelic language itself depends very much on ear and rhythm, and when those who are thinking in Gaelic speak in English, they get the same rhythm.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
My wife's French. I mean I speak a bit of French but I've lived amongst French, you know, most of my adult life.
I speak from experience, and I speak from the heart, and I speak only what I know and what I understand; and on what I don't know and what I don't understand, I'm a good listener.
When you move around a lot, there are little bits of you from everywhere. I mean, my father's French, and I speak French, and there's a kind of struggle in me that says, 'I'd like to be French.' But I've never been fully part of that culture, that role.
I think I get really into comfort music: '60s stuff, '50s stuff like Frankie Avalon. I love it - such simple songs, but so well written. That, and old French pop. I love that, because I don't speak French. It's all just pop music! But I love it because it just makes me focus on the melodies.
When I arrived at Columbia, I gave up acting and became interested in all things French. French poetry, French history, French literature.
I cut the ribbon in Paris, and everyone in Paris speaks French — maybe you knew that. But I'm from Tennessee, and Tennessee girls don't speak French. So suddenly I'm stuck onstage with Minnie and Mickey and everyone is yelling at me in French — I guess they're telling me to get off the stage, but I didn't know what they were saying at the time, so I start dancing with Minnie and Mickey like on the show and finally my aunt comes and gets me off.
In the province of Quebec where I come from, we speak French and the only cosmopolitan city is Montreal. Every time we tackle the subject of immigration and racial tension, it's an issue that concerns Montreal. Also, in Quebec, we have this added issue that we want people to speak French, because French is always on the verge of disappearing to some extent. I work, play and do everything in French.
I became a pedant of the form. I did my graduate work in art history and particularly in the history of French satirical cartooning. And that made me aware of what a rich and resilient tradition this seemingly scabrous sacrilegious magazine still represented in French life.
I try to understand other people's viewpoints on things and be better in the future. I think if you look at my history as a baseball player, my history on social media and my history as a person, for those who know me well, they know that I apply that process to everything that I do.
I can speak French but I cannot understand it.
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