A Quote by Audie Murphy
They were singing in French, but the melody was freedom and any American could understand that.
Related Quotes
When I got to college I simply decided that I could speak French, because I just could not spend any more time in French classes. I went ahead and took courses on French literature, some of them even taught in French.
The transformations of the French empire itself or of French power structures themselves as well as the emergence of a kind of language of equal rights starting with the American Revolution and the French Revolution provided an opportunity and in some ways connected with other kinds of ground level desires or hopes and ideologies for freedom that were coming out of the plantation regime itself.
If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
The Second World War had a precipitating effect in that it discredited the empires, as well as bankrupting them. Not only could you no longer, if you were a colonial subject of France in Africa, look to France as a model of power and influence and civility after what had happened in the war. Nor could the French any longer afford to run their empire. And nor could the British, although they were not discredited in the way that the French were.
There was never a choice to sing in English or French, that's the thing. We started a band and sang right away in English. You reproduce the thing you like, and most of the bands we liked were coming from England or the U.S. We also came to cherish the fact that there was no one in France singing in English -we were so happy Phoenix to be the first. Even if we are traitors to France, our country, which I'll never understand, because we talk about things that are very French.
I would listen most particularly to the countries whose language I didn't understand, didn't know what they were singing. But being a singer myself, I could understand because of the emotion.
[Opetaia Foa'i] brought in the melody and the lyrics, but the lyrics were in Tokelauan, and so, we talked about what it could mean and whether this could be the ancestor song. So, I started writing English lyrics to sort of the same melody.
Ninety-eight percent of the singing I did was private singing - it was in the shower, at the dishwasher, driving my car, singing with the radio, whatever. I can't do any of that now. I wish I could. I don't miss performing, particularly, but I miss singing.
Nobody thought I could do anything with a singing career... except my singing teachers, who were accustomed to hearing voices that could be transformed into something.
In Paris, AIDS was dismissed as an American phobia until French people started dying; then everyone said, 'Well, you have to die some way or another.' If Americans were hysterical and pragmatic, the French were fatalistic: depressed but determined to keep the party going.
I could never be French, I could never become German - I shall always remain American - the essence which is in me is American mysticism just as Davies declared it when he saw those first landscapes.
We Americans understand freedom; we have earned it, we have lived for it, and we have died for it. This nation and its people are freedom's models in a searching world. We can be freedom's missionaries in a doubting world. The genius of the American system is that through freedom we have created extraordinary results from plain old ordinary people.
The early American knew that freedom was nothing more than the absence of external restraint on behavior; the government could not give you freedom, it could only take it away.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
The melody is French. But that's the end of the record. I named it "Jean Pierre Then There Were None," you know, because of the big explosion. You'll like it. It's a nice album.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
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