André Rieu - Ai se eu te Pego! live in São Paulo

Ai Se Eu Te Pego
Michel Teló

Nossa, nossa
Assim você me mata
Ai, se eu te pego
Ai, ai se eu te pego
Delícia, delícia
Assim você me mata
Ai, se eu te pego
Ai, ai, se eu te pego
Sábado na balada
A galera começou a dançar
E passou a menina mais linda
Tomei coragem e comecei a falar
Nossa, nossa
Assim você me mata
Ai, se eu te pego
Ai, ai se eu te pego
Delícia, delicia
Assim você me mata
Ai, se eu te pego
Ai, ai, se eu te pego
Sábado na balada
A galera começou a dançar
E passou a menina mais linda
Tomei coragem e comecei a falar
Nossa, nossa
Assim você me mata
Ai, se eu te pego
Ai, ai…

Paul A. Samuelson: On Being an Economist (Working Biographies) Paperback – May, 2005 by Michael Szenberg (Author), A Gottesman (Author), Lall Ramrattan (Author), Joseph E Stiglitz ( Jorge Pinto Books)

This a a wonderful book.It gives an excellent  overview of the life and times of Paul Samuelson,starting from his days as an undergraduate majoring in economics at the University of Chicago.It does an admirable job in covering the importance of Samuelson's unmatched textbook,Economics,as well as the surrounding historical and political conditions and controversies that occurred during the writing of the book.However,Samuelson's consistent core position concerning the interface between macroeconomics,microeconomics and the economics of Keynes, as expressed by Keynes in the General Theory(1936),in general and,specifically, in section III of chapter 24,is not covered at all.

The reader,who finishs this book,will come away without grasping exactly what it was that Samuelson took away from his reading of the GT.It certainly was not Keynes's mathematical model of chapters 19,20, and 21.Samuelson had been convinced by the misleading claims of Richard Kahn,Joan Robinson and Austin Robinson that,while Keynes's new ideas and approach were fundamentally correct,he had made a technical mess of the formal,mathematical expression and exposition of his theory.Nevertheless,Samuelson did have a very deep understanding and appreciation for Keynes's approach,if not his technique. Samuelson viewed the study of economics and macroeconomics as the study of an economy as a whole.An economy is made up of a private sector and a public sector.There are micro-theoretical underpinnings to the decision making calculus in both sectors.Both sectors are vital to realizing the goal of economic growth and prosperity at full employment,non inflationary levels of gross domestic product.Both public goods and private goods are absolutely necessary.The concept of a completely private economy,operating under conditions of laissez faire,is a myth that was completely rejected by the founding fathers of the United States of America in 1787.The standard reference is The Federalist Papers ,written by Hamilton,Madison,and Jay.

The economic system,AS A WHOLE,can be made to function as if it were an ergodic system IF,AND ONLY IF, the following policies are followed.These policies will create a stable,full employment level of output.First,an activist and interventionist monetary and fiscal policy is implemented.Second,a progressive taxation system is implemented.Third, continuous government spending on investment on infrastructure projects,public goods,and public works is implemented.These three policies will counterbalance and negate the highly variable,unstable,volatile,insufficient,unpredictable private sector spending on investment in fixed ,durable capital goods(plants,factories,machinery,computer hardware and software,etc.)that occurs due to the uncertainty(D. Ellsberg's ambiguity)of the future in all capitalist economies.Fourth,money wages and prices are sticky.Sticky does not mean rigid or inflexible.Fifth,introduction of more interest,wage,and price flexibility,combined with policies 1,2 and 3,will result in attaining the goal of full employment.The expansion of government to include activist,interventionist monetary and fiscal policy,and increased public sector spending on public goods and infrastructure,necessary to counter the shortfalls in required private sector spending on investment ,will mean that"...if our central controls succeed in establishing an aggregate volume of output corresponding to full employment as nearly as is practicable,the classical theory comes into its own again from this point onwards."(Keynes,1936,p.378).Samuelson has digested this point.His detractors have not.

The authors of this book only discuss the strange and incomprehensible objections made by the authors of a two volume book called the Anti-Samuelson(1977)and libertarian anarchists believers in Laissez Faire,like Murray Rothbard and Mark Skousen ,who assume that there is no difference between consumption goods and investment goods or between fixed capital and circulating capital(inventories).Supposedly,investment is a completely stable,predictable function of the long run real rate of interest only.All of the empirical evidence shows that long run investment is not a stable,predictable or nonvolatile function of the real rate of interest.Another strange critic of Samuelson,not mentioned in this book, is Paul Davidson,one of the founders of the Post Keynesian School of economics.Davidson makes the unsupportable charge that Samuelson is not a Keynesian of any type.The reader of this review will discover that Davidson never cites or mentions Keynes's analysis in section III of chapter 24 of the GT whenever he criticizes Samuelson for not being a "true" Keynesian.In fact ,nowhere in the corpus of Davidson's published work ,going back to 1960 ,has Davidson ever dealt with this section of the GT except in dismissive one liners.Finally,none of the other schools of economic thought,such as rational expectations,monetarist,austrian,supply side,or real business cycles,have a clue to the fundamental problem of capitalism.Samuelson,following Keynes,realized that it is the shortfall in investment spending that is the crucial problem in introducing involuntary unemployment into a capitalist economy.Samuelson said it best:"When it comes to investment,the laissez faire system has no good thermostat".No good thermostat means that such an economic system is not self regulating or correcting.The Laissez Faire approach does not lead to full employment unless "we're lucky" .No economist has ever demonstrated theoretically or empirically that the laissez faire system has a good thermostat.

The Archies Sugar Sugar Candy Girl

Aretha Franklin (March 25, 1942 – August 16, 20180) National Anthem

The Lion King - Circle Of Life

Lyrics
From the day we arrive on the planet
And blinking, step into the Sun
There's more to be seen than can ever be seen
More to do than can ever be done
Some say eat or be eaten
Some say live and let live
But all are agreed as they join the stampede
You should never take more than you give
In the circle of life
It's the wheel of fortune
It's the leap of faith
It's the band of hope
Till we find our place
On the path unwinding
In the circle, the circle of life
Some of us fall by the wayside
And some of us soar to the stars
And some of us sail through our troubles
And some have to live with the scars
There's far too much to take in here
More to find than can ever be found
But the Sun rolling high through the sapphire sky
Keeps great and small on the endless round
In the circle of life
It's the wheel of fortune
It's the leap of faith
It's the band of hope
Till we find our place
On the path unwinding
In the circle, the circle of life
It's the wheel of fortune
It's the leap of faith
It's the band of hope
Till we find our place
On the path unwinding
In the circle, the circle of life
On the path unwinding
In the circle, the circle of life

Songwriters: Elton John / Tim Rice
Circle of Life lyrics © Walt Disney Music Company

Circle of Life
"Circle of Life] is a song from Disney's 1994 animated film The Lion King. Composed by Elton John, with lyrics by Tim Rice,[the song was performed by Carmen Twillie (the deep female lead vocals) and Lebo M. (opening Zulu vocals) as the film's opening song. In an interview, Rice said he was amazed at the speed with which John composed: "I gave him the lyrics at the beginning of the session at about two in the afternoon. By half-past three, he'd finished writing and recording a stunning demo." Elton John sang a pop version (with alternative lyrics) of the song with the London Community Gospel Choir, which was included in the film's soundtrack and made into a music video. "Circle of Life" was nominated for the Academy Award for Best Song in 1994, along with two other songs from The Lion King: "Hakuna Matata" and "Can You Feel the Love Tonight"  which won the award.

The song reached No. 11 in the UK and No. 18 in the United States and is featured frequently in attractions based on The Lion King, such as Disney theme parks and parades. Michael Crawford sang it as part of a medley for The Disney Album in 2001.
Theatrical version

Rafiki lifts Simba into the air with Mufasa and Sarabi looking on, in the original London version of The Lion King musical.

Act I

In the theatrical adaption, the opening sequence is noticeably different from the opening of the film. For example, the song is sung by Rafiki instead of an off-screen female narrator.

With the sun rising over the Pride Lands, Rafiki commences the start of the production by singing the opening chant of the song and summoning the animals of the Pride Lands for the presentation of baby Simba. As the first two verses of the musical number end, a representation of Pride Rock appears on stage carrying its two reigning rulers, Sarabi cradling the small puppet representing her son in her arms with Mufasa alongside her. As the choir chants excitedly in the background, Rafiki accompanies the two monarchs to the top of Pride Rock to bless the cub before raising him high in the air, singing joyfully alongside the chorus as the gathered animals bow before their new prince.

Act II

At the end of Act II, Simba's friends and family acknowledge him as the rightful king after Scar's defeat. Rafiki crowns Simba with the mantle of kingship after his victory and Simba ascends Pride Rock. There he gives a mighty roar which echoes across the whole kingdom, and the animals come back to the Pride Lands to recognise and salute Simba as the rightful king. The musical ends as Rafiki presents Simba and Nala's newborn cub to all of the animals, followed by a blackout that finishes Act II and leads to the curtain call at the end of the performance.

The assembly of animals that appear are slightly different from the beginning of Act II. There are no wildebeests and adult elephant, only two zebras instead of three, three gazelles instead of four, and half of the bird performers instead of four. Only the baby elephant, the rhino, the giraffes, three cranes, the cheetah, and the birds appear as poles on cranes as kites.

Other versions

The song was re-recorded in 2003 by the Disney Channel Circle of Stars, a group of actors and actresses who have appeared in Disney Channel television series and original movies, for the album DisneyMania 2. The line-up was significantly different when their next rerecording, "A Dream Is a Wish Your Heart Makes," was released two years later.

In 2017 American boyband 98° recorded a cover version of the song to help promote a re-release of The Lion King on Blu-ray as part of the Disney Signature Collection.[8] The single was released as a digital download on 22 September 2017.
Other languages
Movie version

With the usual number of dubs normally released by Disney, for The Lion King, a special Zulu dub was made in South Africa. This is not just the only Zulu dub ever made by Disney, but also the only dub made in any African language, other than Arabic.[

In 2003, in the Arabic and Polish versions, the song was re-dubbed, while the rest of the dub remained as such.

Jocelyn B. Smith (German) received a gold record as an award for her performance.

Beside the official dubs, several local TV stations made their own dub of the movie, or re-dubbed an existing version, in local languages. Namely: Arabic, Armenian, Austrian German, Crimean Tatar, Kabardian, Nogai, and Tamil.


In popular culture

Due to the film's impact on popular culture, the song "Circle of Life" is often referenced in other media.

The opening to The Lion King was parodied in an episode of the 1990s cartoon Animaniacs, in which the theme of "Circle of Life" was parodied with "Surprises in Life", with vocals by Jim Cummings and Cree Summer as lead singer.

The Tenth Doctor finds himself subconsciously quoting "Circle of Life" during a confrontation with the Sycorax leader in the 2005 Christmas special of the revived Doctor Who series, "The Christmas Invasion".

In one of Disney's many self-references, "The Circle of Life" appeared as a false beginning of the film Chicken Little, when Buck was trying to open the movie. In the 1998 movie A Bug's LifeHopper explains to Flit's colony that his protection in exchange for food is one of those "Circle of Life" kind of deals.

South Park did a parody song called "The Circle of Poo" that shows the endless circle of food and defecation in the episode "A Very Crappy Christmas".

It is currently the main theme song for Disney's Animal Kingdom at the Walt Disney World Resort. Disney's Epcot park currently features a cinema-type film called Circle of Life: An Environmental Fable from 1995 with Timon, Pumbaa, and Simba discussing environmental topics at the Walt Disney World Resort as well.

At the 2011 White House Correspondents' Dinner, President Barack Obama jokingly claimed he was going to show his long-form birth video, spoofing an earlier controversy about refusing to show his long-form birth certificate to prove he was, in fact, born in the United States. The opening chant was played from the film, and Simba was seen being lifted to the skies. This was used to poke fun at Obama's alleged Kenyan heritage.

New York Mets outfielder Yoenis Cespedes started using the song as his walk-up music during the 2016 MLB season.

The Japanese band Da Pump recorded a cover version of the song in 2003.

It is used in the Modern Family pilot when Mitch and Cam introduce Lily to the family.

On 28 May 2017, the song was used in Stadio Olimpico during Francesco Totti's farewell, after the winning match of AS Roma against Genoa C.F.C. for 3-2.

Charts

Weekly charts Chart (1994–1995) Peak position Australia (ARIA) 60 Austria (Ö3 Austria Top 40) 30 Belgium (Ultratop 50 Flanders) 5 Canada Adult Contemporary (RPM) 1 Canada Top Singles (RPM)[ 3 Germany (Official German Charts) 10 Ireland (IRMA)[ 9 Netherlands (Dutch Top 40) 5 New Zealand (Recorded Music NZ) 13 Sweden (Sverigetopplistan) 3 Switzerland (Schweizer Hitparade) 2 UK Singles (Official Charts Company) 11 US Adult Contemporary (Billboard) 2 US Billboard Hot 100 18 US Mainstream Top 40 26

Year-end charts Chart (1994) Position Canada Top Singles (RPM) 32 Certifications Region Certification Certified units/Sales United States (RIAA) Gold 500,000 *sales figures based on certification alone ^shipments figures based on certification alone sales+streaming figures based on certification alone

Bruce Springsteen - Long Tall Sally (Sydney 2/7/17) ... its History and Llyrics

Long Tall Sally

Little Richard

Gonna tell Aunt Mary 'bout Uncle John
He claim he has the misery but he's havin' a lot of fun
Oh baby, yeah baby, woo
Havin' me some fun tonight, yeah

Well long, tall Sally
She's built for speed, she got
Everything that Uncle John need, oh baby
Yeah baby, woo baby
Havin' me some fun tonight, yeah

Well, I saw Uncle John with long tall Sally
He saw Aunt Mary comin' and he ducked back in the alley oh baby
Yeah baby, woo baby
Havin' me some fun tonight, yeah, ow

Well, long, tall Sally
She's built for speed, she got
Everything that Uncle John need, oh baby
Yeah baby, woo baby
Havin' me some fun tonight, yeah

Well, I…

"Long Tall Sally" is a rock and roll 12-bar blues song written by Robert "Bumps" Blackwell, Enotris Johnson, and Little Richard; recorded by Little Richard; and released in March 1956 on the Specialty Records label.

The flip side was "Slippin' and Slidin'". Both songs were subsequently released in the LP Here's Little Richard (Specialty, March 1957). The single reached number one on the Billboard rhythm and blues chart, staying at the top for six of 19 weeks,[1] while peaking at number six on the pop chart. It received the Cash Box Triple Crown Award in 1956. The song as sung by Little Richard is #55 on Rolling Stone's list of The 500 Greatest Songs of All Time.

It became one of the singer's best-known hits and has become a rock and roll standard covered by hundreds of artists,[4] including the Beatles and Elvis Presley.

The song was originally called "The Thing", recorded in New Orleans by Little Richard.

History

"Tutti Frutti" had been a big hit for Little Richard and Specialty in early 1956, reaching No. 2 in the R&B charts. Pat Boone's cover version of the song reached No. 12 in the pop charts. Although this meant an unexpected cash income for the Specialty publishing firm, A&R man and producer "Bumps" Blackwell and a proud Richard decided to write a song that was so up-tempo and the lyrics so fast that Boone would not be able to handle it (Boone eventually did record his own version, however, getting it to No. 8).

According to Blackwell, he was introduced to a little girl by Honey Chile, a popular disc-jockey. Apparently, the girl had written a song for Little Richard to record so she could pay the treatment for her ailing aunt Mary. The song, actually a few lines on a piece of paper, went like this:

Saw Uncle John with Long Tall Sally
They saw Aunt Mary comin'
So they ducked back in the alley.

Not wishing to upset an influential disc-jockey, Blackwell accepted the offer and took the idea to Richard, who was reluctant at first. Nevertheless, the line "ducked back in the alley" was exactly what they were looking for, and Richard kept practicing until he could sing it as fast as possible. They worked on the song, adding verses and a chorus, until they got the hit they wanted. The credit to Enotris Johnson, Richard's adoptive father, was added, probably as an act of benevolence. Featuring a tenor saxophone solo by Lee Allen (as did "Tutti Frutti"), "Long Tall Sally" was the best-selling 45 of the history of Specialty Records.

Recording

The recording session took place on February 10, 1956 at J&M Studio in New Orleans, the legendary studio owned by Cosimo Matassa on the corner of Rampart and Dumaine where Fats Domino and many other New Orleans luminaries recorded. "Long Tall Sally", as well as many other Little Richard sides, was also recorded there.

The backing was provided by the house top session men: Edgar Blanchard (guitar), Frank Fields (double bass), Lee Allen (tenor sax), Alvin "Red" Tyler (baritone sax) and Earl Palmer (drums), plus Little Richard on vocals and piano. Blackwell was the producer.

The music was a fast uptempo number with Little Richard's hammering, boogie piano. Richard plays staccato eighth notes while Palmer plays a fast shuffle. The shuffle was the most common rhythm and blues beat; Richard added the eighth notes, much less common in that time, although now standard for rock music. Together this created an ambiguity in the ride rhythm—known to musicians as "playing in the crack" that came to characterize New Orleans rock and roll. In typical Little Richard style, he sang in the key of F, in a raw, aggressive, exhilarating style with lyrics being about self-centered fun.

Well, Long Tall Sally,
She's built for speed,
She's got everything that Uncle John needs.

Although the lyrics are light-weight, Little Richard's style triumphs over content and provides a wonderful vehicle for his enthusiastic exhibitionism.

Notes on the lyrics

On the original recording, the opening line states the singer is going to report to Aunt Mary that Uncle John does not, as he claims, have "the misery", a Southern expression meaning generalized weakness and illness.

The line in the original recorded version, "Long Tall Sally is built for speed", is a reference to the proverbial African-American distinction in sexual types: "Built for comfort" or "built for speed", terms originally applied to passenger sailing ships. When sung rapidly, this line is sometimes rendered "built sweet", even by Little Richard in a recorded live performance. Though it is not a perfect rhyme with the word "need", it fits through assonance.

Personnel

Little Richard – vocals, piano

Lee Allen – tenor sax

Alvin "Red" Tyler – baritone sax

Frank Fields – bass

Earl Palmer – drums

Edgar Blanchard – guitar

The Beatles version

The Beatles were great admirers of Little Richard, and recorded many of his songs during their career. "Long Tall Sally" was the most durable song in their live repertoire, lasting from their earliest days as the Quarrymen in 1957 through to their last public concert in August 1966. As with the majority of their Little Richard remakes, Paul McCartney sang lead vocals, as he could most closely imitate Richard's vocal style.[8]

The group recorded "Long Tall Sally" at EMI Studios in London on 1 March 1964, during sessions for A Hard Day's Night, although it was ultimately not included on that album. The recording was produced by the Beatles' regular producer, George Martin, who also played piano on the track. Given the group's familiarity with the song, the recording was completed in a single take.

In the United Kingdom, the track was released on the Long Tall Sally EP on 19 June 1964; however, it had been released earlier on two overseas albums, The Beatles' Second Album in the United States on 10 April, and The Beatles' Long Tall Sally in Canada on 11 May. Released as a single in Sweden, the song topped the Kvällstoppen Chart in July and August.

The song appears on the film Backbeat. Upon viewing it, Paul McCartney was reported to say:

One of my annoyances about the film Backbeat is that they've actually taken my rock 'n' rollness off me. They give John "Long Tall Sally" to sing and he never sang it in his life. But now it's set in cement. ['Paul' sang Long Tall Sally in the Glasgow stage version]. It's like the Buddy Holly and Glenn Miller stories. The Buddy Holly Story does not even mention Norman Petty, and The Glenn Miller Story is a sugarcoated version of his life. Now Backbeat has done the same thing to the story of the Beatles. I was quite taken, however, with Stephen Dorff's astonishing performance as Stu.

Personnel

Paul McCartney – vocals, bass

John Lennon – rhythm guitar

George Harrison – lead guitar

Ringo Starr – drums

George Martin – piano

Other Beatles recordings

In addition to their studio recording of the song, the Beatles recorded "Long Tall Sally" for BBC radio broadcasts on seven occasions during 1963 and 1964.[11] Two of these versions have been officially released, on the compilation albums Live at the BBC (1994) and On Air – Live at the BBC Volume 2 (2013). In addition, a live recording from the 1964 television special Around the Beatles was included on the Anthology 1 compilation (1995). The live album The Beatles at the Hollywood Bowl (1977) includes a 1964 concert recording of the song.

Popular culture

• In the 1987 film Predator, the song is played while the group of soldiers are traveling in a helicopter. Later in the movie, the character Sergeant Mac Eliot shouts the lyrics "Long Tall Sally, she built sweet, she got everything, that Uncle John need. Aw baby, I'm gonna have me some fun, I'm gonna have me some fun, I'm gonna have me some fun" as a battle cry while pursuing the film's titular monster. A sequel, 2010's Predators, called back to the original film by playing the song over its closing credits.
• There is a long discussion of the song in the 1997 novel Underworld by Don DeLillo. Specifically, characters argue over the ethnic identity of the titular girl.
• "Long Tall Sally" was sung by Eddie Clendening, portraying Elvis Presley, in the Broadway musical Million Dollar Quartet, which opened in New York in April 2010.Eddie Clendening also covered the song on the Million Dollar Quartet original Broadway cast recording, copyright 2010 by MDQ Merchandising, LLC.
• Makes an appearance in the game Mafia 2 on the Delta Radio station
• Makes an appearance in the British show Rock & Chips spinoff Only Fools and Horses
• On Season 9 of the American Dancing with the Stars, Melissa Joan Hart and Mark Ballas danced the Jive to this song in week 2 of the competition.
• On Series 14 of Strictly Come Dancing, Danny Mac and Oti Mabuse danced the Jive to this song in week 7 of the competition.
• On Season 13 of the American Dancing with the Stars, Kristin Cavallari and Mark Ballas danced the Jive to this song in the finale of season 13.
• "Long Tall Sally" plays during the opening helicopter scene of Far Cry 3: Blood Dragon as an homage to the 1987 film Predator.
• "Long Tall Sally" plays during the chase scene in the 1988 film Red Scorpion.
• The song was used in the beginning of the game Saints Row IV (mission "Zero Saints Thirty"), once again as a homage to Predator.
• John Sloman perfored the song in animated film Planet 51.
• The song is used during a boat chase near the start of the 2016 video game Mafia III

Patriotism Redefined : La Marseillaise from Casablanca.... perhaps Cinemas greatest scene.... Patriotism Redefined

La Marseillaise is the French national anthem and it has a long history that speaks to the history of France itself. In both French and English, the song is a powerful and patriotic anthem that is known throughout the world.

If you are studying the French language, learning the words to La Marseillaise is definitely recommended. In this lesson, you will see a side-by-side translation from French to English that will help you understand its meaning and why it is so important to the people of France.

The Lyrics for La Marseillaise (L'Hymne national français)

La Marseillaise was composed by Claude-Joseph Rouget de Lisle in 1792 and was first declared the French national anthem in 1795. There is much more to the song's story, which you can find below. First, however, let's learn how to sing La Marseillaise and understand the English translation of the lyrics.

• Rouget de Lisle originally wrote the first six verses. The seventh was added sometime later in 1792, according to the French government, though no one knows whom to credit for the last verse.
• It is typical that the refrain is repeated after each stanza.
• At public French performances today, including sporting events, you will often find that only the first verse and the refrain are sung.
• On occasion, the first, sixth, and seventh verses are sung. Again, the refrain is repeated between each.

French	English Translation by Laura K. Lawless
Verse 1: Allons enfants de la patrie, Le jour de gloire est arrivé ! Contre nous de la tyrannie L'étendard sanglant est levé ! (bis) Entendez-vous dans les campagnes, Mugir ces féroces soldats ? Ils viennent jusque dans nos bras Égorger nos fils, nos compagnes !	Verse 1: Let's go children of the fatherland, The day of glory has arrived! Against us tyranny's Bloody flag is raised! (repeat) In the countryside, do you hear The roaring of these fierce soldiers? They come right to our arms To slit the throats of our sons, our friends!
Refrain: Aux armes, citoyens ! Formez vos bataillons ! Marchons ! Marchons ! Qu'un sang impur Abreuve nos sillons !	Refrain: Grab your weapons, citizens! Form your battalions! Let us march! Let us march! May impure blood Water our fields!
Verse 2: Que veut cette horde d'esclaves, De traîtres, de rois conjurés ? Pour qui ces ignobles entraves, Ces fers dès longtemps préparés ? (bis) Français ! pour nous, ah ! quel outrage ! Quels transports il doit exciter ! C'est nous qu'on ose méditer De rendre à l'antique esclavage !	Verse 2: This horde of slaves, traitors, plotting kings, What do they want? For whom these vile shackles, These long-prepared irons? (repeat) Frenchmen, for us, oh! what an insult! What emotions that must excite! It is us that they dare to consider  Returning to ancient slavery!
Verse 3: Quoi ! ces cohortes étrangères Feraient la loi dans nos foyers ! Quoi ! ces phalanges mercenaires Terrasseraient nos fiers guerriers ! (bis) Grand Dieu ! par des mains enchaînées Nos fronts sous le joug se ploiraient ! De vils despotes deviendraient Les maîtres de nos destinées !	Verse 3: What! These foreign troops Would make laws in our home! What! These mercenary phalanxes Would bring down our proud warriors! (repeat) Good Lord! By chained hands Our brows would bend beneath the yoke! Vile despots would become The masters of our fate!
Verse 4: Tremblez, tyrans ! et vous, perfides, L'opprobre de tous les partis, Tremblez ! vos projets parricides Vont enfin recevoir leur prix ! (bis) Tout est soldat pour vous combattre, S'ils tombent, nos jeunes héros, La France en produit de nouveaux, Contre vous tout prêts à se battre !	Verse 4: Tremble, tyrants! and you, traitors, The disgrace of all groups, Tremble! Your parricidal plans Will finally pay the price! (repeat) Everyone is a soldier to fight you, If they fall, our young heros, France will make more, Ready to battle you!
Verse 5: Français, en guerriers magnanimes, Portez ou retenez vos coups ! Épargnez ces tristes victimes, A regret s'armant contre nous. (bis) Mais ces despotes sanguinaires, Mais ces complices de Bouillé, Tous ces tigres qui, sans pitié, Déchirent le sein de leur mère !	Verse 5: Frenchmen, as magnanimous warriors, Bear or hold back your blows! Spare these sad victims, Regretfully arming against us. (repeat) But not these bloodthirsty despots, But not these accomplices of Bouillé, All of these animals who, without pity, Tear their mother's breast to pieces!
Verse 6: Amour sacré de la patrie, Conduis, soutiens nos bras vengeurs ! Liberté, Liberté chérie, Combats avec tes défenseurs ! (bis) Sous nos drapeaux, que la victoire Accoure à tes mâles accents ! Que tes ennemis expirants Voient ton triomphe et notre gloire !	Verse 6: Sacred love of France, Lead, support our avenging arms! Liberty, beloved Liberty, Fight with your defenders! (repeat) Under our flags, let victory Hasten to your manly tones! May your dying enemies See your triumph and our glory!
Verse 7: Nous entrerons dans la carrière Quand nos aînés n'y seront plus ; Nous y trouverons leur poussière Et la trace de leurs vertus. (bis) Bien moins jaloux de leur survivre Que de partager leur cercueil, Nous aurons le sublime orgueil De les venger ou de les suivre !	Verse 7: We will enter the pit When our elders are no longer there; There, we will find their dust And the traces of their virtues. (repeat) Much less eager to outlive them Than to share their casket, We will have the sublime pride Of avenging them or following them!

The History of La Marseillaise

On April 24, 1792, Claude-Joseph Rouget de Lisle was a captain of engineers stationed in Strasbourg near the Rhine River. The mayor of the town called for an anthem just days after the French declared war on Austria. The story says that the amateur musician penned the song in a single night, giving it the title of “Chant de guerre de l’armée du Rhin” (“Battle Hymn of the Army of the Rhine”).

Rouget de Lisle's new song was an instant hit with the French troops as they marched. It soon took on the name La Marseillaise because it was particularly popular with volunteer units from Marseille.

On July 14, 1795, the French declared La Marseillaise the national song.

As you may have noted in the lyrics, La Marseillaise has a very revolutionary tone. It is said that Rouget de Lisle himself supported the monarchy, but the spirit of the song was quickly picked up by revolutionaries. The controversy did not stop in the eighteenth century but has lasted over the years and the lyrics remain the subject of debate today.

• Napoleon banned La Marseillaise under the Empire (1804-1815).
• It was also banned in 1815 by King Louis XVIII.
• La Marseillaise was reinstated in 1830.
• Again, the song was banned during the rule of Napoleon III (1852-1870).
• La Marseillaise was once again reinstated in 1879.
• In 1887, an "official version" was adopted by France's Ministry of War.
• After the liberation of France during World War II, the Ministry of Education encouraged school children to sing La Marseillaise to "celebrate our liberation and our martyrs."
• La Marseillaise was declared the official national anthem in Article 2 of the 1946 and 1958 constitutions.

La Marseillaise is widely popular and it is not uncommon for the song to make an appearance in popular songs and movies. Most famously, it was used in part by Tchaikovsky in his "1812 Overture" (debuted in 1882). The song also formed an emotional and unforgettable scene in the 1942 classic film, "Casablanca."

Casablanca is widely remembered as one of the greatest films of all time, coming in at #2 on the AFI’s top 100 list and similarly regarded by many other critics. You can quibble with its exact rank, but it’s at least undeniable how iconic Casablanca remains. Even now, more than 70 years after its 1942 release, few movies have ever produced as many enduring quotes.

But when I think of the film, the first thing that comes to my mind isn’t “Here’s looking at you, kid,” or “We’ll always have Paris,” or the song “As Time Goes By,” or any of the other often best-remembered parts. For me, it’s always “La Marseillaise” — the dueling anthems between French refugees and their German occupants singing “Die Wacht am Rhein.” I’ve never found a movie scene yet that can match it. So now, at a time when people are once again turning to “La Marseillaise” for comfort in the face of adversity, I wanted to revisit what makes this scene so powerful.

The scene marks a major turning point in the film. Directly preceding this scene, the bar owner Rick (Humphrey Bogart) refuses to give or sell letters of transit to the war hero/revolutionary Victor Laszlo (Paul Heinreid). The letters of transit are the only hope of freedom for Victor, and his only chance at returning to his efforts at insurgency against the Nazis; Rick knows this, but is still too hurt and bitter that his lost love Ilsa (Ingrid Bergman) has chosen Victor over him. Rick’s refusal is essentially a Nazi victory, despite his careful attempts at framing his (in)actions as simple neutrality. The Germans, led by Major Strausser (Conrad Veidt), have established a de facto control over Casablanca, acting through the openly self-interested French Captain Louis Renault (Claude Rains).

After “La Marseillaise,” everything changes. The uneasy stalemate between Victor Laszlo and Major Strausser can no longer continue in the face of such open defiance of German power. Strausser orders Renault to find a pretense to shut down Rick’s — leading to arguably the film’s best exchange of dialogue. Strausser uses Ilsa to increase the pressure on Victor. Everything kicks into gear, as now Rick, Ilsa, Victor, and Louis are all forced into unpleasant decisions that will push the film toward its climax.

And it all begins with the anthems. As Rick and Victor are ending their disagreement, they hear the German soldiers in the bar below, joyfully and triumphantly singing “Die Wacht am Rhein.” The rest of the bar is made up largely of refugees from the German war machine, so the anthem feels almost like taunting, a callous display of German power over people seeking to escape their conquering. Even the ever-compliant Louis looks on at the singing with an expression that could be construed as disapproval, before glancing toward Rick to see what he’ll do. (Rick is a constant source of curiosity for Louis throughout the film.) This expression is the first and barest foreshadowing we receive of Louis’s eventual turn.

Victor spends only seconds taking in the scene in front of him before marching straight down to the bar’s band. As he passes, we see Ilsa watch him go by with a look of only partially contained dread. She knows this man and exactly what he’s about to do.

Victor reaches the band and immediately demands that they play “La Marseillaise,” the French national anthem. Here we see, for the first and perhaps only time, what has made Victor such an important figure. There’s such a fierceness to him, an intensity that comes bursting out as he repeats his demand — “Play it” — less than second after first making it.

The band leader looks first to Rick for approval; the film had already established previously the absolute loyalty that Rick receives from his employees, in a scene where the bartender cuts off a patron on Rick’s orders despite protests for one more drink. Nothing that follows can happen without Rick’s assent. Bogart’s nod is such a small gesture, but carries such enormous weight. This is the first moment of Rick choosing a side, of joining in resistance in some small way.

The band launches into “La Marseillaise” with Victor leading the singing, and within two seconds, the entire bar (except the Germans) has stood and joined him. Everyone was ready and waiting for this to happen, even if they didn’t know it: the kindling was already there, and Victor was the spark to light it. Major Strausser makes one attempt to rouse his soldiers into louder voices, but it’s no use. The Germans are but one small enclave, finding themselves within a community that’s filled with less traditional power but greater numbers and far superior zeal. Within moments, “La Marseillaise” has drowned out “Die Wacht am Rhein.”

Strausser is forced to give up and sit down in anger. That moment is also an example of one of the fascinating things about this scene, and why I’ve rewatched it by itself so many times. While the main focus in on just a small handful of characters, there are numerous people around the edges of shots whose actions and expressions add greatly to the emotions being played out. Take, for instance, the German officer to Strausser’s right (screen left), and the frustration and disgust on his face as he finally gives up the song.

Now, only “La Marseillaise” is playing, as the voices rise to a swell. And we come to the heart of the entire scene: Yvonne. The story of Yvonne (Madeleine Lebeau) in Casablanca is perhaps the greatest example of economy in storytelling that I’ve seen. She appears in only three scenes in the entire film, with this one the last of them. Her total screen time combined is probably no more than a minute. And yet, in those brief stretches, we see an entire character arc play out; and what’s more, an arc that acts as a microcosm of the entire film.

We first see Yvonne early in the film, as she’s upset and confronting Rick because he’s rebuffed her after the two of them apparently shared a one-night stand. She tries to get drunker, but Rick takes that away from her too and has her sent home. The next time she appears, she’s at the bar and romantically entwined with a German soldier. A Frenchman takes exception to that pairing and starts a fight; Yvonne sides with the German. These two scenes, as brief as they are, tell us so much about her. She’s a broken woman, desperately seeking a man, possibly for love but more likely for a sense of protection and comfort in dangerous times. This desperation leads her all the way to the point of willingly collaborating and romantically pairing with a German.

But then, there’s “La Marseillaise.” A sudden and fervent outburst of patriotism that spreads like wildfire through the bar, overwhelming the Germans and awakening a passion in its singers. As the song begins to near its climax, we get a close-up of Yvonne, singing along with a very different kind of passion. We see tears streaking down her face and a pained expression as she sings. In just these few seconds, you can see a mountain of development and emotion. The same woman who was willing to compromise everything for her own security is realizing how far that compromise has made her fall; is realizing that she may never see the homeland she loves again; is realizing that she’d rather die a true Frenchwoman than live a traitor. It’s the same type of journey we see Rick travel more slowly throughout the movie, and shows perhaps the film’s most important motif: the choice between personal desire or safety and the greater good. How many people must have faced similar choices in the war — to collaborate or die? Yvonne isn’t just herself in this scene; she’s representing scores of people as she faces hard truths and makes her emotional break.

We then move to Ilsa, and without a word, she conveys everything we need to know about her relationship with Victor. The movie wouldn’t be nearly as enduring without Bergman’s flawless portrayal of Ilsa. It’s easy to imagine a version of the film with Ilsa coming across as just a reductive caricature; her role in the plot revolves mostly around her being torn between two men whom she both loves. But Bergman imbues her with such subtle strength that Ilsa always feels like she has agency. Even when she tells Rick near the end that he must make the choices for both of them, it feels like a lie; she believes Rick will choose to keep her and him together, so telling him to make the choice is itself the choice.

But while Casablanca gives us flashbacks to Ilsa and Rick’s time together in Paris, the development of Ilsa and Victor is mostly expository. This scene is perhaps the best representation of how they fit together. Victor charged past Ilsa without a word, and we already saw the dread in her face as she knew what he was about to do. Now we get the first shot of her reaction to “La Marseillaise” after it’s begun. You can see it on her face and in the deep breaths she takes: she knows. She knows what this means for Victor, for his cause, for her, for their relationship. His open defiance in the face of the German soldiers will end all good hope they had of ever leaving Casablanca alive and together. You can see her heart breaking as she recognizes their predicament before anyone else in the room has even considered it.

But then the camera cuts back to Victor, still singing triumphantly. There is such bravado in Henreid’s performance here; it’s the one scene where you can really see Victor as a revolutionary leader, capable of inspiring people into acts of defiance in the face of tyranny. When the camera reaches Ilsa again, her expression has softened, melted even, into one of love. A bittersweet love, perhaps, but an evident one. She knows that this reckless disregard for his own life is that same thing that once landed Victor in a concentration camp and threatens him again now in Casablanca, but that zeal must be the same reason she fell for him in the first place. Again, the economy of storytelling here is remarkable. Within a handful of seconds, an entire wordless story has been told: Ilsa’s sad resignation to their changing circumstances, Victor’s passionate defiance, and Ilsa’s acceptance of her husband, loving him for the fact that his greatest flaws are also his greatest virtues.

Ilsa’s acceptance is the final act needed for “La Marseillaise” to move on to reach its climax. Within less than just a couple of minutes, we have had the German aggression, Victor’s rebellion against it, Rick taking his first stand, the overwhelming passion of the French crowd, the redemption of Yvonne painting a story representative of the whole film, and Ilsa and Victor’s unconventional love in the face of adversity. All that remains is the final groundswell.

The power of this scene is helped, of course, by the indisputable fact that “La Marseillaise” is an incredible national anthem. While I’m by no means an expert, it’s the best one I’ve ever heard from any country, and its association in my mind with this scene is highly likely to always keep it there. But the scene is also helped by the people in it. The main actors are at their finest here, and I already mentioned how supporting actors gave great little tidbits in the German soldier part.

Yet perhaps the greatest thing in this scene is that most of the people in it weren’t actors at all; rather, director Michael Curtiz filled the scene with actual French refugees. Keep in mind, this movie came out in 1942 and was filmed at the height of World War II, at a time when Germany looked nearly unbeatable and Nazi occupation of France was indefinite. And here was a group of refugees from that occupation, given the chance to sing their anthem with defiant pride. For one brief moment, this wasn’t a movie. It was real life, and it was tragic, and it was brave. Reports have said that extras were crying on set during filming, and the passion is evident any time you look past the main actors to the background singers. Note, for instance, the furious arm pump by the man in the background behind the blonde woman at the left of the screen:

It’s also worth noting that the film is entirely in English; “La Marseillaise” is the only foreign language sequence I can recall, and it’s presented without subtitles. (You can find the English translation here; it’s very much a true battle song, in the goriest sense of the phrase.)  For some reason, that adds even more to its power for me. It’s unapologetically French, and derives much of its power from that. It was their anthem, at the time they needed it most. And for the film’s audience, most of whom were probably not speaking French, the intentional creation of a brief language barrier allows for a pure distillation of the passion of the singing; it’s not the words that matter, it’s what they represent to the people saying them. And what they represent is an ability to stand up in their darkest hour and show their oppressors that their pride will never be extinguished.

The song ends with one final shot of Yvonne, the final time we see her in the film. With wet cheeks, she yells “Vive la France!”

I truly believe this remains the greatest scene ever filmed. It’s filled with such raw power and emotion, showing a beacon of light in the midst of some of humanity’s darkest days. It tells so much of a story in such a brief moment, distilling numerous characters down to their cores and giving them developments and arcs through the merest of glances. It’s the turning point that pushes the plot and its characters to the point of no return, where a final and deadly confrontation will become necessary. All because of the power of a single song, and its ability to inspire, to create and destroy, to stoke passions and reconciliations and fears and loves. All because of “La Marseillaise.”

Vive la France, indeed.