Arthur Freed Quotes

Don’t try to be different. Just be good. To be good is different enough.

Eighth grade's a distant rumor, a tabled issue, and Dylan knows from experience that the summer between might change anything, everything. He and Mingus Rude too and even Arthur Lomb for that matter are released from the paint-by-numbers page of their schooldays, from their preformatted roles as truant or victim, freed to an unspoiled summer, that inviting medium for doodling in self-transformation.

In the Land under the Hill, in the Time Before … Once upon a time, there was a beautiful lady of the Seelie Court who lost her heart to the son of an angel. Once upon a time, there were two boys come to the land of Faerie, brothers noble and bold. One brother caught a glimpse of the fair lady and, thunderstruck by her beauty, pledged himself to her. Pledged himself to stay. This was the boy Andrew. His brother, the boy Arthur, would not leave his side. And so the boys stayed beneath the hill, and Andrew loved the lady, and Arthur despised her. And so the lady kept her boy close to her side, kept this beautiful creature who swore his fealty to her, and when her sister lay claim to the other, the lady let him be taken away, for he was nothing. She gave Andrew a silver chain to wear around his neck, a token of her love, and she taught him the ways of the Fair Folk. She danced with him in revels beneath starry skies. She fed him moonshine and showed him how to give way to the wild. Some nights they heard Arthur’s screams, and she told him it was an animal in pain, and pain was in an animal’s nature. She did not lie, for she could not lie. Humans are animals. Pain is their nature. For seven years they lived in joy. She owned his heart, and he hers, and somewhere, beyond, Arthur screamed and screamed. Andrew didn’t know; the lady didn’t care; and so they were happy. Until the day one brother discovered the truth of the other. The lady thought her lover would go mad with the grief of it and the guilt. And so, because she loved the boy, she wove him a story of deceitful truths, the story he would want to believe. That he had been ensorcelled to love her; that he had never betrayed his brother; that he was only a slave; that these seven years of love had been a lie. The lady set the useless brother free and allowed him to believe he had freed himself. The lady subjected herself to the useless brother’s attack and allowed him to believe he had killed her. The lady let her lover renounce her and run away. And the lady beheld the secret fruits of their union and kissed them and tried to love them. But they were only a piece of her boy. She wanted all of him or none of him. As she had given him his story, she gave him his children. She had nothing left to live for, then, and so lived no longer. This is the story she left behind, the story her lover will never know; this is the story her daughter will never know. This is how a faerie loves: with her whole body and soul. This is how a faerie loves: with destruction. I love you, she told him, night after night, for seven years. Faeries cannot lie, and he knew that. I love you, he told her, night after night, for seven years. Humans can lie, and so she let him believe he lied to her, and she let his brother and his children believe it, and she died hoping they would believe it forever. This is how a faerie loves: with a gift.

promise of secrecy was made at the time, from which I have only been freed during the last month by the untimely death of the lady to whom the pledge was given. It is perhaps as well that the facts should now come to light, for I have reasons to know that there are widespread rumours

his own dread name I command it—BGWJJILLIGKKK!” Then I touched off the hogshead of rockets, and a vast fountain of dazzling lances of fire vomited itself toward the zenith with a hissing rush, and burst in mid-sky into a storm of flashing jewels! One mighty groan of terror started up from the massed people—then suddenly broke into a wild hosannah of joy—for there, fair and plain in the uncanny glare, they saw the freed water leaping forth!

All this is accomplished by the inner power of an artistic nature alone; but that purely objective disposition is facilitated and assisted from without by suitable objects, by the abundance of natural beauty which invites contemplation, and even presses itself upon us. When ever it discloses itself suddenly to our view, it almost always succeeds in delivering us, though it may be only for a moment, from subjectivity, from the slavery of the will, and in raising us to the state of pure knowing. This is why the man who is tormented by passion, or want, or care, is so suddenly revived, cheered, and restored by a single free glance into nature: the storm of passion, the pressure of desire and fear, and all the miseries of willing are then at once, and in a marvellous manner, calmed and appeased. For at the moment at which, freed from the will, we give ourselves up to pure will-less knowing, we pass into a world from which every thing is absent that influenced our will and moved us so violently through it.

At MGM, Arthur Freed and Vincente Minnelli made their last musical together, Bells Are Ringing (1960), reunited with Comden and Green. Dean Martin joined the Broadway package, replacing Sydney Chaplin, Charlie’s eldest son.13 Adding Martin’s star persona to the Judy Holliday vehicle produced another close match of movie star to musical role. As Jeff Moss, a Broadway playwright who’s been hitting the bottle harder than the typewriter, Martin fit the public perception of his romance with the grape. Even those who don’t care for the liquid Martin style find him charming in this musical.14 The vivacious answering-service operator Holliday nurses him back to sobriety and success, and the laid back, breezy Martin hoofs with Holliday in casual soft-shoe duets like “Just in Time.” In “Drop that Name,” Minnelli’s eye adds stylish brilliance to a satire of New York’s pretentious social elite, a Black-and-White Ball of burlesques and grotesques in answer to An American in Paris. Though Bells Are Ringing is neither vintage Freed nor vintage Minnelli—cramped by a middle-class present, a CinemaScope frame imprisoned in stageset interiors, and self-conscious disguises for Holliday’s shape—it is pleasant enough Holliday and Martin.

But in the short term, it exposed the shortcomings of those who had relied on him as the ultimate authority on everything, especially in universities. Reformation scholars not only had more books, but had their time freed up to ponder, to cross-reference, and to set texts side by side.

But in the short term, it exposed the shortcomings of those who had relied on him as the ultimate authority on everything, especially in universities. Reformation scholars not only had more books, but had their time freed up to ponder, to cross-reference, and to set texts side by side. Thanks to printing, “contradictions became more visible, divergent traditions more difficult to reconcile”—and innovations faster to catch on.12 The authority of Aristotle gave way to the authority of the printed word, including the Word of God.

ARTHUR FREED: When I first signed Gene Kelly, nobody in the studio liked him. They said, “You’re not going to put him opposite Judy Garland in For Me and My Gal?” I said, “He’s perfect for it, he’s an Irishman.” Eddie Mannix said, “But he’s the wrong kind of Irishman.” I had lunch with Mayer, and I said, “I want to tell you something: I’m starting the picture next week, and everybody thinks that I’m doing the wrong thing putting Gene Kelly opposite Judy.” He said, “How do you feel?” I said, “I love him.” He said, “Well, then, don’t listen to all those schmucks.

On November 29, 1883, only two days after his ship arrived in New York and he had boarded the overnight train for Washington, Sanford was received by President Arthur at the White House. Leopold’s great work of civilization, he told the president and everyone else he met in Washington, was much like the generous work the United States itself had done in Liberia, where, starting in 1820, freed American slaves had moved to what soon became an independent African country. This was a shrewdly chosen example, since it had not been the United States government that had resettled ex-slaves in Liberia, but a private society like Leopold’s International Association of the Congo. Like all the actors in Leopold’s highly professional cast, Sanford relied on just the right props. He claimed, for example, that Leopold’s treaties with Congo chiefs were similar to those which the Puritan clergyman Roger Williams, famed for his belief in Indian rights, had made in Rhode Island in the 1600s—and Sanford just happened to have copies of those treaties with him. Furthermore, in his letter to President Arthur, Leopold promised that American citizens would be free to buy land in the Congo and that American goods would be free of customs duties there. In support of these promises, Sanford had with him a sample copy of one of Leopold’s treaties with a Congo chief. The copy, however, had been altered in Brussels to omit all mention of the monopoly on trade ceded to Leopold, an alteration that deceived not only Arthur but also Sanford, an ardent free-trader who wanted the Congo open to American businessmen like himself. In Washington, Sanford claimed that Leopold’s civilizing influence would counter the practices of the dreadful “Arab” slave-traders. And weren’t these “independent States” under the association’s generous protection really a sort of United States of the Congo? Not to mention that, as Sanford wrote to Secretary of State Frederick Frelinghuysen (Stanley was still vigorously passing himself off as born and bred in the United States), the Congo “was discovered by an American.” Only a week after Sanford arrived in Washington, the president cheerfully incorporated into his annual message to Congress, only slightly rewritten, text that Sanford had drafted for him about Leopold’s high-minded work in the Congo: The rich and populous valley of the Kongo is being opened by a society called the International African Association, of which the King of the Belgians is the president. . . . Large tracts of territory have been ceded to the Association by native chiefs, roads have been opened, steamboats have been placed on the river and the nuclei of states established . . . under one flag which offers freedom to commerce and prohibits the slave trade. The objects of the society are philanthropic. It does not aim at permanent political control, but seeks the neutrality of the valley.

concerns itself with the 40-year journey through the desert, from Egypt to the Promised Land (Israel), taken by the Children of Israel. Earlier in the Torah, God promises the Land of Israel to Abraham, and it’s Moses’s mission to lead the freed slaves — who are the descendants of Abraham, Isaac, and Jacob — to the Promised Land. The book of Numbers provides details of many of their encounters and experiences in the desert and also includes many of the laws incumbent upon the Jewish people. Deuteronomy: The book of Deuteronomy is largely Moses’s farewell address to his people. In this book, Moses recounts many of the key experiences of the Jewish people after their liberation from Egypt. He also takes the opportunity to repeat many teachings contained in the first four books of the

Freed from “the tyranny of matter,” they were now “Lords of the galaxy . .