Popular Culture
The Carmagnole
Sharing its name with a popular dance, this song heaps scorn upon the queen (Madame Veto), believed to be a traitor, and the "aristocrats" who support her.
The Alarm of the People
Composed by J.M. Souriguieres, a parisian dramatist, and Pierre Gaveaux, an actor, this song demands revenge for the crimes and bloodshed of the Terror.
Te Deum for the Federation of July 14, 1790 at the Champ de Mars
A hymn written by Joseph Gossec to celebrate national unity on the first anniversary of the taking of the Bastille.
Song of the Marseillaise of the Federation of 10 August, Year II
One of many hymns that was composed by rhyming new lyrics to the wildly popular tune of the "Marseillaise," this song was performed at a festival celebrating the first anniversary of the republican revolution of August 10.
Song for the Festival of Old Age
This song was composed for one of the many Directorial festivals that were not overtly political. Several, like the festival for which this song was composed, celebrated important moments in the life cycle.
Patriotic Song on the Unveiling of the Busts of Marat and Le Pelletier (1793)
This song illustrates the fluid boundary between "high" and "popular" musical forms. Althought these lyrics were set to a new composition by Joseph Gossec, they could also be sung to a tune already familiar to many French men and women.
Solidarity Election Poster, “High Noon, 4 June 1989”
This is probably the most famous image circulated by Solidarity in the run-up to the June 4 elections. Gary Cooper, the actor who starred in the film “High Noon,” is shown with a Solidarity insignia on his badge and a ballot in hand.
Gunter Schabowski Press Conference
Schabowski, the spokesman for the East German Communist Party Politburo, played a vital role in the toppling of the East German Communist government in the fall of 1989.
Oh Richard, Oh, My King!
This aria from the Gretry opera, Richard the Lion–Hearted, was adopted by royalists during the early years of the French Revolution. The song’s accusation that the king had been abandoned by all but his most devoted followers made it a suitable counter–revolutionary anthem.
It’ll Be Okay
Popular during the early years of the French Revolution, this song’s lively tune and repetitive chorus expressed revolutionaries’ hopefulness about the future. Singers manipulated its malleable lyrics to address a broad range of topical issues.