Well, if crime fighters fight crime and fire fighters fight fires, what do freedom fighters fight?

Well, if crime fighters fight crime and fire fighters fight fire, what do freedom fighters fight? They never mention that part to us, do they?

You don't have to carry a gun to be a freedom fighter.

The man was a freedom fighter.

A freedom fighter learns the hard way that it is the oppressor who defines the nature of the struggle,and the oppressed is often left no recourse but to use methods that mirror those of the oppressor.At a point, one can only fight fire with fire

We all have natural human tendency to take the safe route—to do the thing we know will work—rather than taking a chance. But that's the antithesis of jazz, which is all about being in the present. Jazz is about being in the moment, at every moment. It's about trusting yourself to respond on the fly. If you can allow yourself to do that, you never stop exploring, you never stop learning, in music or in life.

Those <nowiki>[</nowiki>mujahideen<nowiki>]</nowiki> are freedom fighters. Those are people fighting for their own country and not wanting to become a satellite state of the Soviet Union, which came in and established a government of its choosing there, without regard to the feelings of the Afghans.

Jazz musicians have some outlaw in them somewhere if they are serious about this music...The is no valid motivation for it other than love– outlaw motivation in a profit-motivated society.

Flexibility is an essential part of Jazz. It's what gives Jazz music the ability to combine with all other types of music and not lose its identity.

The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.

He was learning that to win a fight like this, it was not enough to know what one was fighting against. That was easy. He was fighting against the view that people could be killed for their ideas, and against the ability of any religion to place a limiting point on thought. But he needed, now, to be clear of what he was fighting for. Freedom of speech, freedom of the imagination, freedom from fear, and the beautiful, ancient art of which he was privileged to be a practitioner. Also skepticism, irreverence, doubt, satire, comedy, and unholy glee. He would never again flinch from the defense of these things. p. 285

Classical musicians can sometimes get very hung up on the idea that there's a right way and there's a wrong way. You can see this destroy a lot of players. Jazz musicians have a way of understanding that there are a lot of different ways of doing things. That's what's great about them, they're so friendly. And they are so individualistic - that's why they can accept someone like me.

I was attacked for fighting a rearguard action in defence of “middle-class interests.”...Well, if “middle class values” include the encouragement of variety and individual choice, the provision of fair incentives and rewards for skill and hard work, the maintenance of effective barriers against the excessive power of the State and a belief in the wide distribution of individual private property, then they are certainly what I am trying to defend. This is not a fight for “privilege”; it is a fight for freedom—freedom for every citizen.

Each jazz musician when he takes a horn in his hand — trumpet, bass, saxophone, drums — whatever instrument he plays — each soloist, that is, when he begins to ad lib on a given composition with a title and improvise a new creative melody, this man is taking the place of a composer.