Famed Czech radical Josef Skvorecky recently died at 87 in his adopted land of Canada. In the Atlantic, JJ Gould remembers Skvorecky through his memoirs, including a detailed list of the rules for jazz performers during the Nazi occupation. The Reich's Gauleiter for the Nazi Protectorate of Bohemia and Moravia issued a 10-point regulation that Gould calls "the single most remarkable example of 20th-century totalitarian invective against jazz."
1 Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
2 in this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
3 As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
4 so-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
5 strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
Chicago never fails to remind me why I love it so; seems a fist fight broke out at the Symphony.
Just as the second movement was drawing to a gentle close — with Music Director Riccardo Muti at the podium — a man in his 30s, according to police, started punching a 67-year-old man inside one of the boxes.
Understanding that in civilized places people don't behave this way, the Symphony director, Riccardo Muti, gave the offenders a nasty look.
The concert never stopped, but Muti shot a glance over his left shoulder toward the box where the punches were thrown. One concert-goer described the look as “dagger eyes."
(Photo: Reuters) [Limbaugh, Beck, Hannity, et al.] are playing to a (sometimes literally) dying demographic. Rush & Co. rate best among old, white males. They have been steadily losing women and young listeners, who are alienated by the angry, negative, obsessive approach to political conservations. Add to that the fact that women ages 24–55 are the prize advertising demographic, and you have a perfect storm emerging after Limbaugh’s Sandra Fluke comments.
As pressure grows for advertisers and radio stations to drop Rush & Co., there will be much talk about the dangers of censorship, with allies talking about a left-wing “jihad” against Rush (language his brother David Limbaugh has already used).
But the irony is that the same market forces that right-wing talk-radio hosts champion are helping to seal their fate. Advertisers are abandoning the shows because they no longer want to be associated with the hyperpartisan -- and occasionally hateful -- rhetoric.
In the NYT, Mary Pilon profiles a (now defunct) ring of Christian blackjack card-counters who lead Bible-study classes and youth groups when they're not scoring millions at the casinos. One such Christian counter, Colin Jones, has branched out into running for-pay card-counting workshops for would-be sharps. One of the team has produced a documentary on the team's activities, called Holy Rollers.
But first Jones and his group had to wrestle with the apparent moral paradox: Should Christians be counting cards?
“My father-in-law flipped out about it,” Jones said. “I remember Ben and I discussing everything. Are we being dishonest to the casinos? Is money an evil thing?”
Group members believed what they were doing was consistent with their faith because they felt they were taking money away from an evil enterprise. Further, they did not believe that counting cards was inherently a bad thing; rather, it was merely using math skills in a game of chance. They treated their winnings as income from a job and used it for all manner of expenses.
Jean Giraud, the comics artist who worked under the name Moebius, has died at the age of 73. Moebius defined the style of Metal Hurlant/Heavy Metal, a surreal, madcap, sometimes grotesque science fictional visual style that is often imitated but which Moebius himself produced to high spec and in such great amounts. On Tor.com, art director Irene Gallo remembers him: "He was a particular favorite among his fellow artists. Many creatives and readers will mourn his passing." Neil Gaiman also has words on his passing:
I couldn’t actually figure out what the Moebius stories were about, but I figured that was because my French wasn’t up to it. (I could get the gist of the Richard Corben Den story, and loved that too, and not just because of the nakedness, but the Moebius stories were obviously so much deeper.)
I read the magazine over and over and envied the French because they had everything I dreamed of in comics - beautifully drawn, visionary and literate comics, for adults. I just wished my French was better, so I could understand the stories (which I knew would be amazing).
I wanted to make comics like that when I grew up.
I finally read the Moebius stories in that Metal Hurlant when I was in my 20s, in translation, and discovered that they weren’t actually brilliant stories. More like stream-of-consciousness art meets Ionesco absurdism. The literary depth and brilliance of the stories had all been in my head. Didn’t matter. The damage had long since been done.
I recently reviewedThe Incal, Moebius and Jodorowsky's bizarre, classic, lately reprinted science fiction comic.