1093

“Bella Ciao (Goodbye Beautiful)” by Marc Ribot (feat. Tom Waits) from the album ‘Songs Of Resistance 1942 – 2018,’

“Bella ciao“ (“Goodbye beautiful”) is an Italian folk song that was adopted as an anthem of the anti-fascist resistance. It was used by the Italian partisans between 1943 and 1945 during the Italian Resistance, or the resistance of Italian partisans against the Nazi German forces occupying Italy, and during the Italian Civil War, or the Italian partisan struggle against the fascist Italian Social Republic and its Nazi German allies. “Bella ciao” is used worldwide as an anti-fascist hymn of freedom and resistance. The song has much older origins though in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it as a protest against harsh working conditions in the paddy fields in North Italy. (wiki)

---

Tom Waits – “God’s Away On Business”

1092

Homer used two adjectives to describe aspects of the colour blue: kuaneos, to denote a dark shade of blue merging into black; and glaukos, to describe a sort of ‘blue-grey’, notably used in Athena’s epithet glaukopis, her ‘grey-gleaming eyes’. He describes the sky as big, starry, or of iron or bronze (because of its solid fixity). The tints of a rough sea range from ‘whitish’ (polios) and ‘blue-grey’ (glaukos) to deep blue and almost black (kuaneos, melas). The sea in its calm expanse is said to be ‘pansy-like’ (ioeides), ‘wine-like’ (oinops), or purple (porphureos). But whether sea or sky, it is never just ‘blue’. In fact, within the entirety of Ancient Greek literature you cannot find a single pure blue sea or sky.

Yellow, too, seems strangely absent from the Greek lexicon. The simple word xanthos covers the most various shades of yellow, from the shining blond hair of the gods, to amber, to the reddish blaze of fire. Chloros, since it’s related to chloe (grass), suggests the colour green but can also itself convey a vivid yellow, like honey.

The Ancient Greek experience of colour does not seem to match our own. In a well-known aphorism, Friedrich Nietzsche captures the strangeness of the Greek colour vocabulary:

How differently the Greeks must have viewed their natural world, since their eyes were blind to blue and green, and they would see instead of the former a deeper brown, and yellow instead of the latter (and for instance they also would use the same word for the colour of dark hair, that of the corn-flower, and that of the southern sea; and again, they would employ exactly the same word for the colour of the greenest plants and of the human skin, of honey and of the yellow resins: so that their greatest painters reproduced the world they lived in only in black, white, red, and yellow).
[My translation]

How is this possible? Did the Greeks really see the colours of the world differently from the way we do?    read more:

The Sea Was Never Blue

By Maria Michela Sassi

1082 – Astérix: Le secret de la potion magique (2018)

timespace coordinates:  c. 50 BC – Armorica (modern Brittany), Roman Gaul, shortly after the Gallic Wars (58–50 BC)

Asterix: The Secret of the Magic Potion (French: Astérix: Le Secret de la Potion Magique) is a 2018 French computer-animated adventure comedy film co-directed by Alexandre Astier and Louis Clichy. The screenplay by Astier is based on the Asterix comic book characters created by Goscinny and Uderzo. (wiki)

imdb   /   Review 

---

Asterix films   /   asterix.com

---

Evolution of Asterix and Obelix Games 1983-2018

1078

pulpmags.org – an archive of all fiction pulpwood magazines from 1896 – 1946

The Pulp Magazines Project is an open-access archive and digital research initiative for the study and preservation of one of the twentieth century’s most influential print culture forms: the all-fiction pulpwood magazine. The Project also provides information and resources on publishing history, multiple search and discovery platforms, and an expanding library of high-quality, cover-to-cover digital facsimiles.

1075 – Charlie and his Orchestra

In the twisted annals of the Third Reich, few stories are so improbable as that of “Charlie and his Orchestra.” Even as Nazis campaigned against “degenerate” jazz music, persecuting musicians and throwing “swing kids” into concentration camps, behind the scenes Joseph Goebbels and his Propaganda Ministry were creating a jazz orchestra that would serve up Nazi propaganda backed by the latest music.

---

Let’s go bombing

You’re Driving Me Crazy 

Elmer’s Tune (German Submarines)

Thanks For The Memory 

---

wiki: Charlie and his Orchestra (also referred to as the “Templin band” and “Bruno and His Swinging Tigers”) were a Nazi-sponsored German propaganda swing band. Jazz music styles were seen by Nazi authorities as rebellious but, ironically, propaganda minister Joseph Goebbels conceived of using the style in shortwave radio broadcasts aimed initially at the United Kingdom, and later the United States, after the German declaration of war on 11 December 1941.

British listeners heard the band every Wednesday and Saturday at about 9 pm. The importance of the band in the propaganda war was underscored by a BBC survey released after World War II, which indicated that 26.5 percent of all British listeners had at some point heard programmes from Germany. The German Propaganda Ministry also distributed their music on 78 rpm records to POW camps and occupied countries.

Propaganda Swing: Dr. Goebbels’ Jazz Orchestra (1991 documentary)

 

---

 

1061

1055

“As in the 16th century Tupinambá bellico­sociological cannibalism as well as in  the Araweté funerary cannibalism, the crucial question is “What is it that is eaten?”. Because it is neither the objectified body nor the subject of the enemy that is being eaten, but the enemy’s  point of view.”

The Second Body and the Multiple Outside (PDF)

 Alina Popa   /   @alinap0pa