The Long, Violent History of Israel and Palestine Musically Animated by Nina Paley

You may remem­ber Nina Paley, about whose movie Sita Sings the Blues we post­ed back in 2009. If you fol­low ani­ma­tion, you cer­tain­ly remem­ber her, since she put togeth­er that fea­ture-length, jazz vocal-scored, auto­bi­o­graph­i­cal adap­ta­tion of the Indi­an myth the Ramayana almost entire­ly with her own set of self-taught skills. For some time now, Paley’s fans have known that her next major project, Seder-Masochism, will retell the sto­ry of Exo­dus using nar­ra­tion assem­bled from gen­uine Passover Seder record­ings. This we learned when Paley chose to fund the first phase of the project on Kick­starter. We can now watch, embed­ded above, the very first scene she has com­plet­ed: “This Land is Mine,” a brief and bloody musi­cal his­to­ry of the ter­ri­to­ry called, depend­ing upon your per­spec­tive, Israel, Pales­tine, Canaan, or Lev­ant.

Help­ful­ly, Paley has writ­ten up a guide to this sequence’s many play­ers: you’ve got the Canaan­ites, who kill Ear­ly Man; the Egpy­tians, who kill the Canaan­ites; the Assyr­i­ans, who kill the Egyp­tians; and so on for­ward through the annals until we arrive at the mod­ern-day bat­tles between “PLO/Hamas/Hezbollah,” the State of Israel, and “guerrillas/freedom fighters/terrorists.” Any­one who even occa­sion­al­ly glances toward the news knows full well how large con­flict and death loom today over this par­tic­u­lar slice of the world, but through Paley’s high-body-count ani­mat­ed inter­pre­ta­tion of the place’s his­to­ry, we can see that it was ever thus. She flinch­es not from her sub­ject mat­ter’s over­whelm­ing vio­lence, nor from her own ten­den­cy to inject it with humor. This bodes well for what she’ll do with the rest of the sto­ry, col­lect it as she will from as many Seders as she can attend. The mak­ings, tru­ly, of an Exo­dus dif­fer­ent from all oth­er Exo­dus­es.

Relat­ed con­tent:

Mid­dle East­ern His­to­ry: Free Cours­es

Dra­ma­tiz­ing the Mid­dle East

Rev­o­lu­tions in the Mid­dle East: Head of Al Jazeera Speaks at TED

Sita Sings the Blues Now on YouTube

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Dizzy Gillespie Runs for US President, 1964. Promises to Make Miles Davis Head of the CIA

There comes a point in every nation­al elec­tion year when I reach total sat­u­ra­tion and have to tune it all out to stay sane—the non­stop streams of vit­ri­ol, the spec­ta­cles of elec­toral dys­func­tion, the ads, the ads, the ads. I’m sure I’m not alone in this. But imag­ine how dif­fer­ent­ly we could feel about pres­i­den­tial elec­tions if peo­ple like, I don’t know, Dizzy Gille­spie could get on a major tick­et? That’s what might have hap­pened in 1964 if “a lit­tle-known pres­i­den­tial cam­paign… had been able to vault the mil­lion­aires-only hur­dle.” What began as one of Dizzy’s famous prac­ti­cal jokes, and a way to raise mon­ey for CORE (Con­gress for Racial Equal­i­ty) and oth­er civ­il rights orga­ni­za­tions became some­thing more, a way for Dizzy’s fans to imag­ine an alter­na­tive to the “millionaire’s‑only” club rep­re­sent­ed by Lyn­don John­son and Bar­ry Gold­wa­ter.

dizzy for president

Gillespie’s cam­paign had “Dizzy Gille­spie for Pres­i­dent” but­tons, now collector’s items, and “Dizzy for Pres­i­dent” became the title of an album record­ed live at the Mon­terey Jazz Fes­ti­val in 1963.

A take on his trade­mark tune “Salt Peanuts,” “Vote Dizzy” was Gillespie’s offi­cial cam­paign song and includes lyrics like:

Your pol­i­tics ought to be a groovi­er thing
Vote Dizzy! Vote Dizzy!
So get a good pres­i­dent who’s will­ing to swing
Vote Dizzy! Vote Dizzy!

It’s def­i­nite­ly groovi­er than either one of our cur­rent cam­paigns. Dizzy “believed in civ­il rights, with­draw­ing from Viet­nam and rec­og­niz­ing com­mu­nist Chi­na,” and he want­ed to make Miles Davis head of the CIA, a role I think would have suit­ed Miles per­fect­ly. Although Dizzy’s cam­paign was some­thing of a pub­lic­i­ty stunt for his pol­i­tics and his per­sona, it’s not unheard of for pop­u­lar musi­cians to run for pres­i­dent in earnest. In 1979, rev­o­lu­tion­ary Niger­ian Afrobeat star Fela Kuti put him­self for­ward as a can­di­date in his coun­try, but was reject­ed. More recent­ly, Hait­ian musi­cian and for­mer Fugee Wyclef Jean attempt­ed a sin­cere run at the Hait­ian pres­i­den­cy, but was dis­qual­i­fied for rea­sons of res­i­den­cy. It’s a lit­tle hard to imag­ine a pop­u­lar musi­cian mount­ing a seri­ous pres­i­den­tial cam­paign in the U.S., but then again, the 80s were dom­i­nat­ed by the strange real­i­ty of a for­mer actor in the White House, so why not? In any case, revis­it­ing Dizzy Gille­spie’s mid-cen­tu­ry polit­i­cal the­ater may pro­vide a need­ed respite from the onslaught of the cur­rent U.S. cam­paign sea­son.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Christopher Hitchens Remembers Ayatollah Khomeini’s Fatwa Against His Friend Salman Rushdie, 2010

When his tele­phone rang on Feb­ru­ary 14, 1989, Christo­pher Hitchens was thun­der­struck. A news­pa­per reporter was on the line, ask­ing for his reac­tion to a radio speech from Tehran ear­li­er that day in which the theo­crat­ic ruler of Iran, Aya­tol­lah Ruhol­lah Khome­i­ni, called on Mus­lims around the world to mur­der his friend the nov­el­ist Salman Rushdie because of some­thing Rushdie had writ­ten in his book The Satan­ic Vers­es. As Hitchens lat­er wrote in his mem­oir, Hitch-22:

I felt at once that here was some­thing that com­plete­ly com­mit­ted me. It was, if I can phrase it like this, a mat­ter of every­thing I hat­ed ver­sus every­thing I loved. In the hate col­umn: dic­ta­tor­ship, reli­gion, stu­pid­i­ty, dem­a­gogy, cen­sor­ship, bul­ly­ing, and intim­i­da­tion. In the love col­umn: lit­er­a­ture, irony, humor, the indi­vid­ual, and the defense of free expres­sion. Plus, of course, friendship–though I like to think that my reac­tion would have been the same if I had­n’t known Salman at all. To re-state the premise of the argu­ment again: the theo­crat­ic head of a for­eign despo­tism offers mon­ey in his own name in order to sub­orn the mur­der of a civil­ian cit­i­zen of anoth­er coun­try, for the offense of writ­ing a work of fic­tion. No more root-and-branch chal­lenge to the val­ues of the Enlight­en­ment (on the bicen­ten­ni­al of the fall of the Bastille) or to the First Amend­ment to the Con­sti­tu­tion, could be imag­ined.

Rushdie went into hid­ing, but his Japan­ese trans­la­tor, Hitoshi Igarashi, was mur­dered, and attempts were made against the lives of sev­er­al oth­er trans­la­tors and a pub­lish­er. Book­stores in Eng­land and Cal­i­for­nia were fire­bombed, and many more received threats of vio­lence. The pub­lic reac­tion to all of this was a bit­ter dis­ap­point­ment to Hitchens. In his book, God is Not Great: How Reli­gion Poi­sons Every­thing, he wrote:

One might have thought that such arro­gant state-spon­sored homi­cide, direct­ed at a lone­ly and peace­ful indi­vid­ual who pur­sued a life devot­ed to lan­guage, would have called forth a gen­er­al con­dem­na­tion. But such was not the case. In con­sid­ered state­ments, the Vat­i­can, the arch­bish­op of Can­ter­bury, the chief sephardic rab­bi of Israel all took a stand in sym­pa­thy with–the aya­tol­lah. So did the car­di­nal arch­bish­op of New York and many oth­er less­er reli­gious fig­ures. While they usu­al­ly man­aged a few words in which to deplore the resort to vio­lence, all these men stat­ed that the main prob­lem raised by the pub­li­ca­tion of The Satan­ic Vers­es was not mur­der by mer­ce­nar­ies, but blas­phe­my. Some pub­lic fig­ures not in holy orders, such as the Marx­ist writer John Berg­er, the Tory his­to­ri­an Hugh Trevor-Rop­er, and the doyen of espi­onage authors John Le Car­ré, also pro­nounced that Rushdie was the author of his own trou­bles, and had brought them on him­self by “offend­ing” a great monothe­is­tic reli­gion. There seemed noth­ing fan­tas­tic, to these peo­ple, in the British police hav­ing to defend an Indi­an-born ex-Mus­lim cit­i­zen from a con­cert­ed cam­paign to take his life in the name of god.

This month Rushdie pub­lished Joseph Anton: A Mem­oir, describ­ing his nine-years of life in hid­ing under the Ayotol­lah’s death order. The new book’s rel­e­vance could not be more obvi­ous, giv­en the Anti-Amer­i­can riot­ing that broke out in much of the Mus­lim world this month in reac­tion to a YouTube video called Inno­cence of Mus­lims. Hitchens died last Decem­ber, and his voice in the mat­ter is sore­ly missed. But it isn’t hard to imag­ine what he might have said. In a 2009 Van­i­ty Fair essay, “Assas­sins of the Mind,” Hitchens wrote: “For our time and gen­er­a­tion, the great con­flict between the iron­ic mind and the lit­er­al mind, the exper­i­men­tal and the dog­mat­ic, the tol­er­ant and the fanat­i­cal, is the argu­ment that was kin­dled by The Satan­ic Vers­es.”

For a recent dis­cus­sion with Rushdie, lis­ten to his Sep­tem­ber 21 inter­view with Studio360:

The Oldest Color Movies Bring Sunflowers, Exotic Birds and Goldfish Back to Life (1902)

Long before Tech­ni­col­or came along, the British pho­tog­ra­ph­er and inven­tor Edward Turn­er devel­oped a three-col­or motion pic­ture sys­tem in 1899. It was based on the mid-19th cen­tu­ry dis­cov­ery that all col­ors could be pro­duced through com­bi­na­tions of the three pri­ma­ry col­ors — red, green and blue. And Turn­er’s genius was find­ing a way to bring this notion to mov­ing pic­tures. Work­ing with the financier Fred­er­ick Mar­shall Lee, Turn­er man­aged to shoot col­or films of chil­dren play­ing with sun­flow­ers (above), a macaw perched in a cage, and gold­fish swim­ming in a bowl. But then his films and pro­jec­tors were lost … for a good cen­tu­ry … and only recent­ly did the Nation­al Media Muse­um in the UK recov­er the footage and then build a spe­cial pro­jec­tor capa­ble of bring­ing the films back to the screen. To learn how they pulled it off, watch the video below. It’s pret­ty inter­est­ing:

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53 Years of Nuclear Testing in 14 Minutes: A Time Lapse Film by Japanese Artist Isao Hashimoto

It’s strange what can make an impact. Some­times a mes­sage needs to be loud and over-the-top to come across, like punk rock or the films of Oliv­er Stone. In oth­er cas­es, cool and qui­et works much bet­ter.

Take the new time lapse map cre­at­ed by Japan­ese artist Isao Hashimo­to. It is beau­ti­ful in a sim­ple way and eerie as it doc­u­ments the 2,053 nuclear explo­sions that took place between 1945 and 1998.

It looks like a war room map of the world, black land­mass­es sur­round­ed by deep blue ocean. It starts out slow, in July of 1945, with a blue blip and an explo­sion sound in the Amer­i­can southwest—the Man­hat­tan Project’s “Trin­i­ty” test near Los Alam­os. Just one month lat­er come the explo­sions at Hiroshi­ma and Nagasa­ki.

From there the months click by—condensed down to seconds—on a dig­i­tal clock. Each nation that has explod­ed a nuclear bomb gets a blip and a flash­ing dot when they det­o­nate a weapon, with a run­ning tal­ly kept on the screen.

Eeri­est of all is that each nation gets its own elec­tron­ic sound pitch: low tones for the Unit­ed States, high­er for the Sovi­et Union—beeping to the metronome of the months tick­ing by.

What starts out slow picks up by 1960 or so, when all the cold neu­tral beeps and flash­es become over­whelm­ing.

If you’re like me, you had no idea just how many det­o­na­tions the Unit­ed States is respon­si­ble for (1,032—more than the rest of the coun­tries put togeth­er). The sequence ends with the Pak­istani nuclear tests of May 1998.

Hashimo­to worked for many years as a for­eign exchange deal­er but is now an art cura­tor. He says the piece express­es “the fear and fol­ly of nuclear weapons.”

Kate Rix is an Oak­land-based free­lance writer. See more of her work at .

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Relat­ed Con­tent:

63 Haunt­ing Videos of U.S. Nuclear Tests Now Declas­si­fied and Put Online

Kurt Von­negut Gives a Ser­mon on the Fool­ish­ness of Nuclear Arms: It’s Time­ly Again (Cathe­dral of St. John the Divine, 1982)

Haunt­ing Unedit­ed Footage of the Bomb­ing of Nagasa­ki (1945)

How a Clean, Tidy Home Can Help You Sur­vive the Atom­ic Bomb: A Cold War Film from 1954

Franklin D. Roosevelt Says to Moneyed Interests (EG Bankers) in 1936: “I Welcome Their Hatred!”

In 1936 Franklin D. Roo­sevelt was seek­ing a sec­ond term as pres­i­dent of the Unit­ed States. Hav­ing assum­ing the office in the depths of the Great Depres­sion, Roo­sevelt had sta­bi­lized and reformed the bank­ing sys­tem, put mil­lions of unem­ployed peo­ple to work build­ing pub­lic infra­struc­ture, and cre­at­ed Social Secu­ri­ty to bring mil­lions of elder­ly cit­i­zens out of pover­ty.

The reforms, known col­lec­tive­ly as the New Deal, were pop­u­lar with the major­i­ty of cit­i­zens. But by the next pres­i­den­tial elec­tion year the bankers and busi­ness­men were push­ing back hard. Although Roo­sevelt came from a priv­i­leged back­ground, he was despised by many in his social class. Unfazed, Roo­sevelt bold­ly pro­claimed in his famous cam­paign speech of Octo­ber 31, 1936: “I wel­come their hatred!”

With Pres­i­dent Barack Oba­ma prepar­ing to address the Demo­c­ra­t­ic Nation­al Con­ven­tion tomor­row night it might be an inter­est­ing time to lis­ten to a lit­tle of Roo­sevelt’s speech, which he deliv­ered at Madi­son Square Gar­den in New York City three days before the elec­tion. In the audio clip above he talks about how things were in Amer­i­ca before he took office, and about the forces seek­ing to drag the coun­try back:

For twelve years this nation was afflict­ed with hear-noth­ing, see-noth­ing, do-noth­ing gov­ern­ment. The nation looked to gov­ern­ment but the gov­ern­ment looked away. Nine mock­ing years with the gold­en calf and three long years of the scourge! Nine crazy years at the tick­er and three long years in the bread­lines! Nine mad years of mirage and three long years of despair! And, my friends, pow­er­ful influ­ences strive today to restore that kind of gov­ern­ment with its doc­trine that that gov­ern­ment is best which is most indif­fer­ent to mankind.

Roo­sevelt defeat­ed his oppo­nent Alf Lan­don, the Repub­li­can gov­er­nor of Kansas, by a his­toric land­slide, tak­ing more than 60 per­cent of the pop­u­lar vote and all but eight of the 531 elec­toral votes. To read the full text of Roo­sevelt’s speech, click here.

Relat­ed con­tent:

‘The Right of the Peo­ple to Rule’: Hear Theodore Roo­sevelt Speak

Hollywood by Helicopter, 1958

“This movie is going to be pret­ty obvi­ous.” That’s not the best way to get the view­er’s atten­tion. And the rest of the script, read by Bob Crane, is not much bet­ter: “Hey Kit­ty, look … Kit­ty, you did­n’t look hard enough … See the thing that looks like a build­ing? That’s a build­ing!” Nor is the premise of the film very good: Kit­ty is a novice actress, and, before appear­ing in her first movie, she gets an aer­i­al tour of Hol­ly­wood and its land­marks.

But from a his­tor­i­cal per­spec­tive, this 1950s footage of the Los Ange­les movie indus­try has its intrigu­ing moments. It’s par­tic­u­lar­ly inter­est­ing to see how much space there still was around some of the stu­dios and movie the­aters. Just com­pare the image of Grau­man’s Chi­nese The­ater on Hol­ly­wood Boule­vard tak­en from the film with a Google Earth shot from today:

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

Pink Floyd Provides the Soundtrack for the BBC’s Broadcast of the 1969 Moon Landing

Did the Unit­ed States of Amer­i­ca lose much of its will to explore out­er space when the Sovi­et Union’s col­lapse shut off the engine of com­pe­ti­tion? Crit­i­cal observers some­times make that point, but I have an alter­na­tive the­o­ry: maybe the decline of pro­gres­sive rock had just as much to do with it. Both that musi­cal sub­genre and Amer­i­can space explo­ration proud­ly pos­sessed their dis­tinc­tive aes­thet­ics, the poten­tial for great cul­tur­al impact, and ambi­tion bor­der­ing on the ridicu­lous. Though we did­n’t have mash-ups in the years when shut­tle launch­es and four-side con­cept albums alike cap­tured the pub­lic imag­i­na­tion, we can now use mod­ern tech­nol­o­gy to dou­ble back and direct­ly unite these two late-twen­ti­eth-cen­tu­ry phe­nom­e­na. Behold, above, Pink Floy­d’s jam “Moon­head” lined up with footage of Apol­lo 17, NASA’s last moon land­ing.

But giv­en the recent pass­ing of astro­naut Neil Arm­strong, none of us have been think­ing as much about the last moon land­ing as we have about the first. Pink Floyd actu­al­ly laid down “Moon­head” at a BBC TV stu­dio dur­ing the descent of Apol­lo 11, the mis­sion on which Arm­strong would take that one giant leap for mankind. The band’s impro­vi­sa­tion made it to the ears of Eng­land’s moon-land­ing view­ers: “The pro­gram­ming was a lit­tle loos­er in those days,” remem­bers gui­tarist David Gilmour, “and if a pro­duc­er of a late-night pro­gramme felt like it, they would do some­thing a bit off the wall.” British rock­’s fas­ci­na­tion with space proved fruit­ful. David Bowie put out the immor­tal “Space Odd­i­ty” mere days before Apol­lo 11’s land­ing (to say noth­ing of “Life on Mars?” two years lat­er), and the BBC played it, too, in its live cov­er­age. Even as late as the ear­ly eight­ies, no less a rock inno­va­tor than Bri­an Eno, charmed by Amer­i­can astro­nauts’ enthu­si­asm for coun­try-west­ern music, would craft the album Apol­lo: Atmos­pheres and Sound­tracks. If we want more inter­est­ing pop­u­lar music, per­haps we just need to get into space more often.

via NYTimes and Boing­Bo­ing

Relat­ed con­tent:

Remem­ber­ing Neil Arm­strong, the First Man on the Moon, with His­toric Footage and a BBC Bio Film

Mankind’s First Steps on the Moon: The Ultra High Res Pho­tos

Dark Side of the Moon: A Mock­u­men­tary on Stan­ley Kubrick and the Moon Land­ing Hoax

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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