Greek-Egyptian-French singer Georges Moustaki dies


In this French music video, Georges Moustaki sings his song Le Métèque.

The lyrics of the song are about prejudices against immigrants. Moustaki himself was a Jewish-Greek-Egyptian immigrant to France.

The French word “métèque” is derived from ancient Greece. In the city-state of Athens, metics were immigrants who were not slaves, but had no citizen rights either.

In France since the nineteenth century, “métèque” became a term of abuse against Jewish and other immigrants.

From the BBC:

23 May 2013 Last updated at 10:52 GMT

Georges Moustaki, composer of Edith Piaf hit song, dies

Georges Moustaki, the French singer and composer who wrote Edith Piaf‘s 1958 hit song, Milord, has died aged 79.

Moustaki, whose real name was Giuseppe Mustacchi, sang in several languages and penned in the region of 300 songs.

Born in Egypt on 3 May 1934, he changed his name in honour of his idol, the French singer Georges Brassens, after he moved to Paris in 1951.

Among the French stars who sang his compositions were Yves Montand, Juliette Greco and Pia Colomba.

Moustaki was the son of an immigrant Jewish couple from Greece who settled in Egypt.

He was known for his romantic ballads, his repertoire included songs in French, Italian, English, Greek, Portuguese, Arabic and Spanish.

The song, Milord, was a number-one hit in Germany in 1960, reaching number 24 in the UK that same year.

It has been covered by various artists over the years, including Cher, appearing on her second solo album, The Sonny Side of Cher, released in 1966.

This music video is the song Portugal, by Georges Moustaki.

It is from 1974, when the carnation revolution managed to overthrow the dictatorship in Portugal.

The lyrics mention this as a sign of hope, while the Franco dictatorship in Spain, and the Pinochet dictatorship in Chile were still torturing; and the Vietnam war still continued. They express the hope that this revolution would end Portuguese colonialism in Africa.

Marcel Duchamp exhibition in London


This video from the USA says about itself:

Nov 21, 2012

Dancing around the Bride‘ is the first exhibition to explore the interwoven lives, works, and experimental spirit of Marcel Duchamp and four of the most important American postwar artists: composer John Cage, choreographer Merce Cunningham, and visual artists Jasper Johns and Robert Rauschenberg.

By Christine Lindey in England:

The Bride And The Bachelors: Duchamp With Cage, Cunningham, Rauschenberg And Johns

Barbican, London EC2

Saturday 04 May 2013

A Marcel Duchamp exhibition shows his continuing influence in questioning exactly what ‘art’ is

Born into a notary’s family in provincial France, Marcel Duchamp (1887-1968) headed for Paris to study art in 1905. By 1912 he had challenged not only academic naturalism but also the orthodoxies of the avant-garde. Impatient with the latter’s obsession with formal innovations Duchamp gave up what he called “retinal painting” in favour of returning art to the realms of the mind.

His first love had been Symbolist art and poetry and elliptical, speculative appeals to the imagination continued to be the key to his life’s work. His irreverent, iconoclastic works and actions questioned the fundamental processes, techniques, materials and skills upon which Western art had rested since the Renaissance.

Duchamp redefined the artist’s social role from brilliant creator to provocateur. This had a major influence on Western art yet the validity of his legacy remains controversial.

In 1914 he bought a mass-produced bottle rack, inscribed it with a now forgotten title, signed it and called it a “ready-made,” thus questioning the traditional assumption that art consists of individual objects made by the artist.

The best known ready-made is the urinal which he titled Fountain. He signed it R Mutt and submitted it anonymously to an independent exhibition in 1917.

Defending it in his radical magazine Blindman, Duchamp wrote: “Whether R Mutt, with his own hands, made the fountain is of no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – creating a new thought for that object.”

In choosing commonly seen, industrially produced, non-emotive and “aesthetically neutral” objects, Duchamp questioned existing aesthetic criteria and heightened awareness of the everyday.

Equally radical was The Bride Stripped Bare By Her Bachelors, Even (1915 -1923), known as the Large Glass. Using non-traditional processes and material it consists of two panels of glass encased in a tall, free-standing aluminium stand.

Motifs are represented on its transparent surface with lead, silver foil, varnished dust and drilled holes – with some of their forms generated by chance rather than by aesthetic judgements.

Its complex content can only be decoded by referring to The Green Box, in which unpaginated notes name its various characters and describes the actions of the bride, alias “motor-desire,” the bachelors, the nine metallic moulds and the oculists’ witnesses.

Devoid of a single, linear narrative the Large Glass’s content nevertheless suggests tales of frustrated sexual desire. Its open-ended, allusive meaning leaves room for the spectator’s imagination to soar. Or to scoff.

So radical were his innovations and so indifferent was Duchamp to careerism that he only became influential when rediscovered by the 1950s avant garde. This Barbican exhibition considers his works along with those he inspired in the American vanguard – composer John Cage, choreographer Merce Cunningham and the artists Robert Rauschenberg and Jasper Johns.

In so doing, it explores the impact of several threads of Duchampian thought such as Cage and Cunningham’s use of chance and of “ready-made” sounds and human movement from everyday life in their music and ballets and Rauschenberg and Johns’s incorporation of mass-produced every-day objects and imagery into works to bridge the gap between art and life.

The exhibition also explores collaborations and interactions between the five artists such as Cage’s scores for Cunningham’s ballets and the references to Duchamp’s works in sets by Rauschenberg and Johns for Cunningham’s productions.

Created during WWI and its aftermath, the emotional disengagement of Duchamp’s work can be partly attributed to sociopolitical revulsion.

That it resonated for vanguard artists in the US of the 1950s can be understood in the context of their nation’s cold war denial of its 1930s socially engaged art. Theirs were creative responses to Duchamp’s legacy.

However, in the mid-1970s and 1980s his rebellion and iconoclasm became ossified by art educational institutions into academic orthodoxy. A misunderstanding of his ideas to mean that anything can be called art has led to an infestation of mindless and sniggering art in recent decades – an unwarranted legacy which has cast a shadow over Duchamp’s own work.

Curated by the contemporary artist Philippe Parreno, this celebratory exhibition becomes a creative soundscape/installation in its own right. It intertwines sound, light, live dance performances and art works. Relatively few and judiciously selected works by each of the five artists are presented with flair and imagination to appeal to the senses as much as to the mind.

Avoiding a stodgy trudge through endless works, the exhibition introduces complex ideas and creative cross-fertilisations carefully themed around key ideas in an elegant and palatable form.

Art in which ideas take precedence over skill and visual responses must be based on ideas with depth of meaning and purpose. Parreno’s exhibition may inspire yet a new generation to engage with Duchamp’s intelligent questioning of preconceived ideas which will bury the puerile and cynical use to which they have been made.

Runs until June 9. Box office: 0845 121-6823.

French embassy bomb attack, blowback from Libya, Mali wars


This video is about the bomb attack on the French embassy in Tripoli, Libya.

After Al-Qaeda and similar groups were allies of the USA, Britain, France and other NATO countries in the Libya war (which they still are in the Syria war) … the United States ambassador in Libya was killed by former allies of NATO.

NATO’s “new” Libya turned out to be unsafe for British, and Dutch, citizens.

It seems that now it is the turn of France.

From the BBC:

France condemns Libya embassy attack

23 April 2013 Last updated at 10:06 GMT Help

The French foreign minister has strongly condemned an apparent car bomb explosion outside the country’s embassy in the Libyan capital, Tripoli.

Two guards were wounded in the blast, which completely destroyed the embassy’s reception area and parts of neighbouring homes.

The BBC’s Rana Jawad says embassies in the region have been on alert since France began its military operation in Mali.

See also here.

Dutch xenophobe Wilders invites French fascist Le Pen


This video says about itself:

Jean-Marie Le Pen, MEP and leader of France’s far-right Front National, outraged assembled members of the European Parliament by repeating his assertion that the Nazi gas chambers were “a mere detail” in the history of the Second World War.

Now, Jean-Marie Le Pen has transferred the leadership of his neo-fascist Front National party, to his daughter Marine, whom he had groomed for that.

This video from France is called Marine le Pen amoureuse du producteur de chants Nazis (extraits musicaux). It is about the production and sales by the Le Pen dynasty/Front National neo-fascist party of albums of Adolf Hitler’s nazi party songs.

And today, NOS TV in the Netherlands reports that Geert Wilders, leader of the xenophobic PVV, has invited Marine Le Pen to come to the Netherlands.

Wilders calls Ms Le Pen “an impressive woman”. Evidently seeing the French fascists as a sister party to his PVV.

So far, Wilders pretended that his xenophobic attacks on immigrants from Muslim countries were not racist, but just ideological criticism of Islam.

With this political marriage to Marine Le Pen, Wilders drops that mask.

Marine Le Pen and Wilders

Mali refugees flee French neo-colonial war


French soldier in Mali with skull mask

This photo of a French Foreign Legion soldier, part of the invasion of Mali, shows the real face of that war.

That war is not “against Al Qaeda terrorism” (supported by the French government in Libya, and still in Syria). It is not for women’s rights, human rights or secularism.

It is in support of a military dictatorship.

It brings death, mainly to Malian civilians.

This war is a neo-colonial war.

From daily The Morning Star in Britain:

Refugee numbers at crisis levels after Mali intervention

Friday 12 April 2013

Medical charity Medecins Sans Frontieres warned today of a growing humanitarian crisis in west Africa where around 70,000 Malian refugees are stranded in the Mauritanian desert camp of Mbera.

MSF emergency co-ordinator Henry Gray warned that “more than 100,000 people from northern Mali are currently displaced within their country or have escaped abroad as refugees.

“Most of the refugees are from the Tuareg and Arab communities. They fled, often for fear of violence due to their presumed links with Islamist or separatist groups.”

Mauritania has been poor in terms of health and nutrition for many years, but since the French military invaded MSF says the situation has deteriorated.

It said the intervention triggered an influx of 15,000 new refugees.

Consultations in MSF clinics have increased from 1,500 to 2,500 per week and the number of children admitted for severe malnutrition has more than doubled.

Rare stone curlews killed by cold spring


This is a video of a stone curlew calling in France.

From Wildlife Extra:

Stone curlews dying of starvation on arrival from migration

Rare birds found dead in Wiltshire as wildlife struggles through cold spring

Wildlife is suffering the effects of an exceptionally late spring with rare birds found dead and summer warblers absent from the countryside.

The bodies of nine stone curlews – one of the UK’s most threatened birds – have been found in fields in Norfolk, Suffolk and Wiltshire in the past few days. The birds are believed to have returned from their wintering grounds in Africa and Spain and struggled to find enough food to survive. The bodies weighed around 300g, compared to a healthy weight of 450g.

Nick Tomalin speaking for the RSPB in Wiltshire said; “It was very sad to find several dead birds that our local team have ringed as chicks in the last few years. We’ve weighed the birds and the indication is, as with birds in East Anglia, they may have starved due to the cold weather on arrival in the UK”

This follows the deaths of hundreds of puffins and other seabirds off the coast of Scotland and North East England two weeks ago as a result of continuous freezing conditions and stormy seas making it hard to find food. Elsewhere there have been reports of short eared owls and barn owls found dead after cold weather hampered their ability to hunt.

Now is the time of year the UK sees an influx of migrant birds returning to our shores to build nests and breed, however nature enthusiasts have reported very little activity. Reports of chiffchaffs, willow warblers and blackcaps have been scarce sparking fears from conservationists after last year’s poor breeding season.

Meanwhile many species are behaving like winter is still here. Winter migrants like waxwings, fieldfares and redwings are still present in large numbers in the countryside and show little signing of heading north. The winter evening spectacle of starling murmurations – large flying flocks of birds gathering to roost – can still be seen in some areas.

RSPB conservation director Martin Harper said: “I can’t remember a spring like this – nature has really been tested by a prolonged period of very cold weather.

“We should be hearing the sound of chiffchaffs calling from the trees – a classic sign that spring is here – but that isn’t the case. Some may have stalled on their migration route, while for others the severe lack of insect food available means they are conserving what little energy they have.

“The discovery of nine stone curlews is a stark reminder of how fragile this species is. This amounts to around one per cent of the total UK population of these birds but the total number of deaths is likely to be higher. Many of these birds are only here because of the dedication of farmers who have been creating safe habitats for them in key areas.

“We are still getting calls from members of the public about strange sights in their gardens as birds like yellowhammers and reed buntings struggle to find enough food in the countryside. But we are also hearing about a steady trickle of swallows making their way up through the country and with temperatures on the rise the situation could start to look different in the coming days.”

“As the global temperature continues to rise to this is another reminder that we must ensure our landscapes are in the best state possible to help wildlife cope with the increasingly unpredictable weather it will bring.”

Four of the stone curlews were found dead in Norfolk, one in Suffolk and three in Wiltshire. There are around 400 pairs in the UK and the last two years have seen poor breeding seasons.

The RSPB has just received four years of funding from the EU LIFE+ programme, for three stone-curlew advisers who will be helping landowners to create more safe nesting habitat, allowing the population to become more self-sustaining, more resilient and able to cope with adverse weather conditions.

The RSPB is asking people what differences they have noticed about this spring? Tweet us at: @natures_voice or tell us on Facebook.com/RSPBLoveNature.

April 2013. Latest results from the BTO Garden BirdWatch survey have revealed that British Hedgehogs are emerging from hibernation very late this spring. This weekly survey, which covers mammals as well as birds, shows that Hedgehog emergence is roughly a month behind what was seen in 2011 and 2012. The long winter may also have led to increased levels of overwinter mortality: here.
Cold spring: What does this mean for flowers? Here.

French film on nazi anti-Jewish atrocities


This video is part of the film “Shoah” about the Holocaust, Claude Lanzmann, edited by Ziva Postec.

From Prensa Latina news agency:

Documentary about Nazi Experiments on Jews to be Presented in France

Paris, Apr 7. A documentary about the murder of 86 Jews in Nazi experiments during Word War II, will be presented on April 10th in that capital city.

In the Name of Race and of Science, Strasbourg 1941-1944” relates how the mutilated corpses found in the basement of the Anatomy Institute of the Strasbourg University, were destined to leave a trace of Jewish people once they were exterminated.

Under the guidance of Heinrich Himmler, head of the SS and later Interior Ministry, those men and women who came from Auschwitz concentration camp in 1943, were murdered in gas chambers in France and sent to the Strasbourg university to be preserved in formol.

To avoid the brutal crime remaining unpunished in Europeans’ memory, the producer Temps Noir and the directors Sonia Rolley, Axel and Tancrede Ramonet decided to make the 55-minute documentary, which shows unknown images from archives.

“I found that story by accident in 2005, when I was a journalism student in Strasbourg”, said Rolley.

She said also that through that story, practically unknown, they could discover the entire criminal mechanism of the Nazis.

The film was premiered this week in Rothau, an Alsatian commune very close to where a Nazi concentration camp operated during German occupation.

To mark Holocaust Remembrance Day this year — it falls on Monday, April 8, 2013 — HBO is premiering 50 Children: The Rescue Mission of Mr. and Mrs. Kraus, a deeply affecting story about how an American couple from Philadelphia went into the heart of Nazi-occupied Europe, risking their personal safely to save 50 Jewish children from the Shoah: here.