One of ten Nazi regulations about jazz music written by Josef Skvorecky, as quoted by Josh Jones in an article for Open Culture, The Nazis’ 10 Control-Freak Rules for Jazz Performers: A Strange List from World War II (via)
Skvorecky is quoted as saying: “I read them, gnashing my teeth, in Czech translation, in [a] film weekly, and fifteen years later I paraphrased them – faithfully, I am sure, since they had engraved themselves deeply on my mind – in a short story entitled I won’t take back one word.”
The contrast between this summer’s two uber-spectaculars – the diamond jubilee concert and the Olympics opening ceremony – couldn’t be starker. At the former, Gary Barlow produced a musical vision for austerity Britain where geriatric crooners rubbed shoulders with talent-show alumni at the end of the Mall. Madness were the risky prospect.
At the latter, something far more radical happened. The floor of the Olympic stadium was torn asunder to the sound of thundering techno and the Queen watched as the union flag was hoisted to a record by one half of Fuck Buttons.