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Busy, busy, busy. So much to do, so many traitors to be shot. You’d think a victorious tyrant would have his hands plenty full in the aftermath of Spain’s murderous 1936-39 civil war. It turns out, though, that Generalissimo Francisco Franco had long nursed a secret desire, one he was uniquely in a position to satisfy at the outset of his nearly four decades in power. But where in the world did he find the time to write the screenplay for a feature-length film? Never mind that the end product is as artistically shoddy and morally repugnant as anything that ever defiled celluloid, it still gives a fascinating peek through the thick velvet curtains that lead to the lobby of a dictator’s mind.

Film-buff Franco didn’t often go to the movies. The movies came to him. On engagement-free Saturday evenings a projectionist would be admitted to the head of state’s residence on the outskirts of Madrid where a screening room had been installed. Ministers on urgent business would be roped into attendance. It went on like that until old age began gnawing at his attention span, decades down the road. Hitler, too, was acutely conscious of the cinema’s potential for manipulating the masses, but left the hands-on part to his deputy, Goebbels. And Mussolini certainly praised the carbon-arc projector as “the world’s most effective weapon.” But his movie producer son, Vittorio, revealed that Il Duce could scarcely make it through 15 minutes of virtually any film you could think of without dozing off. More… “General Franco Jumps the Shark”

Robert Latona is a journalist based in Madrid, Spain.

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El Greco is confusing. He is one of the few universally acknowledged great artists of history who does not fit into any of the established art movements or categories. Given his time period (late 16th – early 17th centuries), his art should fit into the early Baroque. But it does not. One characteristic of all the artists we now call Baroque is a fidelity to the physical presence of bodies. Think of Caravaggio’s light-splashed naturalism, the glow on the cheeks of the young boy-models that he dressed up in all manner of costumes. Or think of Rubens’ fleshy obsession with the might and heft of the human form, the huge canvases like giant meat towers made of bodies laboring at some common task.

El Greco, by contrast, painted unnatural bodies. They aren’t the sorts of bodies that exist in this, our world. El Greco’s bodies are longer and stretchier than those we encounter in daily life. He portrayed the human form as you might see it in a vision or a mystical trance. He looked at painting, it would seem, in the same way that his contemporary — the great mystic Saint Theresa of Ávila — looked at prayer. They were both seeking spiritual ecstasy.
More… “The Cretan Paradox”

Morgan Meis has a PhD in Philosophy and is a founding member of Flux Factory, an arts collective in New York. He has written for n+1, The Believer, Harper’s Magazine, and The Virginia Quarterly Review. He won the Whiting Award in 2013. Morgan is also an editor at 3 Quarks Daily, and a winner of a Creative Capital | Warhol Foundation Arts Writers grant. A book of Morgan’s selected essays can be found here. He can be reached at morganmeis@gmail.com.

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Winning isn’t everything. It’s the only thing.

This sentiment has been echoed in every sport, at all levels of competition, and throughout time. Legacies have been sealed, fortunes have been made, legends have been forged on the back of victory. History remembers winners, not losers. Would we even know who Michael Jordan was even if he hadn’t won six championships? Would we even care about Babe Ruth if the Yankees weren’t so dominate? Would Jesse Owens have become part of American folklore if he didn’t defeat all challengers in Germany?

Matt Blitz is a writer based out of Los Angeles who’s written for Atlas Obscura, CNN, Untapped Cities, and Today I Found Out. He’s currently the head of Obscura Society LA. He does laundry on a regular basis. You can follow him on Twitter @whyblitz.

I’ve smoked a lot of weed in my day. Blunts with boys on stoops in bad neighborhoods, metal pipes with middle-aged Buddhists, roaches with an old man hooked up to an oxygen tank at a Dead concert, and gravity bongs made out of POM bottles. I would never classify my avocation as an addiction. But perhaps an appetite? Something old Aristotle might say is “the cause of all actions that appear pleasant”? I’d say so.

One would assume that a philosopher would approve of such appetites. Weed does, after all, inspire thinking, pondering, concluding — all that good stuff. But reading a line from his Rhetoric gave me a twinge of uneasiness, as though an assumed supporter no longer stood by me. He writes, “A ‘criminal act’ … is due to moral badness, for that is the source of all actions inspired by our appetite.”

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Legislation has recently been proposed in Spain to give monkeys the full legal rights of human beings. The bill calls specifically for, “the immediate inclusion of (simians) in the category of persons, and that they be given the moral and legal protection that currently are only enjoyed by human beings.” Somewhere the ghost of William Jennings Bryan is smiling or crying or both. (H.L. Mencken, a steely atheist to the end, doesn’t get to have a ghost.)

I’m fully in favor of the bill, although I admit that it stimulates that tingly feeling in the brain and belly that only comes about when one’s basic assumptions are being tested. The fact is, animals are a problem for us and always have been. We don’t know quite where to put them, how to treat them, or where our ideas apply to them and where they don’t. Perhaps this is because we… More…