Have a drink with: Spike Jones
The best offense is a good fart joke.
Ask him about: firearms as percussion instruments
In 1942, New York radio DJ Martin Block sold war bonds on air – to an audience that was under wartime food and gasoline rationing – on the promise that he’d give a free record to any listener who bought a $50 bond. Every time the pledge total went up another $2,500 Block played the single in question on-air, to cheers and peals of laughter.
The song was “Der Fuehrer’s Face,” by Spike Jones and his City Slickers, and Block sold $60,000 of bonds inside a week.
Because you can argue, you can petition; you can organize demonstrations and engage in politics; but sometimes the most effective piece of international policy dialogue is a Bronx cheer.
Have a drink with: Maria Altmann and Elizabeth Taylor
Art lovers, ladies of style, legal pit-fighters.
Ask them about: goddamn Nazis.
Behavioral advertising is like unexpectedly running into an ex: it seems to know an awful lot about you in ways you forgot you made possible, but for the most part just makes you feel awkward and vaguely regretful.
Thank Facebook for this epiphany, after it pushed the trailer for Helen Mirren’s latest movie on me at least seventeen times in a twenty-four hour period. I’d be pissed at Zuckerberg and crew, too, except that for once technology read me like a cheap novel. (You can lay off with the juice cleanses, though, Mark.)
“Woman in Gold” is the made-for-cinema story of Maria Altmann, her aunt Adele, and one of the most famous paintings of the 20th century. If you’re into history, law, art and Nazis (and who isn’t?), it’s a kicker.
Have a drink with: The Monuments Men
Artists, soldiers, detectives.
Ask them about: giving Dwight Eisenhower an art tour in a salt mine
First things first: why make a movie about these guys? Was art looting really a big deal in WWII?
It was a really big deal.
It’s easy to assume that the scattering and destruction of art was the unfortunate side effect of a very destructive European war. It wasn’t. Hitler knew what he was doing in going after art, and he wanted it to hurt conquered peoples very badly.
The Nazis created and supported specific infrastructure to target, hide, sell and destroy works of art, in each case as it most benefited the party agenda with money, power, property or prestige. Efforts were systematic, well-organized and brutal.