The Jihad Watch Interludes are now to be found, collected for easy clickable reference, on the upper left of the homepage, under the photograph of Oriana Fallaci. That link leads here, where you will find an explanation of why they’re on the site. In order to make more likely that these selections do not lie neglected in the outer ether, they will now be posted also as part of the ever-changing group of new offerings, with each new entry placed at the bottom of the ever-lengthening cumulative list of previous entries.
These songs and excerpts from movies, and occasional poems, constitute “Interludes” that, like a dish of sherbet to cleanse the palate, are offered for sampling between one bout, and another, of grim and disturbing discussion of the nature and menace of Islamic supremacism. A means of mental escape over the North Wall, while the warden is not only deliberately averting his gaze, but also made sure to leave the ladder which you are expected to use. If, however, you find yourself unable to derive unalloyed pleasure from such offerings, and need metal more attractive, something in the uplift or enlightenment line, then you can, after having listened to a song or two or twelve, analyse away, to your heart’s content, what it was about that song, or singer, or sentiment expressed, that is so ineluctably un-Islamic in every way, and surely could never have been produced in a state or society suffused with Islam.
You can then add to the list of things not to be tolerated in Islam almost all of American, and West European, popular music. One more recognition of what we think of as harmless and is in Islam deemed haram and condemned with ferocity. Thus you can add to the lengthening list of things not to be tolerated in Islam, which obviously includes most forms of artistic expression, the free and skeptical inquiry without which the enterprise of science is not possible, the solicitude for individual rights and for the autonomy of the individual that is such an important part of advanced Western democracies, these harmless and pleasure-giving and laugh-provoking (“There is no humor in Islam” — Ayatollah Khomeini) songs and movie excerpts, the mere insects of an hour. Insects of an hour they may be, but those insects keep chirping on the hearth, by the fireside, in the gloaming.
Those who stay to listen, and allow themselves to be amused or moved by the musical files so assiduously assembled by a harried staff of one, may be impressed to learn that that staff, in order to save time and conserve energy, has taken to wearing roller-skates so as to more quickly shoot from one part of the room in which the site’s musical and movie files are stacked and stored, to another.
Here, doled out daily by that sometimes accommodating, and occasionally truculent staff, as the tastiest if not always the most nutritious part of the panem quotidianum to be found placed each day in your lunch-bag, the one that contains the viaticum for each visitor’s long day’s journey, whatever time he arrives by unannounced click, into the remains of that day, is that list of Interludes:
Musical Interlude #1:
In The Gloaming, By The Fireside (Jessie Matthews)
Musical Interlude #2:
But We Just Couldn’t Say Goodbye (Annette Hanshaw)
Musical Interlude #3:
Black Coffee (Marjorie Stedeford)
Cinematic Musical Interlude #4:
Voulez-Vous Le Taximeter? (Charlie Chaplin)
Musical Interlude #5:
Sittin’ In The Dark (Anona Winn and Sam Browne)
Tell Me Dear Why Am I So Romantic? (Lillian Roth)
Cinematic Musical Interlude #6:
The Awful Truth (Irene Dunne and Cary Grant)
Musical Interlude #7:
I Can’t Get Started (Bunny Berigan)
Musical Interlude #8:
Then I’ll Be Tired Of You (Ambrose and His Orchestra)
Musical Interlude #9:
The Very Thought of You (Al Bowlly)
Cinematic Literary Musical Interlude #10:
Musical Interlude #11:
Exactly Like You (Elsie Carlisle)
Musical Interlude #12:
Musical Interlude #13:
When You Take Me For A Buggy-Ride (Bessie Smith)
Musical Interlude #14:
The Wine of Love (Pyotr Leshchenko)
Musical Interlude #15:
If I Can’t Have You (Lee Morse)
Musical Interlude #16:
I’m Dancing With Tears In My Eyes (Ruth Etting)
Musical Interlude #17:
My Old Man Said Follow The Van (Lily Morris)
Musical Interlude #18:
Tout Va Bien Madame La Marquise (Ray Ventura)
Musical Interlude #19:
I’ll String Along With You (Smith Ballew Orchestra)
Musical Interlude #20:
At The First Sign (Hanka Ordonowna)
Musical Interlude #21:
I’m For Him One Hundred Percent (Frances Day)
Musical Interlude #22:
I Must Have That Man (Adelaide Hall)
Musical Interlude #23:
Let’s Misbehave (Irving Aronson and The Commanders)
Musical Interlude #24:
Do, Do Something (Dorothy Lee)
Musical Interlude #25:
My Cutey’s Due At Two-To-Two (Ted Weems and His Orchestra)
Musical Interlude #26:
I Want To Be Bad (Ambrose and His Orchestra)
Cinematic Musical Interlude #27:
The Man Who Broke The Bank At Monte Carlo (Charles Coborn)
Cinematic Musical Interlude #28:
El Negro Zumbon (Silvana Mangano)
Musical Interlude #29:
You’ve Got Me Crying Again (Lee Wiley)
Musical Interlude #30:
Love Me Or Leave Me (Chick Endor)
Musical Interlude #31:
Je Cherche Un Millionaire (Mistinguett)
Musical Interlude #32:
She’s The Sweetheart Of Six Other Guys (Harry Reser Orchestra, voc. Tom Stacks)
Musical Interlude #33:
You’re Driving Me Crazy (Leo Monosson)
Musical Interlude #34:
Shanghai Lil (Gene Kardos Orchestra, voc.Dick Robertson)
Musical Interlude #35:
Love Me Tonight (Anson Weeks Orchestra, voc. Bill Moreing)
Musical Interlude #36:
Thanks For Everything (Artie Shaw Orchestra, voc. Helen Forrest)
Musical Interlude #37:
The Teddy Bears’ Picnic (Henry Hall and His Orchestra)
Musical Interlude #38:
Looking For You (Jack Hylton and His Orchestra), voc. Pat O’Malley)
Musical Interlude #39:
My Dif’rent Kind of Man (Lizzie Miles)
Cinematic Interlude #40:
Kind Hearts and Coronets (Alec Guinness)
Musical Interlude #41:
Was kann der Sigismund dafür, daß er so schön ist?(Marek Weber Tanz-Orch., voc. Siegfried Arno)
Cinematic Musical Interlude #42:
Forty-Second Street (Ruby Keeler, Dick Powell)
Musical Interlude #43: