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Femme avec des fleurs (1912) by Romaine Brooks.<\/em><\/p>\n \u2022 This week’s anniversary of the Charlie Hebdo<\/em> murders was noted by some of those who defended the magazine last year. “I don\u2019t write about Charlie Hebdo<\/em> in France,” said Robert McLiam Wilson<\/a>, “they have plenty of people who can do that. But I\u2019ll do almost anything I\u2019m asked to do in the anglosphere. Why? Well, two reasons. Because none of the other Charlie<\/em> people bothers to do it. And because, really, that\u2019s where all the bullshit lives.” A year on, and the bullshit-mongers seem to have fallen silent, what with knee-jerk outrage being a short-lived affair, and the Bataclan massacre having demolished one of the main criticisms, namely that the magazine wouldn’t have been attacked if the artists and writers had shown some respect. “[Charlie Hebdo<\/em>‘s] real crime is not racism but its challenge to what has become an unbreakable commandment for many contemporary liberals: ‘Thou shalt not cause offence’,” says Kenan Malik<\/a>. At Literary Hub Adam Gopnik<\/a> explored the same issue in a foreword for St\u00e9phane Charbonnier’s Open Letter<\/em><\/a>.<\/p>\n \u2022 “Immersion in the past is no escape from the present, but it supplies a constant corrective to the narrative spit out daily by media, advertising, politics, and all those other forces that attempt to mould our thinking like jelly in a pan.” Luc Sante<\/a> (again) talking to Simone Wolff about his books, Low Life<\/em> and The Other Paris<\/em>.<\/p>\n \u2022 “…throwing a lot of money behind vintage equipment? Well, that\u2019s just a millionaire\u2019s game. Dave Grohl can do that, but David Bowie doesn\u2019t care about that. Just stick a microphone in front of him and he\u2019s really happy.” Tony Visconti<\/a> talking to Allyson McCabe about the music business and producing Bowie.<\/p>\n \u2022 “Nico Hogg’s photography<\/a> captures the transformation of urban London,” says George Kafka who talks to Nico about a collection of his work, Sign & Signifiers<\/em>, which I designed late last year.<\/p>\n \u2022 At Strange Flowers: James Conway talks to Cassandra Langer about her recent biography of artist Romaine Brooks<\/a> (1874\u20131970).<\/p>\n \u2022 At Dangerous Minds: Godzilla, girls and guns, the science-fiction art of Noriyoshi Ohrai<\/a>. There’s more at Pinterest<\/a>.<\/p>\n \u2022 Mixes of the week: XLR8R Podcast 420 by Andrey Pushkarev<\/a>, and Secret Thirteen Mix 172 by Julien Bayle<\/a>.<\/p>\n \u2022 Alan Moore’s magnum opus, Jerusalem<\/em>, will be published later this year. Gosh Comics<\/a> has a teaser.<\/p>\n \u2022 New York Public Library<\/a> makes 180,000 high-res images available online.<\/p>\n \u2022 Prints of darkness: macabre vintage posters<\/a><\/p>\n \u2022 Scarfolk Television<\/a> is coming<\/p>\n \u2022 Godzilla<\/a><\/em> (1977) by Blue \u00d6yster Cult | Giant Robot \/ Machines in the Modern City \/ Godzilla<\/a><\/em> (1992) by Praxis | Free-Bass (Godzillatron Cush)<\/a> <\/em>(1995) by Axiom Funk<\/p>\n","protected":false},"excerpt":{"rendered":"