For colleagues, Intl Humanitarian Law. Nuremberg Trial, closing arguments (movie) (see however jurisdictional issues traversed in the Decision: “victor’s court”)

““… Hitler could not make aggressive war by himself. He had to have the co-operation of statesmen, military leaders, diplomats, and business men. When they, with knowledge
of his aims, gave him their co-operation, they made themselves
parties to the plan he had initiated. They are not’to be deemed
innocent because Hitler made use of them, if they knew what they were doing. That they were assigned to their tasks by a dictator does not absolve them from responsibility for their acts. The relation of leader and follower does not preclude responsibility here any more than it does in the comparable tyranny of organized domestic crime…”

Notes on “Exile” by Taylor Swift (2020) from the album “Folklore”

She’s not aiming for the Pulitzer prize in literature but the lyrics are clever and catchy and the songwriter shows masterful skill in wielding her central metaphor consistently and swinging her languid meter and rhyme as if it were effortless.

“Exile” features a prominent male perspective, deep and dark, haunting as the song progresses, yet the female counterpoint, lyrically contradicting the male, seizes the narrative melodically, becoming the chorus in the end, becoming, ironically, the imprint for the LSS (“last song syndrome”).

We are all exiles anywhere we are during the pandemic and Taylor Swift’s work is a melancholic meeting of such of the most intense exile-collaborators.

♥ ♥ ♥

(the first vid embedded below was released last week, it’s part of the “Folklore” concert, and, i think, recorded-as-live)