Omer Fast’s video installation “The Casting” questions the reality and fiction embedded in storytelling by recording an actor who plays the role of an American soldier in Iraq, and a casting for the role of the aforementioned soldier. Even with its abrupt, fragmented scenes that parallel the short attention span of the 21st-century viewer, the editing in “Casting” is not always obvious, since only two of the four projections can be viewed at once. This duality highlights the enigmatic barrier between the viewer and the artwork, and leaves an enormous space for speculation.
Since 2010, it has become the Forward’s tradition to highlight five memorable poetry releases of the year — but this year we have six. Among this year’s selections are “Breathturn Into Timestead,” a collection of five final volumes of poetry by Paul Celan, newly translated by Pierre Joris, and three vastly different retrospectives by David Antin, Chana Bloch and Dennis Silk, as well as a posthumously published collection of Harvey Shapiro’s work. Alexander Nemser’s release, however, is a debut — and a most memorable one, at that.
Please note that the works below are listed in alphabetical order — there’s no ranking here.
How Long is the Present
By David Antin
University of New Mexico Press, 408 pages, $39.95
The story goes that one day, invited to a give a poetry reading at a university, David Antin showed up without the usual paraphernalia — books, notebooks, or anything he could read from. Instead, he began to speak. The result — a sort of improvisational speech that weaves together philosophy, literary criticism, anecdotes, witticisms — became an invention known as a “talk poem.” Worlds away from anything one would expect to hear at a regular poetry reading, Antin’s work is fascinating, masterful, and possibly one of the most stimulating challenges to a reader of contemporary poetry.
Former Beatles drummer Ringo Starr, the late rocker Lou Reed, punk group Green Day and singer Bill Withers are among the 2015 inductees named on Tuesday to the Rock and Roll Hall of Fame.
The Paul Butterfield Blues Band, rockers Joan Jett & The Blackhearts, rhythm and blues band the “5” Royales and the late blues guitarist Stevie Ray Vaughan and Double Trouble will also be inducted into the Hall of Fame at a ceremony in Cleveland on April 18.
Starr was selected in the music excellence category. He was inducted as part of The Beatles in 1988. His bandmates have since entered the Hall of Fame as solo artists - John Lennon in 1994, Paul McCartney in 1999 andGeorge Harrison in 2004.
Reed, whose work with The Velvet Underground made them one of the most influential groups in rock, Green Dayand “Ain’t No Sunshine” singer Withers were selected in the performer category, along with the Paul Butterfield Blues Band.
Joan Jett & The Blackhearts, whose biggest hit “I Love Rock ‘n Roll” became a rock classic, were cited for their fresh sound and The “5” Royales were credited for creating some of rock’s first standards while performing from 1945 to 1965.
More than 700 artists, music industry professionals and historians help to decide who is inducted. The public also cast their votes in a “fans ballot.”
Artists are eligible 25 years after the release of their first record for induction into the Hall of Fame, which was established in 1983.
Anya Rubin, ‘Natalia,’ 2014
Red on black on crimson on white. Repeatedly layered color arrangements are typical in the work of Anya Rubin, especially when the Russian-born and New York-based artist is depicting her friend’s wine-stained lips or glittering eyes on a canvas. In this way, Rubin’s paintings produce interlocking patterns of abstract color studies that double as portraiture. Two of Rubin’s recent portraits were recently on view at Onishi Project’s current group show in Chelsea.
Titled “Images of Nature and the Nature of Images,” the exhibition explores the representation and function of the image, a Herculean task. The 11 artists’ work ranges from photographs to paintings to sculptures, but the variety in the show barely begins to decipher the age-old question of imagery’s presence and potential in our oversaturated world.
What the show lacks in answers, however, Rubin’s paintings provide in investigation. Do we see color before we see shapes? These two elements intertwine in Rubin’s patchwork painterly effect. Do two circles on a face always correlate and translate as eyes to the viewer? There are too many circles to count on Rubin’s paintings, but the eyes are immediately recongizable. Do we feel convinced or distracted by the illusion of depth depicted on a flat surface? This list of questions can become endless the longer the viewer looks at Rubin’s paintings.
Photo: Anna London
Jon Madof’s 12-piece super-group Zion80, whose debut release last year was hailed enthusiastically in the Forward, The New York Times and elsewhere, has now released its second album, “Adramelech.” It’s a departure from the original concept of bringing together Shlomo Carlebach and Fela Kuti; on this album, the band plays a set of compositions from John Zorn’s “Masada” songbook.
Indeed, the music on this record is in line with the rest of Zorn’s work, but set to irresistible Afrobeat arrangements. More complex, dark, and phantasmagoric than their first album, it is fraught with melodies reminiscent of the Middle East and North Africa. But what really makes this album so memorable is the interplay of the horn section as they roll through the melodies.
Courtesy of Szabolcs Dudas
Adam LeBor is an author and journalist who, as well as writing for outlets such as The Economist and Newsweek, has written books including “The Believers: How America fell for Bernard Madoff’s $65 billion Investment Scam” and about a world bank in “Tower of Basel: The Shadowy History of the Secret Bank that Runs the World.” Most recently he has taken up his pen to write a series of thrillers about a secret U.N. operative called Yael Azoulay.
The London native became a foreign correspondent and moved to Budapest in the early 1990s where he covered the region after the fall of Communism, leading to “The Budapest Protocol,” his spy thriller about a Nazi conspiracy for an economic Fourth Reich.
On a recent visit to the Forward offices on his way to a speaking appearance in New York, LeBor spoke to Dan Friedman about his latest Azoulay book, “The Washington Stratagem.”
Dan Friedman: What’s a serious writer like you doing writing a series of thrillers like “The Geneva Option” and “The Washington Stratagem”?
Adam LeBor: My answer has two parts. Firstly, I believe that writing fiction is the greatest challenge for a writer. Having enjoyed reasonable success as a journalist and author of serious nonfiction books, I wanted to try something new. Fiction demands greater creativity, deeper and more lateral thinking, and even more self-belief than nonfiction. Would-be novelists have to be made of rubber and Teflon to keep bouncing back from the rejections. But if you get it right and sit at your desk or on the bus or in the bath, dreaming up vivid characters and enthralling stories to put them in, then publishers give you money and put your books on sale. What could be better than that?
Israeli documentary filmmaker Guy Davidi is struggling to raise enough money to finish his new film. A crowd-funding campaign that will end this weekend is still short of its goal.
Davidi’s “5 Broken Cameras,” which he co-created with Emad Burnat, was an Oscar nominee and won an Emmy.
But he’s having trouble raising the last $20,000 needed to complete the current project called “Mixed Feelings” — and the campaign on Indiegogo was still a few hundred dollars short on Friday afternoon.
“We’re very close,” Davidi said.
Why couldn’t such an accomplished filmmaker find more conventional funding sources in Israel?
“There are of a few reasons for that,” Davidi told the Forward in an email. “One is the controversial content of the film.”
In the Shining
Book it says
before he existed
at first above
in the spirit world
and then among us
like a light
child of the Blessed Holy One
who is a man of war
and child of the Blessed Holy One
the glamorous moon
divine mother and lover, that had to be hidden
coupling with him
in both worlds
what did you see, Moses my teacher
in your descent from there
helpless as you were
like us then
were there animals
on the cave walls
did you see the lions
did you see the calf
this, this — a light
Joyce Brabner/Mark Zingarelli
“Joyce Brabner, best known as Harvey Pekar’s widow and collaborator, has released a graphic novel about early efforts in a New York gay community to fight the AIDS epidemic.”
So began a recent Cleveland Plain-Dealer review of “Second Avenue Caper” (Hill & Wang, $22), a deeply moving and bitingly funny new graphic novel authored by Brabner and drawn by revered comics illustrator Mark Zingarelli.
For a fan of Brabner’s work, the Plain Dealer’s praise feels double-edged. Three years after her late husband’s death, Brabner still gets tagged as his widow rather than a key comics figure in her own right.
Brabner’s actually been writing comics for decades, including 1989’s “Brought to Light: A Graphic Docudrama” and 1987’s acclaimed anti-war “Real War Stories,” drawn by legendary comics creator Alan Moore. She also co-wrote “Our Cancer Year” with Pekar, considered a touchstone in autobiographical comics.
Second Avenue Caper fits squarely in that tradition. Set in Manhattan in the darkest early days of the HIV/AIDS crisis, Brabner’s vivid script tells the story of a band of friends – her friends – who plotted to smuggle illegal drugs from Mexico to help beloved comrades desperately ill and abandoned by the medical establishment. The story unfolds through the account of Ray, a male nurse and drag-show producer; his Jewish partner, Benny, becomes a collaborator.
Characters disappear the way Brabner’s circle did at the height of the epidemic. Zingarelli’s realistic, classical style gives the story an unsentimental edge that only amplifies its power.
Second Avenue Caper is Brabner’s first solo project since her husband’s death. The writer spoke with the Forward from her home in Cleveland Heights, Ohio.
Michael Kaminer: Is it a stretch to say that in terms of fighting tragedy with humor, Second Avenue Caper feels like very Jewish story?
It isn’t as though the Lord said, “Go out and make motion pictures of my stories.” And yet, that seems to be what’s happening.
Both the Old and New Testaments have provided source material for dozens upon dozens of films, some better — and some more controversial — than others. Here are 8 of the best, from “The Bible” to “The Bible.”
A retelling of the first 22 chapters of Genesis, from creation to Abraham and Isaac, “The Bible” was supposed to be the first in a series of biblical films, but despite the numerous awards it received and its financial success, there were no sequels.
May-December relationships are a staple not just of the new “Six Dance Lessons in Six Weeks” (read our interview with director Arthur Allen Seidelman here but of many classic movies as well. The recent passing of Mike Nichols has brought one of the best to the fore. Here are 8 that will change how you look at Hollywood romance.
This movie tells the story of an aimless recent college grad, Benjamin Braddock (Dustin Hoffman) who is seduced by an older woman, Mrs. Robinson (Ann Bancroft) and then falls in love with her daughter, Elaine (Katherine Ross). It’s on the American Film Institute’s list of the 100 best movies of all time and was selected by the National Film Registry for preservation as a culturally significant film. Here’s to you Mrs. Robinson…
The banging you hear in the background? That’s the drumbeat for an Oscar nomination for Gena Rowlands. Rowlands stars in “Six Dance Lessons in Six Weeks,” a movie about the impact an elderly south Florida widow and a much younger gay dance instructor have on each other’s lives.
Rowlands plays Lilly Harrison, the former wife of a conservative Southern Baptist minister. Cheyenne Jackson is Michael Minetti, a former Broadway hoofer reduced to teaching old ladies to dance.
The film is based on a play by Richard Alfieri and is directed by Arthur Allan Seidelman, who also directed the original stage productions in New York and Los Angeles.
Seidelman, who is also an Emmy-wining television director, spoke to the Forward about how he switches from one medium to another, his famous Yiddish uncle, and being held captive in a Lebanese refugee camp.
Curt Schleier: You are a multi-hyphenate director, working in TV, theater and film. Is it easy to switch between various media?
What constitutes a Palestinian film is a matter of huge debate. Some argue it is determined by the identity of the filmmaker, or by the film’s narrative. Others suggest it is production-led, and therefore depends on the financial institutions or individuals that back it.
Palestinian national cinema is a relatively young cinema, and it is unique in that it exists in the absence of statehood. This issue has led to controversy, as the Academy Award nominated film, “Divine Intervention” (see below) demonstrates. Here are 9 Palestinian films that can help you get up to speed on the best of the still-young tradition.
This was the first major Palestinian feature film made by an “insider,” and helped demonstrate the possibility of a Palestinian national cinema.
Despite being under curfew, a Palestinian mayor wants to celebrate his son’s wedding with a traditional ceremony. The Israeli military governor who rules the Palestinian village initially refuses, as he fears a political demonstration. Eventually he permits the celebration on condition he be allowed to attend.
“The war against Gaza finished and the war against me finished,” said Suha Arraf, referring to the controversy that had taken place during the summer over her directorial debut film, “Villa Touma.”
At the Venice Film Festival, the Haifa-based Palestinian-Israeli filmmaker and screenwriter had categorized her film as Palestinian — not an issue per se — but the fact that a significant portion of the film’s production budget had come from Israeli public funds made it a matter for debate.
Arraf’s decision provoked considerable dispute among members of the Israeli film industry as well as from Limor Livnat, Israel’s Minister of Culture.
Although Arraf had put in her own money and additional investment had come from Germany, other Israeli state institutions, including Mifal HaPayis (Israel’s national lottery) and the Ministry of Economy, had also provided funds.
In November, an Israeli Economy Ministry committee ruled that she would have to return the funding she had received from the ministry.
Any music-lover in the New York area should run, not walk, to Carnegie Hall on December 10. Why? Only the New York premiere of one of the most influential and iconic compositions of the late 20th century: “Requiem” by holocaust survivor György Ligeti, scored for soprano, mezzo-soprano, double chorus and large orchestra.
Ligeti was unquestionably one of the greatest composers of the past century, the best known Hungarian composer since Bartók, and this is one of his most famous major works. The music is, simply put, astonishing.
Ligeti’s “Requiem” became known world-wide when excerpts were used (without the composer’s approval) as part of the soundtrack of Stanley Kubrick’s classic futuristic film “2001: A Space Odyssey.” One of the most moving performances of last season was the playing of those excerpts by Alan Gilbert and the New York Philharmonic as they accompanied the showing of the Kubrick film live. But they left the honor of the much-belated New York premiere of the complete 1965 composition to the American Symphony Orchestra and the Bard Festival Chorale, directed respectively by Leon Botstein and James Bagwell.
Melvin James Kaminsky is finally getting the tribute he deserves.
A monthlong retrospective at the Bell Lightbox, home of the Toronto International Film Festival, is honoring the director better known as Mel Brooks.
“It’s Good to Be the King” salutes the 88-year-old’s “triumphant bad taste and transcendently-awful-cum-pricelessly-hilarious jokery,” according to program notes.
Though Brooks hasn’t directed a film since 1995’s “Dracula: Dead and Loving It,” he’s hardly been taking it easy; this year alone, he’s voiced characters in animated hits like “Dora the Explorer” and “Mr. Peabody and Sherman.”
But for many fans, Brooks’s 1960s and ‘70s will always represent the heyday of his work.
With that in mind, and to celebrate “It’s Good to Be the King,” here is our ranking of Mel Brooks movies, going from worst to best.
“May the Schwartz be with you”? Not funny. A diminutive sage called “Yogurt”? Less funny. John Candy as “Barf”? Sad, actually. This drove home the feeling Brooks the director had run out of gas.
Photo: Martyna Starosta
(JTA) — The New York Times Book Review published its “100 Notable Books of 2014” on its website Tuesday and, not surprisingly, given the whole People of the Book moniker, a number of the fiction and nonfiction books highlighted this year are of Jewish interest. (The number of Jewish authors on general topics was too numerous to count, so we didn’t.)
In particular, books by and about Jewish immigrants from the former Soviet Union made a strong showing on this year’s list: Anya Ulinich’s “Lena Finkle’s Magic Barrel,” Yelena Akhtiorskaya’s “Panic in a Suitcase,” Boris Fishman’s “A Replacement Life” and Gary Shteyngart’s “Little Failure.”
Also on the list is another immigrant-themed book — Zachary Lazar’s “I Pity the Poor Immigrant” — a novel that features Jewish gangster Meyer Lansky and an Israeli poet’s murder.
Books about Nazis and the Holocaust feature prominently as well: The protagonist of Francine Prose’s novel, “Lovers at the Chameleon Club,” is a cross-dressing Nazi collaborator, while two nonfiction picks, “Not I: Memoirs of a German Childhood” and “Eichmann Before Jerusalem: The Unexamined Life of a Mass Murderer,” also address the subject.
Those interested in more cheerful topics like aging parents and the Israeli-Arab conflict, can turn to Roz Chast’s graphic novel, “Can’t We Talk About Something More Pleasant” and “Thirteen Days in September: Carter, Begin, and Sadat at Camp David.”
Or, of course, you could give up on the whole book thing and just tune in to Lifetime’s “The Red Tent,” based on the best-selling biblical novel by Anita Diamant.
“Zero Motivation,” which won the best narrative feature award at this year’s Tribeca Film Festival, is an IDF version of “M* A* S* H.” Apparently, not everyone in the Israeli military is a gung-ho paratrooper. They also serve who push pencils around in boring circles.
In this film, two women stationed at a military base are in danger of dying — of boredom. They work in the personnel office and spend their days playing computer games and occasionally teaching a newcomer how to shred papers.
The movie, which opens in New York December 3, is hilarious and also a bit worrisome. It is also just one in a long line of films centered on the IDF. Here are 7 more all Israeli film buffs will want to see.
This critically acclaimed film is about an IDF unit stationed at Beaufort, a Crusader fort in southern Lebanon around the time of the Israeli withdrawal in 2000. A coming-of-age story, the movie shows the absurdities of war through the eyes of the young men fighting it.
Photo: Yocheved Seidman
(JTA) — If it hadn’t been for Rabbi Shlomo Carlebach, Lazer Lloyd thinks he would’ve been famous by now. On the other hand, he figures that by now, he’d probably also be dead.
Back in 1994, Lloyd was a rising young blues musician with a deal at Atlantic Records when he met the famed songwriter and spiritualist, who invited him to join a musical tour in Israel.
“I was a really crazy blues rock’n’roller,” he recalls. “I had a lot of light, but my personality was like fire. I would go into a bar to play a show, and I could light the whole place up, but it would never end.”
Instead, his tour with Carlebach set him on a journey that led him to embrace Hasidism and move to Israel. It also brought him to the green room of The Mint, a small music club in Los Angeles where he is about to close out a West Coast tour that ran from November 15 to November 24. A well-established blues guitarist in Israel, Lloyd, 48, has been actively touring in Europe and the United States for the past year and a half, trying to build an audience. He mixes gigs at synagogues and Jewish community centers with shows at mainstream music clubs, like the Mint.
Lounging in jeans, a purple shirt and a black felt hat, sporting glasses and a bushy brown beard edged with gray, Lloyd (born Lloyd Paul Blumen) makes the merger of Hasidism and the blues sound perfectly natural. For him, it all came down to the flat five.