Israel greet me once a month
let every being with a soul praise god
& his spouse
Your wives are your securities
a fuselage to die for
Open air relentless inventive
elation the measure of measure
You can have free ovaries
but it’ll cost ya
Can you plan on pleasure or pain?
Earn a degree under happy duress
THE BEST DISH EVER
don’t check too often or not often enough
& don’t multitask in meetings
with the Almighty
Call her as soon as possible
alter not your task
i could text you (thy byron or thy goethe)
unfurl the scroll
DISPELL after use
(JTA) — The Jewish actor and director Szymon Szurmiej, the longtime head of Poland’s State Jewish Theatre, has died.
Szurmiej, a leading Jewish figure for years during the post-Holocaust communist era, died Wednesday in Warsaw. He was 91.
He survived the widespread anti-Semitic purges of 1968 and, in addition to heading the theater since 1970, served as the longtime president of the Social and Cultural Association of Polish Jews, or TSKZ, a secular, state-allied body that was one of the few Jewish organizations permitted to operate under communism.
Szurmiej also served as a member of Poland’s Parliament in the 1980s and represented Polish Jewry in international Jewish organizations.
Photo courtesy of BOND/360
Carly Simon recently told The New York Times that one of her goals this summer was to see “Alive Inside” again. She calls the documentary, which won the Audience Award at the Sundance Film Festival earlier this year, “an extremely moving depiction of the power that music has.”
She’s right. And so were the Sundance folks who selected the film as a favorite. It’ss a tear-jerker of a magnitude to raise the stock price of Kleenex Corp.
The movie chronicles Dan Cohen’s efforts to bring music to dementia patients in nursing homes and the extraordinary impact his project has had. It’s not just any music, but an iPod full of songs the patients grew up with.
Cohen, 62, posses a master’s degree in social work, but spent most of his professional life working for a tech company. In 2006 he read an article about how ubiquitous iPods had become, and wondered if he’d have access to his iPod if he were ever confined in a nursing home.
Cohen spoke to the Forward about his project, how the documentary came about, and forming the charity Music & Memory.
Curt Schleier: What happened after you read that article?
Cote de Pablo is a Chilean-born actress who seems to specializing in playing Jews.
She is most famous for playing Mossad agent Ziva David in the long-running CBS hit “NCIS.” Now comes news that she has been cast in “The Dovekeepers,” a four-hour mini-series based on Alice Hoffman’s best selling novel, which, in turn is based on true events at Masada.
The mini-series will depict the siege from the perspective of four women who arrive at the mountaintop with “unique back stories but share a common bond for survival,” according to CBS.
Pablo plays Shirah, an independent single mom with mysterious power. Called the Witch of Moab, she practices forbidden ancient rites of magic and is knowledgeable about herbal medicines.
The series is being produced by Roma Downey and Mark Burnett, who received multiple Emmy nominations for the 10-hour mini-series, “The Bible” and produced the feature film, “Son of God.” “The Dovekeepers” will air sometime next year.
(JTA) — The production of “Tyrant” is leaving Tel Aviv because of the ongoing rocket fire in Israel.
The television drama, which was co-created by Israeli writer Gideon Raff, will move its operations to Istanbul, Turkey, Variety reported Wednesday. Air raid sirens and ongoing rocket fire from Gaza have disrupted the production, and members of the cast and crew have posted on social media about the stresses of running to bomb shelters.
The show’s producers reportedly hope to return the production to Israel if the situation allows it.
“Tyrant,” which airs on the American cable network FX, is set in the fictional Middle Eastern country of Abbudin.
Meanwhile, executives of the USA Network’s “Dig,” which had been filming in and around Jerusalem, are waiting to determine their next move, according to a report in TV Guide. The show delayed its return to shooting from a hiatus because of the current violence; the break will be extended by several days.
“Dig,” which also was created by Raff, was on hiatus when Operation Protective Edge began last week.
“Our first priority is the safety of our cast and crew,” said a statement from Universal Cable Productions, according to TV Guide. “We will continue to assess the situation and plan accordingly.”
“Call me Ishmael,” declares one of the most famous opening sentences in Western literature.
But what if the narrator of Herman Melville’s “Moby Dick” was actually asking you to call him?
That was the whimsical thought Logan Smalley offered in a spirited bar conversation about notable first sentences. He jotted the notion down on a bar napkin.
Now, Smalley’s turned that notion into Call Me Ishmael, an innovative voicemail project that aims to spread the love of books by getting callers to share their most meaningful reading experiences.
“It’s about telling stories and discovering great books,” Smalley told the Forward. “Books define us, but we also define the books we read.”
In the month since Call Me Ishmael has launched, callers — who remain anonymous — have left messages about a far-flung range of books, from “Of Human Bondage” to the Merriam-Webster dictionary. A significant number of messages have covered Jewish-themed books.
The daughter of a Holocaust survivor called to share her father’s reaction to “Maus” — and her own awe at learning he knew Vladek Spiegelman, the author’s father. A woman rang up to confess how she wept after reading the World War II novel “The Book Thief” — on a treadmill at the gym. “Even when I look like a complete fool in public, I’m still completely transported by a book,” she said.
Paul Lee, ABC’s group president of entertainment, met with reporters this morning during the Television Critics Association semi-annual meeting in Hollywood. Not unexpectedly, the subject of “The Goldbergs” came up.
Lee,who recently renewed his own contract with the network (though ABC has languished in fourth place for the last four years), recently renewed the Jewish-themed comedy for a second season. It joins black, Hispanic and Asian-themed comedies that the Hollywood Reporter said “ambitiously mine cultural and ethnic diversity.”
Lee, who is a British Jew, was asked if “The Goldbergs” needed to become more specifically Jewish. He responded that what aired was the vision of its creator, Adam Goldberg. “It’s Adam’s show. I’m not going to sit there and say, ‘From one Jew to another, I want a bar mitzvah.’”
With the two-state solution increasingly invoked as either tragically out of reach or altogether unjust, a new film seeks to examine another possibility for the Israeli-Palestinian conflict: the one-state solution.
More in the tradition of didactic documentary films than storytelling ones, Eliyahu Ungar-Sargon’s “A People Without a Land,” which recently premiered at the Manhattan Film Festival, winning a “Film Heals” award, features the most prominent voices of the one-state movement. There’s Ali Abunimah, founder of The Electronic Intifada, Omar Barghouti, an organizer of the BDS movement, and anti-Zionist activist Jeff Halper. There’s also Neta Golan, a trilingual Israeli-Jewish Ramallah-based activist for Palestinian solidarity, and Eitan Bronstein, director of Zochrot, an Israeli NGO that seeks to raise awareness of the Nakba. Rabbi Asher Lopatin, a U.S.-based Orthodox rabbi, provides a slightly different twist on the one-state idea, and Saeb Erakat and Hanan Ashrawi make brief appearances.
Perhaps most importantly, the film admits modesty in its aims, something that is both its strength and its weakness. Through the words of the interviewees, the film stresses the desirability — rather than practicability — of the one-state option. “First tell me whether it’s a good idea,” one of the interviewees suggests, “then we’ll talk about what is possible.” A more ambitious project might have attempted to tackle the equally pressing question of whether and how the one-state option could be brought to fruition given the historical propensity for the two-state option on each side. And despite recent polling revealing that the two-state solution is losing adherents, the one-state solution is even less appealing (with only 10% of Palestinians favoring it).
As Thomas Erdelyi, he was the Budapest-born son of Holocaust survivors who settled in Forest Hills, Queens.
But as Tommy Ramone, he became the leather-jacketed, rhythm-slashing backbone of The Ramones, arguably one of the most influential bands of the late 20th century.
Ramone, the last surviving original member of the band, died July 11 of bile duct cancer at his home in Ridgewood Queens. He was 65.
The Ramones first came together in 1974, at the height of California-rock flab and music-business excess.
Erdelyi, who had worked as a record producer beginning in his teens, was going to be the band’s manager and was helping audition drummers when the group was forming in 1974, according to the Washington Post.
When none of them could follow the Ramones’ style, he picked up the sticks himself, learned to play drums on the job, and became Tommy Ramone. He was also widely credited with creating the band’s signature look — leather jackets, huge mops of hair, and, for himself, omnipresent sunglasses.
When we read Matt Freedman’s harrowing and hilarious illustrated memoir “Relatively Indolent But Relentless,” we were struck by how it was unlike traditional memoirs.
So, we passed a copy along to Liana Finck, the incredibly talented artist and author of ‘A Bintel Brief: Love and Longing in Old New York.’
Finck’s response was both enthusiastic. And quite graphic as you shall see.
SCROLL DOWN TO ENLARGE.
*Liana Finck is the author of ‘A Bintel Brief: Love and Longing in Old New York.’
Director Kevin Asch’s film, “Affluenza,” is about a “disease” that seems to strike people with too much money and too much time but not enough of a moral compass to guide them. Its symptoms are a sense of entitlement and self-indulgence.
The movie is set in Great Gatsby country, on Long Island’s Gold Coast, where an aspiring photographer, Fisher Miller (Ben Rosenfield), from upstate New York, moves in with his aunt and uncle while he applies to college in Manhattan. It is his first exposure to a world seemingly without limits on both wealth and behavior — until the financial crisis hits.
“Affluenza” is an extremely personal film for Asch, 38, who grew up in that milieu. For him, the movie is as much an exercise in therapy as in filmmaking. He spoke to the Forward about the trials of his own Long Island upbringing, how film helped him through his alienation, and why he can now move on.
Curt Schleier: The production notes say growing up you were “grappling with personal questions about my family shattering and how growing up in an affluent community led to such great expectations and such pressures.” Can you give us some more details?
(JTA) — The first trailer for Ridley Scott’s upcoming take on Exodus is out, and JTA is here to obsessively parse its 97 seconds so you don’t have to.
With “Exodus: Gods and Kings” following closely on the heels of Darren Aronofsky’s “Noah,” we appear to be experiencing at least a mild renaissance of biblical epics — and by epics, do we ever mean epics. Unless the trailer for “Exodus: Gods and Kings” is wildly misleading, Scott seems to have gone hard in the swords-and-sandals direction, with a major emphasis on spectacle.
in the south where we are busy
slaughtering each other.
There’s no time for flowers amid
burnt bodies and ruins.
Scalding summer will pass, autumn
will arrive unnoticed. If only an early winter
rain would come, send us all indoors, there
to stand at shattered thresholds and watch
the yellow sky weep and weep
for all our dead.
By Rachel Tzvia Back
Maybe Next Year: Contact Point, which in previous years attracted 5,000 attendees, has been postponed. Photo Credit: Barak Aharon
JERUSALEM – Usually, there is an explosion of culture in Jerusalem in the summer. But with Hamas striking Israel with hundreds of rockets and missiles daily, popular arts events in the country’s capital have had to be cancelled or postponed.
When the current war with Hamas broke out early Tuesday, Jerusalemites were not particularly fearful of rockets landing in their city. While one or two sirens went off in Jerusalem during Operation Pillar of Defense in late 2012, the capital was largely spared from missile fire. However, when the wailing siren sounded and was followed by three explosions on Tuesday night, residents realized that things may actually be different this time.
Within minutes of the attack on Jerusalem, authorities ordered that the concert by Israeli rocker Berry Sakharof taking place that evening at the outdoor Sultan’s Pool venue just outside the walls of the Old City be stopped and its 6,000 attendees immediately evacuated.
Large outdoor gatherings, which are traditional during cool Jerusalem summer evenings, are problematic security-wise at a time like this. People have at most a minute and a half to reach shelter when a air raid siren goes off, making it difficult — if not impossible — to hold such events safely.
Photo Credit: Jim Haberman
Researchers from the University of North Carolina at Chapel Hill, Brigham Young University, Trinity University (Texas), University of Toronto, and University of Wyoming believe that they have uncovered the first ancient synagogue mosaic to feature a non-biblical narrative.
In 2012, the team, led by Jodi Magness, Kenan distinguished professor for teaching excellence in early Judaism at Chapel Hill, excavated a mosaic at the 5th-century synagogue at Huqoq, in Israel’s Lower Galilee, which represented Samson tying torches to foxes’ tails, per Judges 15:4. Last year, the scholars found a second mosaic, which depicted Samson shouldering Gaza’s gate (per Judges 16:3).
The third mosaic, which the researchers uncovered in 2013 and continued to unearth through this summer, has an entirely different iconographic program. The mosaic, which is split into three registers along the synagogue’s east aisle, shows spears piercing a bloody bull, and what a UNC press release describes as “a dying or dead soldier holding a shield.”
September 1 will mark 75 years since World War II began. Most likely you don’t know the story of one brave man who saved 6,000 lives. When Polish Jews fled persecution, many arrived in independent Lithuania. But as the German army pushed across Europe in the summer of 1940, foreign embassies were ordered to close. While other diplomats turned their backs on the Jewish refugees, one honorable diplomat requested a month-long extension so that he could issue visas that would allow Jews to travel across European Russia and Siberia to Japan. The man was Japanese diplomat Chiune Sugihara.
“The Rescuers,” by award-winning filmmaker Michael King, focuses on Sugihara and 12 additional unsung Holocaust heroes who risked their lives to help tens of thousands of Jews flee to safety. By doing what he thought was right, Sugihara was dismissed from the foreign office for going against the orders of the Japanese government. He lost his pension and had to work menial jobs the rest of his life.
King’s “The Rescuers” stars renowned Holocaust historian Sir Martin Gilbert; Stephanie Nyombayire, an anti-genocide activist who lost 100 members of her family in the Rwandan genocide of the 1990s, and a handful of survivors. One survivor in the film is Sylvia Smoller Austerer, who agreed to an exclusive interview for the Forward. She is alive today, thanks to Sugihara making it possible for her to escape Poland at age 7.
The Forward’s Dorri Olds caught up with Austerer and spoke to her about the experience.
Dorri Olds: You’ve said, “What on earth made Sugihara do it?” Can you expand on that?
(Reuters) — It’s hard to keep up with the social and political hurly-burly of the Middle East, but U.S. TV producer Howard Gordon got a hit out of it with “Homeland” and hopes to do the same with new series “Tyrant,” even if it requires last-minute tweaks.
While fellow Americans celebrated over the July 4 weekend, Gordon was back in Israel for his latest whirlwind visit to fine-tune upcoming episodes, based on feedback he has received about the series set in a Middle Eastern dictatorship buffeted by demands for change arising from the Arab Spring.
There were complaints from Muslim American groups to weigh, as well as input from Middle Eastern dissidents. They are factored in to Gordon’s drive to empathize, though he wants the series to work as a universal drama divorced from actual events.
“I like to think that, as sort of amateur cultural diplomat, I create these stories as bridge-building,” Gordon told Reuters.
“We are listening to our Muslim colleagues and adjusting the material as much as possible. I appreciate the sensitivities, and no one is setting out to perpetuate or exacerbate stereotype, but we are here to tell a good story, a family drama, a saga.”
He likened the tale of an Arab-American doctor embroiled in the Middle East autocracy run by his father and brother to “The Sopranos” or “Sons of Anarchy” — shows about a New Jersey mob and a Californian motorcycle gang, respectively.
“Some working actors lost the best years of their lives and don’t know why.” Those words were written by actress/director Lee Grant in her new memoir, “I Said Yes To Everything.” And she should know. She was one of them.
Grant was the “surprise discovery” of the 1950 Broadway season for her role in “Detective Story.” Shortly afterwards, she was discovered by the House Un-American Activities Committee. For a dozen years, from 1952 to 1964 — essentially what could have been the prime of her career — she could not find meaningful work. Often when she did get a job, it was short-lived.
For example, she landed a role on a TV soap opera, “Search for Tomorrow.” But the network canned her after a supermarket owner from Syracuse, N.Y., told the sponsor’s ad agency he would put up a special display asking shoppers if they wanted to “brush their teeth with a product from a company that employs communists.”
Born Lyova Rosenthal, Grant spoke to the Forward about the blacklist, being her own worst enemy, and sending her adopted Thai-American daughter to Rodeph Shalom Day School in Manhattan.
Curt Schleier: Why did you decide to write your memoir now?
(Taken in Warsaw, 1936)
I will not infer from your black suit
and stiff blanched collar an absolutist’s stance
since moot distinctions were your passion,
nor read prophecy into your ashen beard
though your forehead, pale as a candle, burned,
as did the bald dome beneath your silk skullcap.
Your terse lips questioned transcendence,
your magnified eyes pondered the invisible
from behind the flash of spectacles.
Man of substance, you were suspicious
of these captured appearances on paper —
you who inhabited thought and lived stateless.
Now available to stream online: the premiere auditions of the newest reality singing competition, Rising Star, based on an Israeli reality show, HaKovkhav Haba, or “The Next Star” in Hebrew. The first episode of the American version debuted Sunday, June 22.
Now, I’ve seen my fair share of reality television shows. I watched American Idol when it premiered more than a decade ago, and more recently I’ve dabbled with the X-Factor, America’s Got Talent, and The Voice.
Basically, the premise for all these shows is the same. Sing a song, impress a judge or two, and then hopefully garner enough American viewers that the studio executives want to keep your show around.
Rising Star offers a new twist — or new twist to Americans, as it’s essentially a carbon copy of Israel’s original show — the public’s votes are counted via their smartphones. Oh, and there’s something about a two ton wall, too.
Viewers have to download the Rising Star application, and then swipe red for no and blue for yes in real time. If a singer attains at least 70% of yeses while they sing, then they move on to the next round.
Cool in theory, if not so cool in practice. Critics have noticed that some percentages seem staged to give voters on the West Coast a reason to vote. Rising Star airs live in three US time zones, but is pushed back for the West Coast. As a result, viewers in the California area can “save” contestants if they vote when they watch the show an hour later. Many contestants finished with ratings in the high 60s, and so needed West Coast votes to move on.
Celebrity judges Kesha, Brad Paisley and Ludacris counted for 7% if they swiped yes.
Like the case with many other celebrity judges, I am always skeptical in their ability to judge a person’s potential to become a ‘Rising Star.’ From what I’ve gathered from magazines and celebrity interviews, to succeed in the entertainment industry, you need talent, connections, and a whole lot of luck.
Celebrity judges might be able to make connections with contestants, but that’s just about it. On Rising Star, their advice mimics other reality-show judges and relayed the standard, “watch the pitch” and “I loved your attitude.”
As a result, if I ever watch judges’ commentary on these sort of shows, it’s for their anecdotes and jokes. On Rising Star, the judges lack the entertaining camaraderie of The Voice, and don’t have the definitive personalities of the newest season of The X-Factor. But, to be fair, it is Rising Star’s first season, so I’ll give them a little leeway to get their bearings.
As to the talent factor, frankly, most of the contestants were mediocre at best. Nobody seemed like the next Kelly Clarkson or the next Carrie Underwood. Rather, they seemed on par with Danielle Bradbury, who won The Voice two years ago, or Tate Stevens from The X-Factor. Remember them?
I didn’t think so.
One contestant chose a song that was half in Italian, which alienated her from the audience. The others were barely memorable.
Only the last contestant seemed to leave some kind of impact. Macy Kate, 17 from St. Petersburg, Florida, won the highest percentage at 93% of votes. She belted out a good cover of “Me and My Broken Heart” by Rixton.
Kate participated in a nation-wide audition via Instragram. To generate hype for the show, Rising Star, officials asked for people to submit clips showing why they are “Rising Stars.” Kate was told to come to the premiere, but just to watch.
Twenty-five minutes into the show, Kate was picked out from the audience to perform the finale.
Yet, she could have sprouted leaves for how planted she felt to the audience. After all, she seemed incredibly well composed for someone who didn’t know they would be on national television five minutes. Plus, she preformed phenomenally for someone who had maybe an hour to prepare.
I don’t deny that she’s got talent; I do call out the producers for staging the thing.
Overall, my opinion of Rising Star does not match the optimistic title. If you want funny banter from the judges, look to The Voice and if you want more, say, colorful acts, you’re better off with America’s Got Talent.
You can catch up on “Rising Star” at http://abc.go.com/shows/rising-star