“Bethlehem,” the critically acclaimed 2013 film, has both Israelis and Palestinians on its production team, imbuing it with a sense of nuance. The tense drama focuses on an Israeli Shin Bet agent and his teen Palestinian enforcer, and personalizes the conflict by questioning the notion of family, and trust behind enemy lines.
The opening showing of my pre-Oscar night nominated shorts marathon was 10:35 Sunday morning. I was one of half-a-dozen people nestled in IFC’s coziest screening room to view "The Lady in No.6," which enhanced my experience falling in love with the documentary’s then 109 year-old subject, Alice Herz-Sommer.
The name Zusha is most commonly associated with an 18th century chasidic rebbe from the town of Anipoli in southeast Poland. Reb Zusha was a student of the Maggid of Mezritch, a main disciple of the Ba’al Shem Tov, the founder of Hasidism, and was known for his great piety, scholarship and penchant for bursting out in spontaneous joy.
“[What’s So Funny ‘Bout] Peace Love & Understanding” David Broza asks, in his recording of Nick Lowe’s song on his new CD, “East Jerusalem/West Jerusalem.” That song, with the accompaniment of the Jerusalem Youth Chorus of the Jerusalem International YMCA – a group of Jewish and Arab teens -- is now being played regularly on Galei Zahal, Israel Army Radio.
An unlikely Jewish friendship brought the Beatles to America.
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When fate would bring him back to Liverpool, Sid Bernstein would go to the Kirkdale Jewish Cemetery, placing a pebble atop the black granite gravestone. Here lay Shmuel son of Tzvi, who died on 21 Menachem Av, 1967 — Shmuel, better known as Brian Epstein, manager of the Beatles, though there is no mention of the Beatles on his stone. That the Beatles came to America 50 years ago, an anniversary celebrated this week across the land, is because of a phone call Bernstein made to Epstein 51 years ago, in 1963, to book the Beatles one year later, Feb. 12, in Carnegie Hall—their first booking in America. A show in Washington, D.C., and the Ed Sullivan shows, were booked later, sandwiched around Sid Bernstein’s shows in Carnegie.
This past Thursday night, in the basement of Mechon Hadar on the Upper West Side, nearly sixty people gathered to sit in the round and listen and participate with the music being performed by Joey Weisenberg and several other musicians. Weisenberg, a staff member at Hadar who leads regular music and singing workshops, also teaches at JTS, Hebrew Union College, and Yeshivat Chovevei Torah. An accomplished singer, guitarist, percussionist, and mandolin player, Weisenberg played mandolin and guitar on Thursday night, and was joined by the Hadar Ensemble, which featured two vocalists, a violinist, a fiddler, a stand-up bass player and a hand drummer.
How does one get in the right frame of mind for the High Holy Days? For Shira Kline, bandleader and musical director for Lab/Shul’s High Holy Day service, the answer is obvious: music. “Rosh Hashanah and Yom Kippur have such beautiful liturgy,” Kline said. “To not engage participants through music is to miss a huge opportunity.”