It used to be the case that when you mentioned Jews and hip-hop, it was Jews who did the producing, and blacks who did the rapping. That’s changed. Now every rap great still living—which is to say, most—are running things: Jay-Z, Kanye, Lil Wayne are all producing giants. While Jews, on the other hand, are rapping: forget Matisyahu (but him too), there’s Drake and Mac Miller and, to my surprise, even DJ Drama.
Perhaps the greatest irony of classical music is that, while Jews have excelled in the genre as both composers and musicians, they have left very little notable music with an identifiable Jewish strain. Many have tried, to be sure—Leonard Bernstein and Steven Reich, to name two. But both those greats will be forever famous for their non-Jewish work.
If you have anything like a normal human heart, you have probably fallen in love with Jeremy Lin. I have yet to find any criticism of the break-out New York Knick star—or at least any that doesn’t feel merely contrarian or just plain cruel. Almost every ethnic group seems to identity with his story too, and how couldn’t they?
Like many liberals, David Brooks is a conservative I can like. But every now and then he falls in with the wrong conservative crowd. And this week it was in his swooning endorsement of Charles Murray and his new book, “Coming Apart: The State of White America, 1960-2010.”
With a name like “The Prime Minister’s Cabinet,” you’d think this television show was yet another British drama, a “Downton Abbey” sequel starring, say, Winston Churchill. But it’s not—no, it has nothing to do with Brits, but with, of all things, Israelis. Yes, in a culture story today, The New York Times devotes a full piece to an obscure Israeli political drama, made for T.V., that even critics in Isra
From a Jewish point of view, the Oscar nominees announced this week gave a lot to be excited about. There was Israeli filmmaker Joseph Cedar’s nomination for best foreign film, with “Footnote,” about an intellectual feud between father and son, both Talmudic scholars. There was “Extremely Loud and Incredibly Close,” an adaptation of Jonathan Safran Foer’s novel about 9/11. And there was “In Darkness,” another nomination for best
A couple of months ago, I wrote a story about the excellent and horrifying exhibit “Deadly Medicine: Creating the Master Race,” now on view at the Museum of Jewish Heritage—A Living Memorial to the Holocaust. It describes how Nazi Germany took the pseudo-science of eugenics—or “racial hygiene”; attempting to create a purer race through breeding, sterili
In our secular, liberal age, the Bible and the classics often get a bad rap. The Bible represents everything modernity is not—free inquiry, divested of hoary beliefs—while the classics are often snidely dismissed as the hubristic fantasies of aging, if not already dead white males.