Cai-Guo Qiang - "I Want to Believe" at the Guggenheim

We saw the Murakami exhibit a few weeks back at the Brooklyn Museum. Except for the "flower room" there was not much one would consider exciting or inspiring at this exhibit. From an aesthetic standpoint -- forget the commercialism and the presence of the Louis Vuitton accessories being gobbled up by visiting Eurotouros-- there was something a little too reductive and hollow about the show, like they could have shoehorned most of what was interesting and sincere about the content of this huge show into Manhattan's "Museum of Sex" and still had enough room for (to paraphrase Fred Allen) three carraway seeds and Bruce Ratner's heart.

On the other hand, the soon-to-be closing Cai Guo-Qiang's exhibit at the Guggenheim is remarkable, creative, inspiring, dramatic, and visionary.

The installation at the Solomon R. Guggenheim Museum is remarkable both in Cai Guo-Qiang's work and in the huge and impressive way it has been incorporated into the Frank Lloyd Wright structure. The exhibition of "Inopportune" with its lifesize exploding Ford Taurus's hurtling (metaphorically)from the ground up through the atrium to the roof of the Guggenheim is breathtaking. The life-size clay sculptures of Chinese farmers and landlords lining the ramp of "New York Rent Collection Yard," the incredible rush of a huge pack of life-size snarling (some almost cute) wolves in mid-flight, the re-creation of antique ships and thousands of arrows, or antique ships and tons of broken porcelein, the gunpowder paintings, the videos of the firework extension of the Great Wall in the Gobi Desert -- the artist appears to be an unlimited source of energy and creativity. I guess in these politically complex and confused times, issues can be found with the artist's association with the forthcoming Beijing Olympics (he is involved in the designing of certain key events) which is supported by the People's Republic of China. The artist is being offered a world-wide showcase for his dramatic and inspired vision. There is nothing cold, abstract or exploitative here. Cai Guo-Qiang explores social realism, technology (both contemporary and archaic), nature, and the spirit. His concept of "Everywhere is Musuem" explores locally curated sites (former military bunkers, the Gobi Desert, Chinese waterfront areas) to promote contemporary art with community involvement where art is often not regularly viewed). It will be amazing to see that vision enacted on a world stage. (At the Guggenheim through May 28th)

http://www.guggenheim.org/exhibitions/exhibition_pages/cai.html

The Black and White Years

One of the great surprises of the Albany Tulip Festival was the great free music offered in Washington Park. I have to write a little bit more about The Black and White Years who have a new CD on Brando Records. The band has a strong post-punk feel, their tunes are so amazingly hook-laden that they instantly caught my attention. Strong ska influences, but in a totally American pop style, with lead singer Scott Butler's great vocals, that draw comparisons to David Byrne, but to me were more resonant in the idyosyncratic Danny Elfman/Oingo Boingo style which, to this listener, is high praise indeed. In any case, BWY are originals and if you are looking for a fresh rock sound, give a listen. Especially notable is "Power to Change" which, like much of the album, playfully mines its obscure lyrics but clearly wears its green heart on its sleeve. "Evil Ape," "A Wetter Sea," are among the other great movers and shakers on their eponymous The Black and White Years.

At the show, I picked up the CD, produced by Jerry Harrison of Talking Heads, which I am still exploring. The band originally used synth drums but for the album added the great Steve Ferrone of Tom Petty and the Heart Breakers and Average White Band.

Ya gotta hear this.

Black and White Years is --

Scott Butler - vocals, guitars, keys, words
Landon Thompson - guitars, keys, vocals
John Aldridge - bass, brass
Billy Potts - drums

http://www.theblackandwhiteyears.com/

Video: Power to Change - http://www.switchburn.com/theblackandwhiteyears/powertochange

Brooklyn on the Road Again: The 60th Annual Albany NY Tulip Festival

We hit the road again for My Better Half's Birthday and of course Mother's Day. We picked up our oldest and her pal at their college campus and drove up yonder on the Thruway to Albany NY with our 3 younger kids. Rented a couple of cozy, reasonable 2bedroom suites at a great motel near the SUNY Albany campus. Having set up our headquarters, we proceeded to paint the town pink, and purple, red, and yellow: after all, we were in town to check out the 60th Annual Albany Tulip Festival which our daughter had visited before and was the prompt for this Mother's Day weekend away.

Located in Washington Park, a lovely preserve located in the center of downtown Albany, designed by Olmstead and Vaux, designers of Central and Prospect Park, the Tulip Festival is a local tradition that includes the washing of the streets of Albany, followed by a weekend of fleurs and frolic, and capped by the crowning of the Tulip Queen.

The Tulips are lovely, numerous plantings on a hill in the center of Washington Park (which is about 4 blocks by 3 blocks in size), resulting in fields of lavish color. Lots of photographers out there. But, as Jerry Garcia used to say about the Grateful Dead, and Jagger said about the Stones in Gimme Shelter, the center of attraction, while cool and loads of fun, is really more of an excuse for folks to get together, listen to music, eat food from a variety of vendors and shop like crazy from artisans, craftsfolks, etc. who are set up throughout the park.

The music was great, especially The Black and White Years, produced by Talking Heads' Jerry Harrison, a band that reminded me a little of Danny Elfman's Oingo Boingo, crossed with TH. Performances concluded with an appearance by The Spin Doctors, of the multiplatinum "Pocket Full of Kryptonite," who have a new album coming out soon.

The Tulip Fest was also the site of a Wellness Green, health care and organic foods providers, yoga lessons, etc. Finally, Grannies for Peace held a demonstration for world peace, in which they invited participants to help produce "Peace Soup" by working for a better world. We walked away with great freebies, including organic dog food, too.

Later that night we were invited to fantastic home thrown pizza fest (baked on the barbecue grill)at the home of friends in Albany, plus vino and homemade desserts. It was a fun, lovely and warm evening with a delightful family.

The next day, we celebrated Mother's Day/Mom's Birthday at a great place, Provence, in town. Funny, we were originally trying to find its sister restaurant, Milano, in Latham NY, but got hopelessly lost, and we were heading back into town when we stumbled on Provence, which we had scoped out the night before for its lovely sounding brunch buffet, but which we gave up hope of getting into because of the lateness of our reservation. But, out of sheer desperation we ended up in Provence, its sister bistro, and the manager took pity on us Out-of-Towners, got us a table, where the six of us enjoyed the warm ambiance and great brunch. Just shows you never can tell. Then we headed back to New Paltz and back to the City, thinking about our great weekend away and looking for excuses to visit Albany again

Let's Get Started - It is Time for the 2008 Presidential Campaign to Begin

Whatever happens happens. While I am reluctant to join the "pile-on", I have to agree with the Reverend Al, but, at this late point, for Senator Clinton to be declared the winner would result in the destruction of the Democratic party. So let's get started. In the past 2 elections against the GOP media onslaught, the Democrats put forward candidates who had the full support of all areas of the party. And then the candidates lost.

This time, we have two Democratic candidates who fundamentally would represent enormous change, change that is appropriate to the 21st century. Perhaps because of this, they have fought a tough, tough battle. The party is in ferment. I saw uncommitted superdelegate Donna Brazille arguing with Clinton-supporter Lanny Davis the other night and she could barely contain her anger. Clearly, the stage has now shifted. Regardless of the rhetoricality of "who would be the better candidate in the upcoming general election, " after Senator Obama's strong win in North Carolina and Senator Clinton's squeaking victory in Indiana, and whether it is now media and pundit weariness, or just the general sense that this arm wrestling has gone on long enough, after this last go round, reaching this point in the nominating process, and while it is still Senator Hillary Rodham Clintons' choice to make, it seems impossible for Senator Clinton to prevail. Even were it possible, a decision based solely on the superdelegates that bypasses the democratic nomination process as instituted in the primaries would be nothing short of a disaster for the party. Even supporters of Senator Clinton are battle weary by this point.

The common wisdom suggested that perhaps Senator Clinton is the stronger candidate from the perspective of that old timey, alligator-wrassling, thumb-in-your-eye, butt whupping contest that we have known as American politics up to this point. But in the current nominating process, among independents where they were allowed to vote, as well as among the Democratic party faithful, Senator Obama continues to do well, strategically pulling in the delegates required to maintain a victory margin. Like Senator Clinton, he has some wicked friends and has said some dumb things in unguarded moments. Amnd maybe when it comes down to the general election, the Republicans will use whatever old school, swift-boatin' dirty tricks and negative media that they can against Senator Obama. Maybe lofty rhetoric won't cut it. Maybe politics remains a series of pitched battles. Or maybe Senator Obama is right and people are tired of the politics of the past and are ready to try something new, waged on ideas and possibility instead of 2-party polarization and media blather. Maybe the incredible tension that the nominating process has stirred up will prove to be beneficial, battle-testing Senator Obama and giving voice to the reality that if not now, very soon, a woman will lead this country. I hope so, but I don't know for sure. No one does. But at this point, with all due respect to Senator Clinton, it seems clearer than ever that the primary process is over, and it is probably time to find out which course this country is ready to take.

Let the real 2008 Presidential campaign begin.

Edible Brooklyn: Hoyt Street's Main At"traction"

My cousin's husband has, in the words of Edible Brooklyn, a "License to Till." This is the 3rd article I think I've read about Andrew's antique tractor and my cousin Cathy has yet to make an appearance. A man and his tractor shall not soon be parted. If Cortelyou Road can feature the "Farm on Adderly" than I guess Hoyt Street can have it's own Tractor Pull.

(Keeping it all in the family, I have to sincerely thank my nephew, currently keeping his head down at the Bear, and his inimitable blog, Gotham City Insider, for clueing me in on this item.)

Full article here: http://www.ediblebrooklyn.net/content/pages/issues/spring2008/obsessions.pdf

2008 Brooklyn Blogfest --Tonight's the Night

Tonite. 8 PM. Brooklyn Lyceum. 4th avenue and union/president street. $10. Nuff said. We're blogging, hope you like blogging too...

PRIME GREEN: Spring in Flatbush

Oh, yeah. It is here. The blossoms have fallen away, like ochre on a stone. The buds which had turned to blossoms are nearly withered away, replaced by the fresh, vibrant prime green that comes with the beginning of spring. Not the calendar beginning, but the beginning when the hundreds and hundreds of tulips lovingly planted by neighbors are in a joyful array, and when the roses are beginning to stir, the first flowers are well established. Spring in Brooklyn, a feeling of lightness and buoyancy that mirrors the glorious first coming of a brighter sky, not icy and remote like winter, and not punishing and martial, like deep summer. But a gentle sun in a gentle sky, full of promise.

From Brooklyn to the Schuylkill River: Notes on Philadelphia (& New York City)

I read that John Adams, Benjamin Franklin and Edward Rutledge agreed to meet with British General Howe at the beginning of the War of Independence. It took them 2 days to reach Staten Island on horseback from Philadelphia. It took us a couple of short hours on the NJ Turnpike to reach this city near the Schuykill River ("school-kill", Dutch for "hidden river.")

We visited for a couple of days with our younger daughters. We made a point of going to the Philadelphia Museum of Art, which sits grandly visible at the end of the Benjamin Franklin Parkway. We wanted to see the Frida Kahlo exhibit. Although Frida Kahlo, born of Mexican and German/Jewish parents, has long since entered the popular culture, in that regard dwarfing her husband, muralist Diego Rivera, this huge retrospective of her work is very energetic and comprehsensive, quite an experience to view. The show includes works from throughout her life, along with family photographs, lots of informative text, and a cool audio accompaniment.
Organized in celebration of the centenary of the artist's birth, this exhibition of over 40 paintings focuses on Frida Kahlo's extraordinary self-portraits. Also on view are portraits and still-life paintings, in which Kahlo projects her passions, both personal and political, onto other people's likenesses or everyday objects.

Particularly interesting: Claire Booth Luce, editor of Vanity Fair, had commissioned Kahlo to paint a tribute of a socialite friend who had leaped to her death from a hotel. Kahlo's "portrait" of the dead woman, intended as a gift from Luce to her grieving mother, was a painting that portrayed the woman in the act of suicide. Luce refused to accept the painting, wanted to destroy it, but ended up not paying for it and returning it to Kahlo. Kahlo's politics, like her art, appeared to address social and gender/sexual relations and issues, both in her personal life and in society at large. There is a lot here to take in, aesthetically, politically and philsophically. And through her emotional depth and the body awareness that is imbedded in her work, it is grandly aesthetic but with notes of violence, pain and loneliness everywhere. The show is on view through May 18th.

The hotel we stayed at in Philadelphia overlooked Logan Circle, which, according to local history and a plaque in the lobby, was the site of public hangings until 1823. This thought loomed large when we saw the CNN report about the conclusion of the trial of the 3 NYPD police detectives charged in the shooting of Sean Bell. While NY media is so dominant to us, we also learned that a demonstration was held in Philadelphia over the weekend to protest a number of deadly force killings of civilians by the Philadelphia police that have occurred over the last couple of years in Philadelphia. Although not all of the Philadelphia shootings by police mirrored the Sean Bell case (in some instances, the victims in Philadelphia were armed, although apparently the illegal weapon had not been drawn at the time they were shot), the info indicated that despite the numerous occurrences of unjustified deadly force, no District Attorney/ grand jury investigation has ever occurred to look into these matters. In New York City, it appears that Federal lawsuits and civil trials will likely follow, so that, despite the NY Judge's determination that the detectives were not criminally culpable, it is clear that in NYC the repercussions from the NYPD shooting of the unarmed Sean Bell are far from over. Errol Lewis had a great, thoughtful op ed piece in today's NY Daily News, with concrete proposals on how NYC can begin to address this tragic situation, to try to prevent it from occurring yet again. Cops are clearly often in life and death situations, but it is our obligation as a city to prevent the shooting of innocent (primarily minority) civilians. The Errol Louis article is "a must read". It is sobering to note however that in some cities, such as Philadelphia, which was the focus of a lot of attention in the recent Democratic primary, in those instances when apparently unjustified use of deadly force by police have occurred, the investigations have yet to even begin, in some case years after the shootings.

New York City can and must do better. This is an issue that must be addressed head on, with all deliberate speed.

Errol Louis here:

http://www.nydailynews.com/opinions/columnists/louis/

"PAUL SIMON: American Tunes" at BAM

The Brooklyn Academy of Music presented "Paul Simon: American Tunes," part-tribute concert, part-Paul Simon concert, and mostly an opportunity to hear many of the standards from the Paul Simon solo catalog from a different musical perspective. Simon opened the show with the Roche Sisters and his superb band, with "American Tune" which never sounded so relevant as it does today. When that song was first released on "There Goes Rhymin'Simon", in the era of Watergate and the dismay at the apparent closing of the Age of Aquarius and AntiWar- liberation movements, we thought that we had "issues" as a nation when we realized that our politicans were corrupt and malfeasant in their disruption of the political process, and that the Viet Nam war had lead the U.S. down a dark corridor. Well, who knew then that "we hadn't seen anything yet". This was followed later by "Me and Julio" which was warmly received.

Simon left the stage for a while, as the Roche Sisters, provided lovely interpretations of Cecelia and other tunes. One tune, "Another Galaxy" concluded withthe comment how great it was to be "In Brooklyn--Another Galaxy". "That's right!" someone shouted. Next,

Amos Lee performed "Peace Like a River" from the first post-S&G Simon solo album. Amos Lee, a Philadelphia-born musician has played with Bob Dylan and others. His intense, blues-tinged folk, gave a deep undercurrent of sad truths told joyfully. Grizzly Bear, a Brooklyn-band, took the stage, complex arrangements from a spare 4 piece group.

Olu Dara, combining jazz, blues, Afro-caribbean rhythms, performed "50 Ways to Lose Your Lover" and other tunes. Dara made a peculiar joke to the audience not to litter since his band mates earned money on the side cleaning up after the show. This felt a little awkward, one of a few attempts that Olu Dara made at connecting with his large audience, but this sort of fell flat. At any rate, I guess it seemed like patter for a smaller club and a different audience.

That said, the show was interesting since it attracted a diverse audience with a core of long time Simon fans but it was not strictly a Paul Simon-retrospective performance. In fact, after the 3rd or 4th performances without Simon, someone yelled out "Where's Paul ?" Although all of the musicians appear well established, the show seemed to highlight the irony that rock music, essentially an American and avant garde form, is subject to certain cultural and aesthetic assumptions, apparently not the least of which is based on age.Rock music rolls on. Those Simon and S&G recordings are only a snapshot. The music, like the musician, is ever changing, subject to new interpretations and musical passions. After the first couple of sets, and one realized that Paul would not be on stage all evening, it was great to just sit back and let all of the music happen all around you, hear familiar Simon tunes done by different voices and different, though essentially faithful to the original, arrangements. The fact that new generations of musicians are equally in love with the Simon songbook was just such a powerful statement on the originality and relentless creativity of this great artist.

Josh Groban, a fabulous singer with an incredibly strong and clear voice, brought new depth and range to "Bridge Over Troubled Water". Remarkable too, Gillian Welch and partner David Rawlings, performing "Duncan" with Simon. Stylistically, Welch is an intense and hard to categorize fusion of bluegrass, folk, country and blues.

Simon returned with his band and tore through "Train in the Distance, " "How Can You Live in the Northeast", "Late in the Evening" and more. Mark Stewart, Simon's musical director, of Polyphonic Lounge and Bang on a Can Festival, an remarkable multi-instrumentalist, stands out in Simon's already tight and very high powered band.

There were so many songs it was hard to keep track, but it was a night for, by, and about Paul Simon. It was an amazing amazing show all around.

Paul Simon: American Tunes extends through April 27 at BAM's beautiful Howard Gilman Opera House.

Spiritual Technology 3: Passover in Flatbush - Food and Folly

Do I see a theme developing ? I am afraid so. From the Sacred to the Profane and Back again. Just a post to wish a Happy Passover to y'all who celebrate it, and a Happy Spring to those who don't. The flora in Flatbush is only matched by the beautiful clear skies this week. Spring is finally here.

We observe Passover in our home, which means a lot more food prep throughout the week. We try to make it fun by cooking more than usual, trying to be creative within the limits allowed. But it wouldn't be Passover without a few boxes of Passover cereal, some of which the kids like a lot, some of which they say tastes medicinal, like cardboard, etc. I have found it fascinating to see how food technology has tried to adapt, through complex, multi step recipes, and using kosher for Passover products to come up with different types of products that may involve some preparation, but which attempt to resemble products that are otherwise Not Cool for Passover. (If you are Vegan, think of Tofurkey at Thanksgiving). The Passover products are often just a shadow of what they are intended to replace, but that self-denial/abstinence is part of the point of the holiday, I guess. Some foods that you make yourself from scratch are fun adaptations, like Matzah-Pizza, or Matzah-lasagna. But others, when you try to create the illusion of a Passover rolls, doughnuts, some of the cakes, or leaden pancakes, it is just a fool's errand, so lots of things like that we just avoid. I was home from work for a few days and today whipped up a few funky Passover thangs to keep the house moving along and the kids' interest piqued. For instance, using a combination of Passover cake meal, matzah meal, potato starch and real veges and of course those staples of the holiday -- eggs and olive oil, I fashioned a vegetable cheese quiche, noodle kugel (sort of a cake-pudding hybrid with lots of dried fruits), potato kugel (straight from the box), and a couple of cakes (honey and crumb). This is not some of the healthiest eating of the year, so we try to supplement with lots of fruits and salads, etc.

OK, I am off and running. Tonite: Paul Simon at BAM. Ciao.

Spiritual Technology 2: Dorsky Museum: Photographs by Allen Ginsberg

The Samuel Dorsky Museum of the Arts (SDMA) in the Hudson Valley never fails to inspire or surprise. Whether an exhibition of faculty or student work, or a show from its great collection of modern art and photography, the Dorsky, located on the campus of SUNY - New Paltz is remarkable in its passion and quality. A great recent show included "Beat and Beyond: Photographs by Allen Ginsberg." The collection here largely includes photos of the usual Beat suspects (W.S. Burroughs, Kerouac, et al) but it is remarkable that some of these photos from the Beat era that are virtually iconic were taken by none other than Irwin Allen Ginsberg (1926-1997) from the 50s through his death in 1997. Some of the photos include poesy and commentary that Ginsberg had written directly on the print. Recent writings surrounding a book "A Blue Hand- The Beats in India" suggests that AG's real talent was for living. Maybe so, but this exhibit, that deserves a wider audience, highlights yet another dimension of the enormous talent, energy and creative output that surrounded Allen Ginsberg-- a poet, philosopher, critic, musician, artist, cultural visionary and activitst, and photographer, the 11th anniversary of whose passing recently occurred (April 5, 1997). These photos, along with an expanded collection of other works, "A Discerning Vision," are from the collection of Howard Greenberg,a collector and curator who founded the Catskill Center for Photography (CCP) back in the late 70s. The collection includes originals of other classics, such as "An American Girl in Italy" by Ruth Orkin, as well as photos by Weegee, Lewis Hine and Walker Evans. A concurrent exhibit of painting and prints at the
museum, "Defining Art" includes Robert Rauschenberg, Larry Rivers, and other recently acquired works by luminaries and other lesser known, but wonderful artists. A smaller show, "Reading Objects 2008" includes art coupled with commentary by students and faculty in New Paltz's art programs.

Dorsky remains a smaller museum that nevertheless packs quite a punch.

Samuel Dorsky Museum at SUNY New Paltz: http://www.newpaltz.edu/museum/information/museumvisit.html

Spiritual Technology: "Outside the Text: Non-Textual Sources of Meaning in Rabbinic Civilization " Lectures at NYU by Professor Michael D. Swartz

After work, over the last couple of weeks, I attended a series of public lectures at NYU's Skirbal Department of Hebrew and Judaic Studies entitled "Outside the Text: Non-Textual Sources of Meaning in Rabbinic Civilization. " This represented the Inaugural presentation in a new annual series at NYU, the Benita and Sigmund Stahl Lecture Program in Jewish Studies, which combines special graduate seminars with public lectures. The program's first lecturer was Professor Michael D. Swartz, of Ohio State University. Since Professor Swartz is a former NYU doctoral student who also has co-published academic works with Dr. Lawrence H. Schiffman, Professor and Chairman of NYU's Hebrew and Judaic Studies Department, it seemed to represent a sort of homecoming for him, as he was greeted warmly by the Department.

The lectures explored the ideas that the Jewish people, commonly viewed as a text-centered civilizaton and faith, with the Torah at its center, also has profound roots that are non-textual in nature. That in fact, the Torah, as an object, or an abstract, was created before the world. I am no kabbalist, but esoteric Judaism and "Scholastic Magic" (the title of a book by Dr. Swartz) suggests the deeper structures of Jewish life and culture. The program comprised 3 lectures by Dr. Swartz:

"The Signifying Creator" explored "alternative creation myths in Jewish interpretation (Midrash) and synagogue poetry (Piyyut). Whereas in the classical rabbinic myth the Torah was used as a model for the creation of the world, some sources state that the sacrificial rituals, the Tabernacle, and the Jerusalem Temple were created before the world and serve as the focal point for the act of creation. This myth then yields a more general teleological conception of creation, in which each created thing has a purpose in future history." Professor Swartz cited Genesis Rabbah that the Torah was created first by G-d, that the Torah was created before the world, and served as the blueprint from which the world was created.

"The Semiotics of the Priestly Vestments in Ancient Judaism," another fascinating lecture, explored "how the elaborate golden and jeweled vestments worn by the High Priest in the ancient Temple in Jerusalem served as the subject of an intricate semiotic system in Midrash and liturgical poetry. This system attaches moral and cosmological symbolism to each article of clothing. According to this method of interpretation, each garment symbolizes an Israelite tribe or an episode in biblical history and at the same time serves as an active instrument in achieving the ritual goals of the sacrifice." Professor Swartz discussed the 4 garments of the common priest and the 8 garments of the High Priest, which the High Priest would wear and inquire of the Urim and Thumim which were a form of (my term) spiritual technology, that were used to communicate with G-d..A passage of the Books of Samuel mentions three methods of divine communication - dreams, prophets, and the Urim and Thummim. When the powerpoint presentation on the priestly vestments crashed, one wag, an acquaintance from Park Slope who works at NYU, commented "They've got to reboot the Urim and Thumim."

"Divination and Its Discontents: generating Meaning in Talmudic and Esoteric Judaism", the final lecture of the series concerned "the ancient art of divination in Jewish culture and how the rabbinic class in late antiquity participated in it and responded to it. Some historians have argued that divination was the first form of hermeneutics. Divination systems involve such activities as scrutinizing the natural world for signs of signification, developing techniques for generating random results, and reading personal significance into such disparate events as the chanting of children in a schoolhouse and the arrival of barges at a riverbank. In this lecture these techniques were explored, along with related legends in which animals, stars, the earth, and other elements of nature are sentient and communicate the divine will." This cruised along, tweaking dichotomies, for example, as to how Ancient Judaism could condemn divination and magic -- except when it was acceptable. Professor Swartz mentioned a story about driving in a car with Professor Schiffman at about the time they were working on a book relating to ancient Judaic magic. Schiffman's kids were in the backseat, riffing on magic and Judaism. One child gave the example of when Moses appeared before Pharoah, and his staff turned into a snake. The other child said "No, that wasn't magic, that was an example of the power of G-d." I, too, always thought that scene (whether Charlton Heston on film or in Exodus on the printed page) was a fascinating moment, almost a duel between light and darkness, in some abstract sense, a duel between magicians' except for the fact that, indeed, Moses was not the author of this transmogrification, he was a conduit for the power of Adonai.

Also present in the audience for the lectures was Professor Elliot Wolfson, of NYU's Hebrew and Judaic Studies Department. Professor Wolfson, who at first I mistook for a postgraduate student, asked some deep and challenging questions of Professor Swartz which seemed to be at the core of scholarship and the continuing search for knowlege. I had read some excerpts from works by Dr. Wolfson regarding Jewish history, spirituality, and the Lubavitcher movement. He noted to the audience that, at the conclusion of the series, it was bittersweet, in that the series had been so enjoyable but that it indeed had ended. Professor Wolfson mentioned a lovely quote from his father, that (I am paraphrasing, I hope correctly) when something wonderful ended, it was like awakening from a dream. Professor Wolfson also has a fascinating website of his painting, poetry and scholarship, but I will leave it to the interested reader to research and discover, just as this lecture series offered this writer some spiritual nourishment, a few small steps in a long journey, in the days leading up to Passover in the Jewish year, and spring in the natural world around us.

Poor Boys and Pilgrims: A Brief Second-Hand Report on Paul Simon at BAM Last Night

I saw my good friend SLC as we were crossing Boerum Place this morning. He was at BAM last night to see the Paul Simon performance of "African Skies". Lucky ! Awesome show, he reports, amazing Simon, in great voice with a fantastic band, and with a guest appearance by David Byrne. Simon and company performed all of Graceland, lots of celebrities in the audience (Steve Buscemi, David Schwimmer, among other notables). SLC reports that "at one point, Simon brought out a Brazilian singer who sang some Milton Nascimento tunes. Simon put his guitar down and sat on the edge of the drum stand and just bopped his head to the song. He was at once the maestro directing every detail of the show and also just one of the crowd grooving on the tune." Sounds like truly a Stellar Night.

The Mississipi River was shining like a National guitar -- damn, Paul is right up there at the summit of American songwriting. In the pantheon, way up there, certainly, not nearly quite as bottomless as the new Pulitzer Prize winner, more like the clear waters of the Hudson compared to Dylan's muddy Mississippi, but Simon is without question a songwriter's songwriter, a consciously lighter more pop touch, more NYC neurotic with a dash of classic restraint compared to Dylan's midwestern John Brown prophetic anger and genius... but Paul is an enormously gifted craftsman and superb guitarist, poet and minstrel, a tunesmith who has produced an amazing amount of classic pop music in different styles, and a pioneer on the world music front.

As I told SLC, "You've got me psyched, guaglione..." Now I can't wait to be there at BAM for Paul Simon's "American Tunes" in a couple of weeks...

We are going to Graceland, Graceland....

Brooklyn Film: BAM screens "The Saragassa Manuscript" (Rekopis znaleziony w Saragossie)

The influence of the 60s never wanes. BAM Cinematek was crowded one evening this weekend for the short run engagement of The Saragosso Manuscript. A film from 1965, this black and white surreal epic of Polish cinema, directed by Wojiech Has and based on a novel by Jan Potocki is one of those marathon classics that one built one's day around at the old Elgin Cinema on 8th avenue in Manhattan or the Gramercy on Bleecker. Clocking in at a solid three hours, it was a true test of cinema willpower. But, once again, the patient, attentive filmgoer will be amply rewarded.

Basically, during the Napoleonic wars, an officer finds an old book that relates his grandfather's story, Alfons van Worden, captain in the Walloon guard. A man of honor and courage, he seeks the shortest route through the Sierra Morena. At an inn, the Venta Quemada, he encounters two Islamic princesses. They call him their cousin and seduce him; he wakes beside corpses under a gallows. He meets a hermit priest and a goatherd who may be possessed; each tells his story;Van Worden wakes again by the gallows. He's rescued from the Inquisition, meets a cabalist and hears more stories within stories. He finally returns to the inn where he receives incredible news. But this story line is easier said than followed. So, this viewer sat back and let the incredible imagery, contorted storylines and fabulist (sometimes arch and comic) dialogue work its cinema magic.

Although it appears to be soon-to-be-in-DVD release, with the lavish praise and support of Francis Coppola and Martin Scorsese, it really deserves a Big Screen viewing since some of the landscapes, filmed in Poland, are surreal and the set designs, costumes, and props are fantastic, in a well-produced, avant garde production. Interesting how Polish film in the 60s, still within the Soviet sphere, managed to mix Kabbalah, Islamic lore and culture, Catholicism and the Inquisition in a curious, mystical brew. It is clearly right down Luis Bunuel's alley, another alleged fan.

The film, as has been publicized, was discovered by the late Jerry Garcia at the San Francisco Film Festival in the late 60s. He donated a copy to the Pacific Film Archive with the proviso that they would unspool it for him whenever he had the yen to toke up and explore this classic, that unfolds, story by story, tale by tale, like a winding clock, for a good 2.5 hours, until it suddenly begins to fold in on itself and slowly, for the last half hour, though to this viewer, not completely, unwinds, so that some of the stories begin to connect, if not explain themselves completely.. Or at least enough to reward the patient viewer with the sense that they have been watching an actual if complex narrative, and even if it seems to have been written on a Mobius Strip. If you contemplate a drink before the show, make sure it is served in a Klein Bottle. Runs through Thursday, April 10.

Out Among the Brooklyn Bloggers: "But Can It Core A Apple ?"

Usually, I am at work, or spending time with my Better Half and kids, or otherwise taking Care of the Business of Life. Somehow, around the edges for the past year or so, I have found time , or actually made time, to get into my blog. I suppose different people get different things out of their blog. Although all bloggers are writers, I think all bloggers view their project with a different sense of purpose and as presenting a different persona. Deep in the Heart of Brooklyn has a always reflected my writerly interests-- literary, with Brooklyn as its overarching theme, but with the process of blogging itself always as its pole pointing true north. Blogging to me means sitting down, or actually, as I am now, kneeling on the floor, with the laptop on a table, in order to express something that's caught my attention whether internally or out there in the world..

So it was really interesting to have the opportunity to get out among the Bloggers this week. I had attended a great blogade before, hosted by Rob of Luna Park Gazette and met many bloggers. But his week I had the chance to meet at the Sidecar on 5th avenue for the first time Louise Crawford, of Only the Blog Knows Brooklyn, which, as I have said on other occasions, seems to me is the "Bloggo di Tutti Bloggi" of Brownstone Brooklyn Blogs. LC's was the first blog to use my stuff and we have exchanged emails and it so it was so interesting to finally meet Louise and Hugh Crawford in person, say hello, and exchange notes, finally realizing that each of us had a kid who knew the other from middle school. The event was co-hosted by Brooklyn Based, and was a great chance to get out from behind the computer and meet the folks behind the blogs..

Then, the Blue Barn Video shoot for the upcoming blogfest was another opportunity to meet other bloggers whose sites I enjoy-- Found in Brooklyn, Pardon Me for Asking, Brooklynometry. David Castillo and the crew at Blue Barn were very cordial and extremely pro. I only pray that I did not bite off more than I could chew by agreeing to appear since I fear that I came off, as we say in the Italian American parlance, as a complete "jooch". The questions were posed fast and furious. I groped for words. Anything I thought of in advance that I might say about Blogging and Place flew out of my head to the four winds. I was only glad I hadn't been asked what sounded like to me the question of the day: "What Do You Wear When You are Blogging". I like to think I would have answered "Software" but more likely I would have answered "Hamanah-hamanah-hamanah" like Ralph Kramden on the Honeymooners: "I'm the Chef o' Da Future"...I'm the Chef o'Da Future!" On HD, everyone can see you cringe. It was a lot of fun just as it was a relief to get back to real life and the safety of Deep in the Heart of Brooklyn. See you at Blogfest.