Friday, March 26, 2010

1949 : Tel Aviv and Max Perlman (born in Riga)

(via Pardes)
A writer in the Revisionist Herut newspaper protested in 1955 against the use of foreign languages in Israel, "the willful slavery and emulation of anything that smells foreign." "אלטע זאכן" (alte zakhn 'used items') – the call of rag-dealers under the pale blue skies of Tel Aviv, he wrote, pierces the heart and is reminiscent of Warsaw. "Is this what we strove for when attaining our independence and putting all our efforts into discarding the Diaspora and everything to do with it? Did we strive to wake up every morning to this language of Jewish rag-dealers?" The writer was particularly upset by the fact that nine out of ten rag-dealers were in fact not of Ashkenazi origins, men who didn't even know Yiddish but nevertheless learnt these particularly humiliating and insulting Yiddish words "אלטע זאכן" (alte zakhn) .
In 1950 a daily newspaper published a letter "Against a Foreign Tongue," written by an IDF soldier:
(from Mendele Review)

 I do not intend to criticize those new immigrants who use their native tongue only when they first arrive. Obviously, they have to be aided by their accustomed language when they begin to acclimatize. However, there are some people who are considered "long-timers", who find it necessary to spice their speech in public with some Yiddish. Many cafés and amusement institutions in Israel conduct a large part of their programs – songs, jokes, and so forth – in Yiddish.
In addition to the national sentiment, which forbids us the use of any language but Hebrew, we should also consider the large part of our society that does not understand Yiddish. In the state of Israel we must free ourselves from any diasporic habit, including the diasporic tongue. 

Max Perlman (1909-1985) - Perlman was born in Riga, Latvia to a middle-class family. At age six he sang in the choir of Hazan Rosovski and soon began to play children's roles in the theater.He studied at the dramatic studio in the Riga Peretz Club and found work performing in Russian and Yiddish theaters. With the founding of the Riga Nayer Yidishe Teater (New JewishTheater), he turned professional, performing steadily in Kovno and Riga between 1928 and1934.  In 1939 he was invited to Argentina, where he stayed for 3 years before moving onto Uruguay and Chile and, in 1945, to Latin America. He toured South Africa in 1948 and 1951and came to the United States in 1952, where he performed regularly from his home base inIsrael. The consummate song and dance man, comedic actor and song writer, Perlmanr eturned to Argentina in 1966 and, in 1967 toured there and in Brazil with Yiddish comedian Shimon Dzigan.

Thursday, March 25, 2010

The 2010 Election Manifesto of the Pirate Party UK

The Pirate Party is a new type of political party.
A party that talks about issues the other parties ignore.
A party free from corruption and expenses scandals, free from lobbyists and party whips.
A party that is not left wing or right wing.
A party that admits it doesn't always have all the answers, and is willing to listen.A party that wants to give you more rights not burden you with any more taxes.
Our manifesto covers 3 main areas: copyright and patent law; privacy law; and freedom of speech.
Copyright and Patents
Our copyright law is hopelessly out of date. The Pirate Party wants a fair and balanced copyright law that is suitable for the 21st century
Copyright should give artists the right to be the only people making money from their work, but that needs to be balanced with 'fair use' rights for the public.
We will legalise use of copyright works where no money changes hands, which will give the public new rights;
A new right to format shift (for example, buy a CD then copy it to an iPod - which is currently illegal);
A new right to time shift (record a TV programme for watching later) and
A new right to share files (which provides free advertising that is essential for less-well-known artists).
Counterfeiting, and profiting directly from other people's work without paying them, will remain illegal(read more...)

אודי דיין אמן משחרר

עין הוד
ניסיתי להגדיר לעצמי מה עושה את יצירותיו של אודי דיין כל כך מיוחדות בעיני
שכן בכל פעם שפגשתי יצירה משלו התמלאתי מעין חדווה עולצת חסרת פשר , סוג של תחושה בלתי אמצעית , שונה לגמרי מקשת האפשרויות שמוכרות לי מול יצירות אמנות אחרות .
המפגש עם יצירותיו לא נמצא בכלל על סולם השיפוט , ההשוואה או ההערכה המקצועית - הוא דומה יותר למפגש של אדם עם נופים חדשים ,צמחים מרתקים או בעלי חי שאותם לא הכיר.
אודי אינו אמן ממחזר או אמן מייצר הוא להגדרתי "אמן משחרר" – הוא זכה למתת ייחודי בעזרתו הוא מצליח לשחרר מהחומר את שאר הרוח שכנראה שוכן בו מאז ומעולם אבל אנחנו לא השכלנו לחזות בו בלעדיו.
והמתנה הזו איננה רק כישרונו הרב ,חריצותו או מקצוענותו השלמה- היא מחייבת חפות מוחלטת מכל אינטרס תועלתני ,חברתי או תרבותי שכן אחרת "שכינת החומרים" ודאי לא הייתה מעניקה לו את חליל הקסם הנדיר שאפשר לו להמחיש בפנינו כאן בספר את "חזון הגרוטאות היבשות" שקם וצועד אחריו במגוון מדהים של ברואי דיין חיוני כל כך.
דן חמיצר

Wednesday, March 17, 2010

just the straight, natural blues...

He was born in 1904 in Rossville, TN, and was playing the guitar by the age of 14 with a slide hollowed out of a steer bone. His parents died when Fred was a youngster and the wandering life of a traveling musician soon took hold. The 1920s saw him playing for tips on the street around Memphis, TN, the hoboing life eventually setting him down in Como, MS, where he lived the rest of his life. There McDowell split his time between farming and keeping up with his music by playing weekends for various fish fries, picnics, and house parties in the immediate area. This pattern stayed largely unchanged for the next 30 years until he was discovered in 1959 by folklorist Alan Lomax. Lomax was the first to record this semi-professional bluesman, the results of which were released as part of an American folk music series on the Atlantic label. McDowell, for his part, was happy to have some sounds on records, but continued on with his farming and playing for tips outside of Stuckey's candy store in Como for spare change. It wasn't until Chris Strachwitz — folk-blues enthusiast and owner of the fledgling Arhoolie label — came searching for McDowell to record him that the bluesman's fortunes began to change dramatically.

When Mississippi Fred McDowell proclaimed on one of his last albums, "I do not play no rock & roll," it was less a boast by an aging musician swept aside by the big beat than a mere statement of fact. As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota
(read more...)


Last October, Moloney completed an album celebrating these Irish-Jewish relationships both within his own life and in American musical history. Growing up in Limerick, Moloney says, he knew “very little” about Jews or Jewish culture. He met Jewish people for the first time while at college in Dublin, and later learned that Limerick was one of few Irish cities ever to have a pogrom, in 1904. Moloney sees this project as “turning the circle, as it were,” celebrating Irish-Jewish cooperation. “If It Wasn’t for the Irish and the Jews” includes 14 songs, all researched and performed by Moloney, and products of the fruitful and nearly forgotten era of collaboration between Irish and Jewish songwriters in New York’s pre-World War I Tin Pan Alley.

Between 1880 and 1920, waves of immigrants from Eastern and Southern Europe shifted the makeup of New York City and its entertainment industry. In 1880, Irish immigrants made up one-quarter of New York City’s population and dominated the popular minstrelsy, variety theater and vaudeville scenes. First the Irish took to the New York stage and later the Jews did so, partially because of limited job opportunities elsewhere. The two groups were living on the fringes of society and in close quarters on the Lower East Side, where they often clashed along the rocky road to acceptance into mainstream American society.
Within popular culture, this reciprocity and competition led to fruitful cross-cultural pollination. Moloney points to upstart Jewish songwriters like Leonora Goldberg, who thought that to succeed, she had to “go Irish,” and so she changed her name to Nora Bayes. At the same time, farsighted Irish musicians were “hedging their bets,” worried that the only way to survive was to “go Jewish,” Moloney explained. Though he has heard thousands of songs from this era, Moloney still cannot guess the ethnicity of a song’s writers just by listening. “These were commercial songwriters,” he explained. “They knew what went over. Their genius was that they created these beautiful, crafted songs that just tugged at people’s heartstrings.”(read more...)

Sunday, March 14, 2010

He's not the Messiah. He's a very naughty boy!

Watch and enjoy Life of Brian... with arabic subtitles!
Brian: Excuse me. Are you the Judean People's Front?
Reg: Fuck off! We're the People's Front of Judea

Reg: All right, but apart from the sanitation, medicine, education, wine, public order, irrigation, roads, the fresh water system and public health, what have the Romans ever done for us?
Attendee: Brought peace?
Reg: Oh, peace - shut up!
Reg: There is not one of us who would not gladly suffer death to rid this country of the Romans once and for all.
Dissenter: Uh, well, one.
Reg: Oh, yeah, yeah, there's one. But otherwise, we're solid.

Brian: Have I got a big nose, Mum?
Brian?s mother: Stop thinking about sex!
Brian: I wasn't!
Brian?s mother: You're always on about it. "Will the girls like this? Will the girls like that? Is it too big? Is it too small?

Brian: I am NOT the Messiah!
Arthur: I say you are Lord, and I should know. I've followed a few.

Reg: If you want to join the People's Front of Judea, you have to really hate the Romans.
Brian: I do!
Reg: Oh yeah, how much?
Brian: A lot!
Reg: Right, you're in.

[a line of prisoners files past a jailer]
Coordinator: Crucifixion?
Prisoner: Yes.
Coordinator: Good. Out of the door, line on the left, one cross each.
[Next prisoner]
Coordinator: Crucifixion?
Mr. Cheeky: Er, no, freedom actually.
Coordinator: What?
Mr. Cheeky: Yeah, they said I hadn't done anything and I could go and live on an island somewhere.
Coordinator: Oh I say, that's very nice. Well, off you go then.
Mr. Cheeky: No, I'm just pulling your leg, it's crucifixion really.
Coordinator: [laughing] Oh yes, very good. Well...
Mr. Cheeky: Yes I know, out of the door, one cross each, line on the left.

Wise Man #1: We were led by a star.
Brian's mother: Led by a bottle, more like.

Suicide Squad Leader: We are the Judean People's Front crack suicide squad! Suicide squad, attack!
[they all stab themselves]
Suicide Squad Leader: That showed 'em, huh?

Brian?s mother: He's not the Messiah. He's a very naughty boy!

Brian: I'm not a roman mum, I'm a kike, a yid, a heebie, a hook-nose, I'm kosher mum, I'm a Red Sea pedestrian, and proud of it!

Brian: I'm not the Messiah! Will you please listen? I am not the Messiah, do you understand? Honestly!
Girl: Only the true Messiah denies His divinity.
Brian: What? Well, what sort of chance does that give me? All right! I am the Messiah!
Followers: He is! He is the Messiah!
Brian: Now, fuck off!
Arthur: How shall we fuck off, O Lord?

Ex-Leper: Half a dinare for me bloody life story?
Brian: There's no pleasing some people.
Ex-Leper: That's just what Jesus said, sir.

Ex-Leper: Okay, sir, my final offer: half a shekel for an old ex-leper?
Brian: Did you say "ex-leper"?
Ex-Leper: That's right, sir, 16 years behind a veil and proud of it, sir.
Brian: Well, what happened?
Ex-Leper: Oh, cured, sir.
Brian: Cured?
Ex-Leper: Yes sir, bloody miracle, sir. Bless you!
Brian: Who cured you?
Ex-Leper: Jesus did, sir. I was hopping along, minding my own business, all of a sudden, up he comes, cures me! One minute I'm a leper with a trade, next minute my livelihood's gone. Not so much as a by-your-leave! "You're cured, mate." Bloody do-gooder.

Brian: Well, why don't you go and tell him you want to be a leper again?
Ex-Leper: Uh, I could do that sir, yeah. Yeah, I could do that I suppose. What I was thinking was I was going to ask him if he could make me a bit lame in one leg during the middle of the week. You know, something beggable, but not leprosy, which is a pain in the ass to be blunt and excuse my French, sir.

Brian: Please, please, please listen! I've got one or two things to say.
The Crowd: Tell us! Tell us both of them!
Brian: Look, you've got it all wrong! You don't NEED to follow ME, You don't NEED to follow ANYBODY! You've got to think for your selves! You're ALL individuals!
The Crowd: Yes! We're all individuals!
Brian: You're all different!
The Crowd: Yes, we ARE all different!
Man in crowd: I'm not...
The Crowd: Sch!

Reg: [arriving at Brian's crucifixion] Hello, Sibling Brian.
Brian: Thank God you've come, Reg.
Reg: Well, I think I should point out first, Brian, in all fairness, we are not, in fact, the rescue committee. However, I have been asked to read the following prepare statement on behalf of the movement. "We the People's Front of Judea, brackets, officials, end brackets, do hereby convey our sincere fraternal and sisterly greetings to you, Brian, on this, the occasion of your martyrdom. "
Brian: What?
Reg: "Your death will stand as a landmark in the continuing struggle to liberate the parent land from the hands of the Roman imperialist aggressors, excluding those concerned with drainage, medicine, roads, housing, education, viniculture and any other Romans contributing to the welfare of Jews of both sexes and hermaphrodites. Signed, on behalf of the P. F. J. , etc. " And I'd just like to add, on a personal note, my own admiration, for what you're doing for us, Brian, on what must be, after all, for you a very difficult time.

Matthias: Look, I don't think it should be a sin, just for saying "Jehovah".
[Everyone gasps]
Jewish Official: You're only making it worse for yourself!
Matthias: Making it worse? How can it be worse? Jehovah! Jehovah! Jehovah!
Jewish Official: I'm warning you! If you say "Jehovah" one more time (gets hit with rock) RIGHT! Who did that? Come on, who did it?
Stoners: She did! She did! (suddenly speaking as men) He! He did! He!
Jewish Official: Was it you?
Stoner: Yes.
Jewish Official: Right...
Stoner: Well you did say "Jehovah. "
[Crowd throws rocks at the stoner]
Jewish Official: STOP IT! STOP IT! STOP IT RIGHT NOW! STOP IT! All right, no one is to stone _anyone_ until I blow this whistle. Even... and I want to make this absolutely clear... even if they do say, "Jehovah. "
[Crowd stones the Jewish Official to death]

Brian: You have to be different!
The Crowd: Yes, we are all different!
Small lonely voice: I'm not!

Brian?s mother: What star sign is he?
Wise Man #2: Capricorn.
Brian?s mother: Capricorn, eh? What are they like?
Wise Man #2: He is the son of God, our Messiah.
Wise Man #1: King of the Jews.
Brian?s mother: And that's Capricorn, is it?
Wise Man #3: No, no, that's just him.
Brian?s mother: Oh, I was going to say, otherwise there'd be a lot of them.

Judith: [on Stan's desire to be a mother] Here! I've got an idea: Suppose you agree that he can't actually have babies, not having a womb - which is nobody's fault, not even the Romans' - but that he can have the *right* to have babies.
Francis: Good idea, Judith. We shall fight the oppressors for your right to have babies, brother... sister, sorry.
Reg: What's the *point*?
Francis: What?
Reg: What's the point of fighting for his right to have babies, when he can't have babies?
Francis: It is symbolic of our struggle against oppression.
Reg: It's symbolic of his struggle against reality.

Centurion: You know the penalty laid down by Roman law for harboring a known criminal?
Matthias: No.
Centurion: Crucifixion!
Matthias: Oh.
Centurion: Nasty, eh?
Matthias: Could be worse.
Centurion: What you mean "Could be worse"?
Matthias: Well, you could be stabbed.
Centurion: Stabbed? Takes a second. Crucifixion lasts hours. It's a slow, horrible death.
Matthias: Well, at least it gets you out in the open air.
Centurion: You're weird!
(read more...)
Graham Chapman ... Wise Man #2 / Brian Cohen / Biggus Dickus

John Cleese ... Wise Man #1 / Reg / Jewish Official / Centurion / Deadly Dirk / Arthur

Terry Gilliam ... Man Even Further Forward / Revolutionary / Jailer / Blood & Thunder Prophet / Frank / Audience Member / Crucifee

Eric Idle ... Mr. Cheeky / Stan (Loretta) / Harry the Haggler / Culprit Woman / Warris / Intensely Dull Youth / Jailer's Assistant / Otto / Lead Singer Crucifee

Terry Jones ... Mandy Cohen / Colin / Simon the Holy Man / Bob Hoskins / Saintly Passer-by / Alarmed Crucifixion Assistant

Michael Palin ... Wise Man #3 / Mr. Big Nose / Francis / Mrs. A / Ex-Leper / Announcer / Ben / Pontius Pilate / Boring Prophet / Eddie / Shoe Follower / Nisus Wettus

Saturday, March 13, 2010

A Penis Duel (not in Ein Hod)

Created anonymously by a group of professional animators in about 1929, the silent short Eveready Harton in Buried Treasure is a gleeful exploration of the penetrative arts. The four-and-a-half-minute short follows the travails of the uncomfortably well-endowed title character as he wanders a barren landscape in search of satisfaction.

Along the way, he encounters a self-pleasuring maiden, various sexually aroused animals, a surprised husband, and a donkey-humping farmer, whom Harton challenges to a duel. A penis duel.(read more...)

Wednesday, March 10, 2010

Through the Facebook, and What Jessie Found There

 Professor Jessie Schell , a professor at Carnegie Mellon University, kicked off DICE schedule by talking about the importance of social media in the gaming landscape.
He started out by reminding the DICE audience that there are more Farmville players than there are people with Twitter accounts. After pointing out surprise successes such as Club Penguin, the Wii, Wii Fit, Guitar Hero, Webkinz, and the popularity of the 360's Achievement system, he connected them by the psychological tricks behind their popularity.
Club Penguin's recurring charges seem trivial to parents at $6 a month, but that seemingly insignificant amount of cash adds up annually. Along the same lines, Schell says Webkinz is successful because to parents, $12 and $20 are interchangeable amounts of money.

Most importantly, these games all break into reality in interesting ways. Guitar Hero's peripheral, Webkinz's stuffed animals, and the 360's metagame all give players a tie to their real lives. Consumers have lost touch with authenticity, Schell says, citing the book Authenticity by James J. Gilmore, making them crave ways to better connect with the "real" world.
Gameplay is hidden in activities such as the Simpson's 20th anniversary scavenger hunt, fantasy football, geocaching and other places games didn't exist, Schell says. A teacher Schell knows has even changed his grading system to an XP system, and attendance is supposedly up.
Schell predicts that in the near future we'll have embedded CPUs, cameras, and screens in everyday objects like soda cans and cereal boxes. People will be gain XP as they brush their teeth and eat corn flakes, the government will give tax incentives (and XP) for people who travel by bus. Dreams will be infiltrated by ads, and answering quizzes on the content will be rewarded with huge XP bonuses. Essentially, he sees a world where everything people do is connected to a massively comprehensive gamerscore. Schell was definitely trying to entertain the crowd with his increasingly odd predictions, but they were as plausible as they were creepy.
The presentation ended with Schell posing the question to the developers in the room: "Who's going to lead us into the future?" (via Gameinformer)

Monday, March 8, 2010

Insight into the Soul of an Orthodox Jew

Usually orthodox Jews are suspicious and don’t like to be interviewed. Swiss filmmaker Jürg Da Vaz succeeded, however, to get close to them. In his amazing film “Itzhak Frey&Son” he reveals the mind of Itzhak Frey, an old wise Jew with Central European roots and deep Jewish convictions who sells pastries while giving Da Vaz some history lessons and - as a cashier counting the coins - is teaching Da Vaz religious philosophy.
His colourful movie, which also has touching encounters with Frey’s son David, is a revealing document of orthodoxy in the 21st century.

„As we left the bookshop in Mea Shearim where I had met David, he made sure: “Is the tape on?“ Walking through the narrow, busy lanes of Me’a She’arim and listening intently to his fascinating stories, I cautiously asked David: “May we visit your father?“ He first hesitated since he did not know how his father would react to my camera. His father had never allowed anybody to take a picture of him. Then David suddenly stopped, turned to the right and took me to the almost 90 year old Itzhak Frey who was working in his own Pastry Shop at Yecheskei Street as a cashier.“

Швейцарский режиссер Юрг Da Ваз в удивительном фильме "Ицхак Фрей & сын" раскрывает ум Ицхака Фрея, мудрого старого еврея , который продает булочки давая Da Вазу уроки истории и религиозной философии считая сдачу.
" ...я осторожно спросил Давида : "Можем ли мы посетить вашего отеца? Сначала он колебался, поскольку он не знал, как его отец будет реагировать на мою камеру. Его отец никогда не позволял сфотографировать его. Давид вдруг остановился, повернул направо и взял меня к почти 90 летнему Ицхакы Фрею, который работал в своей кондитории на улице Ехезкель у кассы".

Carl Cunningham-Cole: Algutsboda's Potter

"If I can make a piece sing to its beholder, I feel I have succeeded in expressing not only the estethics of art, but the estethics of life itself."

Having been picked out as one of the shining stars of ceramics in the early sixties when, at his first major exhibition, his work stood toe to toe with Miró, Chagall and Picasso, Carl Cunningham-Cole left England and settled in Scandinavia.
Born in 1942 in Farnham Surrey, England, Carl won a local art contest at the age of nine. This was the beginning of a liftime journey in the astonishing and ancient world of ceramic art.
After a few years at Torbay Academy of Art he was accepted at the remarkable young age of fifteen to the Newton Abbot College. At the age of seventeen he had already exhibited together with british sculptor Lynn Chadwick.
After years of studies, including dialogues with masters like Hans Cooper, Lucie Rie and the grandfather of British Ceramics himself, Bernard Leach, Carl age 22, recieved distinction award from Central School of Fine Art London,and came to represent England in the worldwide touring exhibition "British Ceramics".
When he moved to Denmark in the mid-60´s for establishing a Scandinavian studio he met Asger Jorn, co-founder of Cobra Group in Paris. Following an article by Henrik Bramsen, art Journalist at Berlingske Tidende, Jorn purchased, in person, 7 works by CCC for the international Silkeborg museum of art in Denmark.

After travelling throughout Europe, Carl spent three years visiting countries like Turkey, Syria, Iraq, Kuwait, Afganistan, Pakistan, India, Nepal in order to widen his perception of the ancient artform. Following the Silk Route and visiting Korea, China and Japan, a very important impression. - Korea for example, he claims, is perhaps one of the most important regions in ceramic history, its celadon glazes are exquisite. During this time he had intensive dialogues with, amongst others, legendary grand master Dong O Anh (Korea), whose refined porcelains are masterpieces, the Chinese grand master Liu Shengdao (with whom he participated on national Chinese TV) and Kyoto based Japanese grand master Hamada Shoji. A research period in Kyoto at Kawai Kanjiro Studios also contributed to further knowledge of the ancient art of glazes
Carl comments: "What makes me love this art form, is that I can use Ceramics, Stoneware and Porcelain, in Sculpture and Painting combining both into one medium. This makes also the artform in itself much more challenging, especially when you consider the firing processes.
Today Carl, since the early 70´s resides in Algutsboda, in the vast forests of southern Sweden, where he bought an abandoned old-folks-home in traditional Swedish Allmoge-style (1932). Todays gallery hosts visitors on a global scale, placing Algutsboda and its history in focus. As an example of his lifestyle, he kept a deer as a pet (which he saved from death when its mother was hit by a car!).

MICHAEL CROCKER: the mountain potter

Folk potter Michael Crocker taps a thick stack of back orders for his snake jugs and face jugs. "You can't rush clay," he grins. "You can't rush art either." At 39, Michael creates his collectibles carefully, all the while fulfilling the goal of carrying on tradition.

"It would fascinate me so much I couldn't stand it," he says of his childhood days hanging around a nearby pottery shop where, at 12, he was invited to work. "I'd go before school, then go back to work after school," reports the Lula-based potter who absorbed the techniques of older craftspeople. "Later I saw that a window to the past was slip ping away, and I felt the desire to continue it in the future."
A face jug easily brings $600; the snake jugs, executed with slender North Georgia forms and ash glazes, fetch even more. The Smithsonian Institution owns some Crocker pottery. Michael Crocker himself collects pieces from past generations.
"I would do this even if there was no money," he admits. "I want to make pottery--and my son who is 6 is already making pieces." With that thought, Michael smiles. The show, he knows, will go on.

Saturday, March 6, 2010

מפח הזבל

תעלומה במכולה הירוקה
יום בהיר אחד באפריל 2007 רכב הבמאי טל יופה על הטוסטוס שלו בדרום תל אביב,
באזור של תעשייה זעירה. תוך כדי נסיעה לכד משהו את עינו והוא עצר ליד מכל אשפה גדול, מלא עד גדותיו. מעל הזבל היו מפוזרים מסמכים ותמונות של משפחה שלא הכיר, שנראו כאילו הושלכו לשם לפני זמן קצר. מיד כשהגיע הביתה פרש יופה על השטיח את המסמכים שמצא, והחליט להתחקות אחרי קורותיה של המשפחה. כך נפתחה חקירה, שנמשכה כשנה. הוא ביקר בבתי קברות, חפר בארכיונים ובשלב מסוים אף ביקש ברדיו את עזרת הציבור. התוצאה המצולמת של האובססיה הבלשית הזאת היא סרט דוקומנטרי מרגש, "התעלומה במכולה
     ( ...לינק)

The Green Dumpster Mystery

One day in south Tel Aviv, filmmaker Tal Yoffee noticed some old photographs and documents inside a green dumpster. “Googling” one name, he begins investigating a history that begins in Lodz, Poland, transverses a Siberian gulag, a Samarkand sugar plant, a deserted Arab building in Jaffa, and a missing IDF soldier somewhere in Sinai. Just an anonymous family, but a typical Israeli one. 

Friday, March 5, 2010

Happiness and your Colon

Using examples from vacations to colonoscopies, Nobel laureate and founder of behavioral economics Daniel Kahneman reveals how our "experiencing selves" and our "remembering selves" perceive happiness differently. This new insight has profound implications for economics, public policy -- and our own self-awareness.

J.Viewz: Hot !

J.Viewz, an Israeli band founded by producer Jonathan Dagan, is taking Israel and the United States by storm with its unique blend of electronic music and soul elements with Noa Lembersky's vocals

Dear friends,
We're getting ready to start the release of the next J.Viewz album "Work in Progress".
This project is sort of changing the way we release music; basically going from albums to singles, but there's more to it as those singles will 'fill up' the album one at a time and the whole process will take place on the
J.Viewz website.
check out this link for more details about Work in Progress
The first single of this project 'Come Back Down' (featuring folk vocalist Joshua James) will be released March 9th with a few different versions, all available for "Work in Progress" members.
You can listen to a sample of the song here
More news very soon,
and more