ra ra riot – Jewcy https://jewcy.com Jewcy is what matters now Fri, 22 Oct 2010 20:01:20 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.5 https://jewcy.com/wp-content/uploads/2021/08/cropped-Screen-Shot-2021-08-13-at-12.43.12-PM-32x32.png ra ra riot – Jewcy https://jewcy.com 32 32 Ra Ra Riot https://jewcy.com/news/ra-ra-riot?utm_source=rss&utm_medium=rss&utm_campaign=ra-ra-riot Fri, 22 Oct 2010 20:01:20 +0000 http://beta.jewcy.com/?p=25098 Early show: 5:30 pm Doors Tickets $18

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]]> Early show: 5:30 pm Doors
Tickets $18

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]]> Jewish American Princess (JAP) https://jewcy.com/post/jewish_american_princess_jap?utm_source=rss&utm_medium=rss&utm_campaign=jewish_american_princess_jap https://jewcy.com/post/jewish_american_princess_jap#comments Tue, 02 Dec 2008 17:00:00 +0000 http://beta.jewcy.com/?p=22105 What ever happened to the Jewish American Princess? Once—from the 1960s until at least the end of the 1980s—the icon of the JAP was all but ubiquitous in American Jewish culture. The girl (yes, she was always a girl, even when she was a woman) Jewish men loved to hate, she was unavoidable: loud-mouthed, aggressive,…

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]]> What ever happened to the Jewish American Princess? Once—from the 1960s until at least the end of the 1980s—the icon of the JAP was all but ubiquitous in American Jewish culture. The girl (yes, she was always a girl, even when she was a woman) Jewish men loved to hate, she was unavoidable: loud-mouthed, aggressive, materialist, niggardly in how she dispensed sexual favors, always a daddy’s girl, and an important American pioneer in the use (and abuse) of cosmetic surgery. From a height of iconographic status in the American Jewish cultural economy—Philip Roth wrote about her; Frank Zappa famously sang about her—the JAP has faded, left to inhabit tired, old jokes. Even on google.com, a search yields little of interest, and certainly nothing of recent vintage about the JAP. To be sure, there have been sightings, and rumors abound that in the suburbs of Chicago or Detroit, let alone in the heimat of JAP-dom—Long Island outside of New York City—the JAP indeed survives and perhaps even thrives. Overheard recently on Long Island in the sanctum sanctorum of Jewish-American materialism, the changing room of Bloomingdale’s Department Store: “Oi hate huh. Oi hate huh haeuh.” Translated roughly into English: “I hate her. I hate her hair.” In print, despite the phonetic approximation, we cannot but fail to hear the inflection, the necessary lop-off of words in the monosyllabic JAP language, as if announcing that even the social effort of speaking and communicating is not worth the selfish reserves of the JAP’s energy. But there she is: focused on the exterior—she hates her for her hair. Content always follows form; or, in a postmodern turn truly prescient for when the JAP hit the scene: form is all that counts, especially in the look, shape, and surgical malleability of the body. If the JAP were not such an academic underachiever—content to reflect only on herself and her exterior appearance; content, too, to marry the wealthiest Jewish man who comes along (think of Private Benjamin)—she might understand how the metonymy of “hair” for “her” (the words phonetically so close in the nasal twang of the JAP dialect) speaks to a critical insight that might indeed be profound. That the JAP survives only in jokes, and perhaps never thrived but as the butt of jokes, speaks to the place of this phenomenon in Jewish-American culture and begins to outline how to understand the JAP within the wider context of American social transformation since the 1950s. The psychopathology of the JAP jokes reveals, ironically, a distinctly male anxiety: the loss of power over the domesticated woman. In the canon of jokes bandied about since the 1960s and 1970s, the JAP is typically inadequate in two fundamental arenas: the kitchen and the bedroom. In the kitchen, the JAP’s inadequacy is expressed by her refusal to cook: “What does a JAP make for dinner? Reservations.” In the bedroom, the JAP refuses to pleasure her partner unselfishly and abreacts to the very notion of oral sex: unfortunately, the visuality of the canonical joke cannot be rendered here in print. Most of the time, kitchen and bedroom intermingle and are inseparable in the criticism of the JAP, and the JAP’s inadequacy traverses and transgresses both realms in a purely masculine rage of unfilled desire in both the kitchen and the bedroom: “What is the JAP’s favorite wine/whine? ‘You want me to do WHAT?’” The “what” is shouted, nasalized, and inflected up to emphasize disgust in the suggestion that she pleasure another, either through his mouth or through hers. As Zappa sings in “Sheik Yerbouti” (an orientalizing of the slang “shake your booty”): “I want a hairy little Jewish princess/With a brand new nose, who knows where it goes/ . . . I want a darling little Jewish princess/Who don’t shit about cooking and is arrogant looking.” The JAP has always stood in the way of Jewish-American male desire, a New World Dora out of Freud’s imagination: the girl who denies the male sexual fantasy and refuses to collude with a sexual economy that is completely phallocentric. Like the agonistic Dora, the JAP is finally dismissed in her self-assertions as a “daddy’s girl”; she is never allowed her own will. That, of course, is not how Jewish men have seen it. Roth’s empowered, powerful Brenda Patimkin embodies all that is the JAP in a standard Jewish male reading: nouveau riche, cosmetically altered (her nose “bobbed”; the story predates the breast reduction craze among JAP’s in the late 1970s and early 1980s), and alluringly goyische (a Jewish shiksa). In this, the JAP represents a stage in the assimilation of the Jewish community in America. Women always could traverse ethnic boundaries in America more easily than men. As floating signifiers dependent on physical attraction and sexual allure, women in the American experience (from Pocahantas, to the African-American slave women in the manor house, to Brenda Patimkin herself) entered that uniquely American process of transformation and transgression earlier and more quickly than their men (because their selves and their bodies were more appropriable). For Roth’s Neil Klugman, the climb up the hill in New Jersey from Newark to Short Hills, where the Patimkin’s lived a sort of converso life among the goyim of the wealthy suburb, represented the physical and metaphoric climb into Americanness itself. That is why the JAP’s refusals—of food and sex—stung so harshly. So, has the JAP simply faded into the (white) American soup of assimilation? The trajectory of Jewish-American social standing since the second world war would seem to place the JAP as a way-station on the road to hegemonic American social embrace. The JAP, then, was the avant garde of a movement that began in the 1950s and came to completion, as some have recently argued, in the 1980s, when the American Jew lost all marks of otherness and melded into white society. But the assimilationist theory sells the JAP short, as she always has been when defined solely in male terms. The assimilationist theory does not explain, for instance, the recent resurgence of Jewish America and the JAP’s role as—perhaps—harbinger of a new American Jewish gestalt. From the U.S. Census Bureau, we know that today more Jews in America attend synagogue regularly than fifty years ago. Anecdotally, the signs of American Jewish secular resurgence are ubiquitous: the “Jewcy” hipster movement, the magazine Heeb, the comedy of Sarah Silverman and The Hebrew Hammer, Adam Sandler’s Hanukah Song trilogy, the explosion of Jewish music in popular and sacred form. Is this part of assimilation, of Jews swept up in broader religious trends in America? Maybe. Or does it define a particular Jewish identity? Now that differentiation no longer defines Jewishness, can one express Americanness through Jewish identity? Is not that the definition of the JAP: the original material girl who showed Madonna the ropes and who could—unwittingly and involuntarily—critique feminist independence with a crypto-postfeminist credo years, even decades, before Camille Paglia and reality TV cashed in on America’s obsession with the body, plastic surgery, and the sexual economy of fashion. Was it not the JAP who was the first—a true pioneer!—to proclaim content a dead notion and to celebrate cosmetic alterations of the self, years before Robert Venturi and Phillip Glass? Is the legacy of the JAP not precisely the postmodern condition? We only joke about her because we’re jealous: first, she’s a powerful woman (and girls cannot be taken seriously) and, second, because she found the postmodern path so early, before anyone else could see it coming.

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]]> https://jewcy.com/post/jewish_american_princess_jap/feed 1 Jewish American Princess (JAP) https://jewcy.com/post/Jewish-American-Princess-JAP-14585?utm_source=rss&utm_medium=rss&utm_campaign=Jewish-American-Princess-JAP-14585 https://jewcy.com/post/Jewish-American-Princess-JAP-14585#respond Tue, 02 Dec 2008 17:00:00 +0000 http://beta.jewcy.com/?p=21807 What ever happened to the Jewish American Princess? Once—from the 1960s until at least the end of the 1980s—the icon of the JAP was all but ubiquitous in American Jewish culture. The girl (yes, she was always a girl, even when she was a woman) Jewish men loved to hate, she was unavoidable: loud-mouthed, aggressive,…

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]]> What ever happened to the Jewish American Princess? Once—from the 1960s until at least the end of the 1980s—the icon of the JAP was all but ubiquitous in American Jewish culture. The girl (yes, she was always a girl, even when she was a woman) Jewish men loved to hate, she was unavoidable: loud-mouthed, aggressive, materialist, niggardly in how she dispensed sexual favors, always a daddy’s girl, and an important American pioneer in the use (and abuse) of cosmetic surgery. From a height of iconographic status in the American Jewish cultural economy—Philip Roth wrote about her; Frank Zappa famously sang about her—the JAP has faded, left to inhabit tired, old jokes. Even on google.com, a search yields little of interest, and certainly nothing of recent vintage about the JAP. To be sure, there have been sightings, and rumors abound that in the suburbs of Chicago or Detroit, let alone in the heimat of JAP-dom—Long Island outside of New York City—the JAP indeed survives and perhaps even thrives. Overheard recently on Long Island in the sanctum sanctorum of Jewish-American materialism, the changing room of Bloomingdale’s Department Store: “Oi hate huh. Oi hate huh haeuh.” Translated roughly into English: “I hate her. I hate her hair.” In print, despite the phonetic approximation, we cannot but fail to hear the inflection, the necessary lop-off of words in the monosyllabic JAP language, as if announcing that even the social effort of speaking and communicating is not worth the selfish reserves of the JAP’s energy. But there she is: focused on the exterior—she hates her for her hair. Content always follows form; or, in a postmodern turn truly prescient for when the JAP hit the scene: form is all that counts, especially in the look, shape, and surgical malleability of the body. If the JAP were not such an academic underachiever—content to reflect only on herself and her exterior appearance; content, too, to marry the wealthiest Jewish man who comes along (think of Private Benjamin)—she might understand how the metonymy of “hair” for “her” (the words phonetically so close in the nasal twang of the JAP dialect) speaks to a critical insight that might indeed be profound. That the JAP survives only in jokes, and perhaps never thrived but as the butt of jokes, speaks to the place of this phenomenon in Jewish-American culture and begins to outline how to understand the JAP within the wider context of American social transformation since the 1950s. The psychopathology of the JAP jokes reveals, ironically, a distinctly male anxiety: the loss of power over the domesticated woman. In the canon of jokes bandied about since the 1960s and 1970s, the JAP is typically inadequate in two fundamental arenas: the kitchen and the bedroom. In the kitchen, the JAP’s inadequacy is expressed by her refusal to cook: “What does a JAP make for dinner? Reservations.” In the bedroom, the JAP refuses to pleasure her partner unselfishly and abreacts to the very notion of oral sex: unfortunately, the visuality of the canonical joke cannot be rendered here in print. Most of the time, kitchen and bedroom intermingle and are inseparable in the criticism of the JAP, and the JAP’s inadequacy traverses and transgresses both realms in a purely masculine rage of unfilled desire in both the kitchen and the bedroom: “What is the JAP’s favorite wine/whine? ‘You want me to do WHAT?’” The “what” is shouted, nasalized, and inflected up to emphasize disgust in the suggestion that she pleasure another, either through his mouth or through hers. As Zappa sings in “Sheik Yerbouti” (an orientalizing of the slang “shake your booty”): “I want a hairy little Jewish princess/With a brand new nose, who knows where it goes/ . . . I want a darling little Jewish princess/Who don’t shit about cooking and is arrogant looking.” The JAP has always stood in the way of Jewish-American male desire, a New World Dora out of Freud’s imagination: the girl who denies the male sexual fantasy and refuses to collude with a sexual economy that is completely phallocentric. Like the agonistic Dora, the JAP is finally dismissed in her self-assertions as a “daddy’s girl”; she is never allowed her own will. That, of course, is not how Jewish men have seen it. Roth’s empowered, powerful Brenda Patimkin embodies all that is the JAP in a standard Jewish male reading: nouveau riche, cosmetically altered (her nose “bobbed”; the story predates the breast reduction craze among JAP’s in the late 1970s and early 1980s), and alluringly goyische (a Jewish shiksa). In this, the JAP represents a stage in the assimilation of the Jewish community in America. Women always could traverse ethnic boundaries in America more easily than men. As floating signifiers dependent on physical attraction and sexual allure, women in the American experience (from Pocahantas, to the African-American slave women in the manor house, to Brenda Patimkin herself) entered that uniquely American process of transformation and transgression earlier and more quickly than their men (because their selves and their bodies were more appropriable). For Roth’s Neil Klugman, the climb up the hill in New Jersey from Newark to Short Hills, where the Patimkin’s lived a sort of converso life among the goyim of the wealthy suburb, represented the physical and metaphoric climb into Americanness itself. That is why the JAP’s refusals—of food and sex—stung so harshly. So, has the JAP simply faded into the (white) American soup of assimilation? The trajectory of Jewish-American social standing since the second world war would seem to place the JAP as a way-station on the road to hegemonic American social embrace. The JAP, then, was the avant garde of a movement that began in the 1950s and came to completion, as some have recently argued, in the 1980s, when the American Jew lost all marks of otherness and melded into white society. But the assimilationist theory sells the JAP short, as she always has been when defined solely in male terms. The assimilationist theory does not explain, for instance, the recent resurgence of Jewish America and the JAP’s role as—perhaps—harbinger of a new American Jewish gestalt. From the U.S. Census Bureau, we know that today more Jews in America attend synagogue regularly than fifty years ago. Anecdotally, the signs of American Jewish secular resurgence are ubiquitous: the “Jewcy” hipster movement, the magazine Heeb, the comedy of Sarah Silverman and The Hebrew Hammer, Adam Sandler’s Hanukah Song trilogy, the explosion of Jewish music in popular and sacred form. Is this part of assimilation, of Jews swept up in broader religious trends in America? Maybe. Or does it define a particular Jewish identity? Now that differentiation no longer defines Jewishness, can one express Americanness through Jewish identity? Is not that the definition of the JAP: the original material girl who showed Madonna the ropes and who could—unwittingly and involuntarily—critique feminist independence with a crypto-postfeminist credo years, even decades, before Camille Paglia and reality TV cashed in on America’s obsession with the body, plastic surgery, and the sexual economy of fashion. Was it not the JAP who was the first—a true pioneer!—to proclaim content a dead notion and to celebrate cosmetic alterations of the self, years before Robert Venturi and Phillip Glass? Is the legacy of the JAP not precisely the postmodern condition? We only joke about her because we’re jealous: first, she’s a powerful woman (and girls cannot be taken seriously) and, second, because she found the postmodern path so early, before anyone else could see it coming.

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]]> https://jewcy.com/post/Jewish-American-Princess-JAP-14585/feed 0 The Amazing Frozen String Quartet CD Release https://jewcy.com/post/amazing_frozen_string_quartet_cd_release?utm_source=rss&utm_medium=rss&utm_campaign=amazing_frozen_string_quartet_cd_release https://jewcy.com/post/amazing_frozen_string_quartet_cd_release#comments Thu, 01 May 2008 17:00:00 +0000 http://beta.jewcy.com/?p=22104 The Amazing Frozen String Quartet CD Release Wednesday, 30 April, 2008 Bowery Poetry Club, cnr. Bowery and 1st Street, NY 8pm, $8 Zeek is co-sponsoring the release party of The Amazing Frozen String Quartet’s debut CD release. The band will be performing alongside Winnipeg’s The Ukuladies, and Jake Shulman-Ment’s Klezmer Kakophony. This event is co-sponsored…

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]]> The Amazing Frozen String Quartet CD Release

Wednesday, 30 April, 2008 Bowery Poetry Club, cnr. Bowery and 1st Street, NY 8pm, $8

Zeek is co-sponsoring the release party of The Amazing Frozen String Quartet’s debut CD release. The band will be performing alongside Winnipeg’s The Ukuladies, and Jake Shulman-Ment’s Klezmer Kakophony. This event is co-sponsored by Zeek, who will be providing poets and some spoken word performances to the festivities.

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]]> https://jewcy.com/post/amazing_frozen_string_quartet_cd_release/feed 5 The Amazing Frozen String Quartet CD Release https://jewcy.com/post/The-Amazing-Frozen-String-Quartet-CD-Release-14584?utm_source=rss&utm_medium=rss&utm_campaign=The-Amazing-Frozen-String-Quartet-CD-Release-14584 https://jewcy.com/post/The-Amazing-Frozen-String-Quartet-CD-Release-14584#comments Thu, 01 May 2008 17:00:00 +0000 http://beta.jewcy.com/?p=21806 The Amazing Frozen String Quartet CD Release Wednesday, 30 April, 2008 Bowery Poetry Club, cnr. Bowery and 1st Street, NY 8pm, $8 Zeek is co-sponsoring the release party of The Amazing Frozen String Quartet’s debut CD release. The band will be performing alongside Winnipeg’s The Ukuladies, and Jake Shulman-Ment’s Klezmer Kakophony. This event is co-sponsored…

The post The Amazing Frozen String Quartet CD Release appeared first on Jewcy.

]]> The Amazing Frozen String Quartet CD Release

Wednesday, 30 April, 2008 Bowery Poetry Club, cnr. Bowery and 1st Street, NY 8pm, $8

Zeek is co-sponsoring the release party of The Amazing Frozen String Quartet’s debut CD release. The band will be performing alongside Winnipeg’s The Ukuladies, and Jake Shulman-Ment’s Klezmer Kakophony. This event is co-sponsored by Zeek, who will be providing poets and some spoken word performances to the festivities.

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]]> https://jewcy.com/post/The-Amazing-Frozen-String-Quartet-CD-Release-14584/feed 3 Russian Writers Found in Translation https://jewcy.com/post/russian_writers_found_translation?utm_source=rss&utm_medium=rss&utm_campaign=russian_writers_found_translation https://jewcy.com/post/russian_writers_found_translation#comments Sat, 12 Apr 2008 17:00:00 +0000 http://beta.jewcy.com/?p=22103 Zeek: Russified For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April. Salon & Performance March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner…

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]]> Zeek: Russified

For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April.

Salon & Performance

March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner and a presentation by visual artists Alina and Jeff Bliumis as part of . Museum admission includes entry to Levi Okunov’s fashion show on March 27.

Release and Reading

Sunday April 6, 2008 KGB Bar, 85 E 4th St an 2nd Ave An evening of celebration and readings, featuring Zeek contributors Val Vinokur, Matvei Yankelevich, Margarita Shalina, David Stromberg, and more. Co-presented by the 14th Street Y. Free Zeek30 guests also receive a free shot of vodka. Na zdorovye!

Russians in Translation

Friday, 11 April, 2008 Melville House Publishing, 145 Plymouth St, Dumbo, 7 – 9 pm, Free Zeek hosts bilingual writers in the US presenting their original works translated fromthe Russian into English: Polina Barskova, Irina Mashinski, and Pavel Lembersky. Come for wine &snacks and a free Zeek.

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]]> https://jewcy.com/post/russian_writers_found_translation/feed 3 Russian Writers Found in Translation https://jewcy.com/post/-Russian-Writers-Found-in-Translation-14583?utm_source=rss&utm_medium=rss&utm_campaign=-Russian-Writers-Found-in-Translation-14583 https://jewcy.com/post/-Russian-Writers-Found-in-Translation-14583#respond Sat, 12 Apr 2008 17:00:00 +0000 http://beta.jewcy.com/?p=21805 Zeek: Russified For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April. Salon & Performance March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner…

The post Russian Writers Found in Translation appeared first on Jewcy.

]]> Zeek: Russified

For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April.

Salon & Performance

March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner and a presentation by visual artists Alina and Jeff Bliumis as part of . Museum admission includes entry to Levi Okunov’s fashion show on March 27.

Release and Reading

Sunday April 6, 2008 KGB Bar, 85 E 4th St an 2nd Ave An evening of celebration and readings, featuring Zeek contributors Val Vinokur, Matvei Yankelevich, Margarita Shalina, David Stromberg, and more. Co-presented by the 14th Street Y. Free Zeek30 guests also receive a free shot of vodka. Na zdorovye!

Russians in Translation

Friday, 11 April, 2008 Melville House Publishing, 145 Plymouth St, Dumbo, 7 – 9 pm, Free Zeek hosts bilingual writers in the US presenting their original works translated fromthe Russian into English: Polina Barskova, Irina Mashinski, and Pavel Lembersky. Come for wine &snacks and a free Zeek.

The post Russian Writers Found in Translation appeared first on Jewcy.

]]> https://jewcy.com/post/-Russian-Writers-Found-in-Translation-14583/feed 0 Zeek: Russified Boston Release Event and Reading https://jewcy.com/post/zeek_russified_boston_release_event_and_reading?utm_source=rss&utm_medium=rss&utm_campaign=zeek_russified_boston_release_event_and_reading https://jewcy.com/post/zeek_russified_boston_release_event_and_reading#comments Fri, 11 Apr 2008 17:00:00 +0000 http://beta.jewcy.com/?p=22102 Join Zeek: A Jewish Journal of Thought and Culture for a full night of performances, readings, and music by some of Boston’s leading young writers and musicians. Our lineup is a who’s who of the young literary scene in Jewish Boston: Jon Papernick, (Who By Fire, Who By Blood), Jay Michaelson (God in Your Body,…

The post Zeek: Russified Boston Release Event and Reading appeared first on Jewcy.

]]> Join Zeek: A Jewish Journal of Thought and Culture for a full night of performances, readings, and music by some of Boston’s leading young writers and musicians. Our lineup is a who’s who of the young literary scene in Jewish Boston: Jon Papernick, (Who By Fire, Who By Blood), Jay Michaelson (God in Your Body, Another Word for Sky), Peter Bebergal (The Faith Between Us), writers from the anthology Righteous Indignation: A Jewish Call for Justice, plus musicians Floxy Blu, Rakia, and the Mark Lipman Band. Slam poetry, confessional prose, freestyling, edgy fiction, folk and funk — this is the New Jewish Culture at its independent best. Presented with the support of the Young Adult Task Force of Combined Jewish Philanthropies.

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]]> https://jewcy.com/post/zeek_russified_boston_release_event_and_reading/feed 1 Zeek: Russified Boston Release Event and Reading https://jewcy.com/post/Zeek-Russified-Boston-Release-Event-and-Reading-14582?utm_source=rss&utm_medium=rss&utm_campaign=Zeek-Russified-Boston-Release-Event-and-Reading-14582 https://jewcy.com/post/Zeek-Russified-Boston-Release-Event-and-Reading-14582#comments Fri, 11 Apr 2008 17:00:00 +0000 http://beta.jewcy.com/?p=21804 Join Zeek: A Jewish Journal of Thought and Culture for a full night of performances, readings, and music by some of Boston’s leading young writers and musicians. Our lineup is a who’s who of the young literary scene in Jewish Boston: Jon Papernick, (Who By Fire, Who By Blood), Jay Michaelson (God in Your Body,…

The post Zeek: Russified Boston Release Event and Reading appeared first on Jewcy.

]]> Join Zeek: A Jewish Journal of Thought and Culture for a full night of performances, readings, and music by some of Boston’s leading young writers and musicians. Our lineup is a who’s who of the young literary scene in Jewish Boston: Jon Papernick, (Who By Fire, Who By Blood), Jay Michaelson (God in Your Body, Another Word for Sky), Peter Bebergal (The Faith Between Us), writers from the anthology Righteous Indignation: A Jewish Call for Justice, plus musicians Floxy Blu, Rakia, and the Mark Lipman Band. Slam poetry, confessional prose, freestyling, edgy fiction, folk and funk — this is the New Jewish Culture at its independent best. Presented with the support of the Young Adult Task Force of Combined Jewish Philanthropies.

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]]> https://jewcy.com/post/Zeek-Russified-Boston-Release-Event-and-Reading-14582/feed 2 Zeek: Russified Downtown Release Party https://jewcy.com/post/zeek_russified_downtown_release_party?utm_source=rss&utm_medium=rss&utm_campaign=zeek_russified_downtown_release_party https://jewcy.com/post/zeek_russified_downtown_release_party#comments Mon, 07 Apr 2008 17:00:00 +0000 http://beta.jewcy.com/?p=22101 Zeek: Russified For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April. Salon & Performance March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner…

The post Zeek: Russified Downtown Release Party appeared first on Jewcy.

]]> Zeek: Russified

For the release of Zeek’s Russified Spring issue, Zeek will be hosting a number of events in March and April.

Salon & Performance

March 23, 2008 The Jewish Museum, 1109 5th Ave at 92nd St, 3.30 – 5 pm,Free with general admission Join Zeek for a performance by the bard and poet VadimPevzner and a presentation by visual artists Alina and Jeff Bliumis as part of . Museum admission includes entry to Levi Okunov’s fashion show on March 27.

Release and Reading

Sunday April 6, 2008 KGB Bar, 85 E 4th St an 2nd Ave An evening of celebration and readings, featuring Zeek contributors Val Vinokur, Matvei Yankelevich, Margarita Shalina, David Stromberg, and more. Co-presented by the 14th Street Y. Free Zeek30 guests also receive a free shot of vodka. Na zdorovye!

Russians in Translation

Friday, 11 April, 2008 Melville House Publishing, 145 Plymouth St, Dumbo, 7 – 9 pm, Free Zeek hosts bilingual writers in the US presenting their original works translated fromthe Russian into English: Polina Barskova, Irina Mashinski, and Pavel Lembersky. Come for wine &snacks and a free Zeek.

The post Zeek: Russified Downtown Release Party appeared first on Jewcy.

]]> https://jewcy.com/post/zeek_russified_downtown_release_party/feed 1