twi-ny recommended events

A NIGHT OF JEWISH BASEBALL

lithograph

Benefit features the unveiling of new Jewish Baseball Player Lithograph by Ron Lewis

American Jewish Historical Society, Center for Jewish History
15 West 16th St. between Fifth & Sixth Aves.
Wednesday, February 27, $50-$150, 6:00 – 9:00 pm
www.ajhs.org

Yeah yeah yeah, everyone knows the jokes about the book on Jewish athletes being a slim volume, yadda yadda yadda. Well, you might be surprised that it’s actually bigger than you think, especially when it comes to baseball. On February 27, the American Jewish Historical Society is celebrating Jewish involvement in a different kind of diamond district with “A Night of Jewish Baseball,” a fundraiser benefiting more than three dozen charities, including the Jewish United Fund, the Wounded Warrior Project, B’Nai B’rith, the Anti-Defamation League, the Hole in the Wall Gang Camp, the Make-a-Wish Foundation, United Israel Appeal, and many organizations founded by baseball teams and players. There will be a reception with stadium-style food, a display of Jewish baseball memorabilia, a silent auction, a collection of uniforms autographed by Sandy Koufax, Hank Greenberg, and Team Israel, a panel discussion with Ira Berkow, Ron Blomberg, Jane Leavy, Franklin Foer, Art Shamsky, and John Thorn, and the debut of the limited edition “originally autographed” Jewish Baseball Player Lithograph by Ron Lewis, featuring the likenesses and signatures of a roster of former and current Hebrew Hammers: Ruben Amaro Jr., Brad Ausmus, Ross Baumgarten, Blomberg, Ryan Braun, Craig Breslow, Ike Davis, Mike Epstein, Scott Feldman, Sam Fuld, John Grabow, Shawn Green, Adam Greenberg, Joe Horlen, Ian Kinsler, Koufax, Jason Marquis, Norm Miller, Al Rosen, Richie Scheinblum, Shamsky, Norm Sherry, Steve Stone, Steve Yeager, and Kevin Youkilis. The crowd in the background of the two-feet-by-three-feet artwork includes national pastime enthusiasts and executives Billy Crystal, Theo Epstein, Derrick Hall, Larry King, Marvin Miller, Rob Reiner, Jerry Reinsdorf, Bud Selig, Charley Steiner, and Michael Weiner.

VIDEO OF THE DAY: “WE’RE ON FIRE, BABE” BY ANDERS & KENDALL

Anders Parker and Kendall Jane Meade could have called themselves Parker & Meade or chosen a completely different name, but their gorgeous debut album as a duo, Wild Chorus (Nine Mile, February 19), is credited to Anders & Kendall; using their first names is just part of the intoxicating intimacy they create on this gem of a record. Not to be confused with gospel soul singer Kendall Anders, Kendall (Sparklehorse, Helium, Juicy, current indie faves Mascott) and Anders (Varnaline, Gob Iron with Jay Farrar) have been friends and collaborators for nearly twenty years, but this new pairing finds them writing and singing songs that lift them to a whole new realm. “We’re burning through the night / Burning through the days / We’re just about as hot / As the sun’s rays,” Anders sings on the album’s first single, the infectious “We’re on Fire, Babe,” continuing, “You set my blood on fire / I’m always going off / The way we move together / How we never stop.” The album’s eleven songs, the first full-length disc recorded at former Sparklehorse drummer Scott Minor’s Wild Chorus studio in Knoxville, will set listeners’ ears on fire as Anders & Kendall move together beautifully, dropping little hints of the Beatles, Bruce Springsteen, Van Morrison, the Byrds, Lou Reed, Nirvana, and the Band while harmonizing to the heavens and engaging in vocal dialogues in songs that combine indie pop with flourishes of Americana, folk, rock, and country, from the gentle gait of “City of Greats” to the jaunty bounce of “Let’s Get Lost,” from the poetic elegance and longing of “Sleepwalking” to the driving ’60s beat of “Dreamers on the Ground.” On “Let’s Get Lost,” Anders sings, “Live as you want / Love as you want / You can really feel me / You can really see me / So run” while at the same time Kendall declares, “You know it when you know / You find it as you go / And we can walk for hours / And we just keep on talking / Don’t you know?” We suggest you run, not walk, to catch this magical duo as they hold their record release party on Sunday, February 24, at 7:00 at Rockwood Music Hall (Stage 2) with Benjamin Cartel before A&K heads out for SXSW. Listening to music, sometimes you just know it when you know it, and with Anders & Kendall, well, you just know it.

TWI-NY TALK: JOHN PIZZARELLI AND JOE COSGRIFF

Friends, coauthors, and musical colleagues Joe Cosgriff and John Pizzarelli look sharp at the Carlyle (photo by Doug Grad)

Friends, coauthors, and musical colleagues Joe Cosgriff and John Pizzarelli looking sharp at the Carlyle (photo by Doug Grad)

SANDY BENEFIT CONCERT
powerHouse Arena
37 Main St. at Water St., Brooklyn
Monday, February 25, $20, 7:00
718-666-3049
www.powerhousearena.com
www.johnpizzarelli.com

“What they don’t tell you when you sign up to become an author is how many times you will end up reading your own book,” jazz guitarist and vocalist John Pizzarelli writes in the finale to his first book, World on a String: A Musical Memoir (Wiley, October 2012, $26.95). “I can also tell you that I have been around the block so many times with this manuscript that I’m beginning to have issues with this vaguely familiar John Pizzarelli character who seems to get a lot of airtime in this book.” The son of legendary musician Bucky Pizzarelli, John, now fifty-two, has been recording original songs and covering standards for more than thirty years, playing with such greats as Skitch Henderson, Paul McCartney, Rosemary Clooney, James Taylor, and many others, including his wife, Jessica Molaskey, and his father. On his most recent record, Double Exposure (Telarc, May 2012), John reinterpreted a wide range of jazz, pop, rock, and folk classics by the likes of Neil Young, the Beatles, Elton John, Elvis Costello, Steely Dan, and the Allman Brothers.

For his memoir, Pizzarelli teamed up with longtime friend Joe Cosgriff, who wrote one of Pizzarelli’s most popular hits, “I Like Jersey Best.” (The book includes a riotous section on how John and Bucky went to the Jersey State Assembly when the tune was being considered for official state song.) John and Joe, a pair of Jersey-born Red Sox fans who are both proud members of the Yankee-hating BLOHARDS group, will be at powerHouse Arena in DUMBO on Monday night, February 25, in a benefit for the Brooklyn institution, which suffered significant damage from Hurricane Sandy. Pizzarelli will read from and sign copies of World on a String and will perform a rare solo set. Admission is a mere twenty bucks for what should be a unique and wonderful evening. Pizzarelli and Cosgriff recently discussed their collaboration, the Boston Red Sox, meatballs, and Sandy with twi-ny.

twi-ny: You’ve been friends for some thirty years; how did the writing process go?

Joe Cosgriff: It took us a little while to hit our stride. We started out face-to-face, which was a blast but didn’t produce finished pages. And John submitted about a third of the book in written form. But what worked best were the voice files and CDs he sent from the road. They were hilarious, and John’s prodigious output of these helped us catch up with the publisher’s deadlines.

John Pizzarelli: That’s it! Mostly we wrote about what subjects Joe thought we should explore. Then for a follow-up I would put more exact answers onto a CD.

twi-ny: Were there moments that you wanted to kill each other?

JP: Joe was really great about specific things he may have gotten wrong. If I said, “I think it happened this way,” he was more than happy to fix things. So there was no head banging, sorry to say.

JC: John and I have collaborated on projects previously, although nothing as ambitious as this one in terms of sheer volume. We had other bumps in the road — three editors and counting — but never any issues with one another. He is a natural storyteller, worked hard on the book, and he helped to make the experience about as enjoyable as it could be.

twi-ny: When will you be starting on the sequel?

JC: Sequel? We need to do a better job of letting people know about this book first.

JP: Agreed!

world on a string

twi-ny: You’re both Jersey boys who love the Red Sox and live in New York City. That can’t be easy.

JC: It’s not an easy road and not one I’d recommend. Yankee Stadium, especially the previous one, was not hospitable. But our little club, the BLOHARDS, has a lot of fun at our two annual luncheons, and John and I have a good time preparing the material. “My Bobby Valentine” was one of last year’s best songs.

JP: My first recollection of baseball was the ’67 World Series [between Boston and St. Louis]. I loved the look of that Red Sox team, especially [Carl] Yastrzemski. Since there were no Red Sox uni’s then available in New Jersey, I was [Yankees second baseman] Horace Clarke for about a year, till about 1981-ish, when the Yanks fired Dick Howser.

twi-ny: John, you’ve put out dozens of albums and played thousands of shows. How has public and critical reaction to the book compared to what you’ve gotten throughout your career as a musician?

JP: The entire routine is like putting out a CD and waiting for the reviews, etc. The book has been largely well received, which has been a very pleasant surprise.

twi-ny: Joe, you worked for a printing company for several decades before recently retiring. What’s it like to have your name on the cover of a book for the first time, after having printed so many millions with others’ names on them?

JC: Good question! The best part of this “author thing” has been hearing from people who connected emotionally with the book. A couple of people at John’s shows had tears rolling down their faces talking about what we wrote about Zoot Sims and Dave McKenna. Those experiences have been powerful and unexpected.

twi-ny: How were John’s son Johnny’s meatballs at the annual Birdland after-party? I understand that they were not made at their usual location, Cosgriff’s kitchen.

JP: We did use Joe’s stove for an earlier meatball fest. I had to get out of there, though. I didn’t want to get used to that stove; it’s tremendous. When we do anything at Joe’s, wine tasting, meatballs, or book editing, he plays the best music — Zoot Sims, Anita O’Day, Oscar Peterson.

JC: Johnny is a meatball machine at this point. There were some time constraints this time with the Birdland gig, so they did the prep on the West Side. And the prep is half the fun. One common denominator about parties with Johnny’s meatballs — no leftovers!

twi-ny: John is playing a Sandy Benefit Concert at the powerHouse Arena in DUMBO on February 25. Were both of you affected by the hurricane, either directly or indirectly?

JP: I was lucky on the Upper West Side. Our cabin up north lost power for two weeks — lost some oxtail ragu that was in the freezer, but nothing else too bad. I am happy to help out any way I can to those affected much worse than I was.

JC: My apartment lost power for five days, but this was nothing compared with the devastation sustained by friends of ours in Brooklyn. And I am traveling this week in California with friends from the Jersey Shore whose home still needs significant repairs. When we heard about the damage to powerHouse, we told them we’d like to help, and that is how this event came about.

HARKNESS DANCE FESTIVAL: STRIPPED/DRESSED

Kate Weare will present GARDEN at 92nd St. Y "Stripped/Dressed" series (photo by Christopher Duggan)

Kate Weare will present GARDEN at 92nd St. Y “Stripped/Dressed” series (photo by Christopher Duggan)

92nd St. Y, Buttenwieser Hall
395 Lexington Ave. at 92nd St.
February 22 – March 24, $20-$24
212-415-5500
www.92y.org

The Harkness Dance Festival’s annual “Stripped/Dressed” series kicks off this weekend, bringing in innovative choreographers who first discuss their working process and show excerpts — “stripped,” with no lights or costumes — then perform the same thing “dressed,” this time with artistic adornments. Curated by Doug Varone, the season begins February 22-24 as his company, Doug Varone and Dancers, presents the world premiere set to Julia Wolfe’s “Cruel Sisters” as part of its twenty-fifth anniversary. Dazzlingly original choreographer Faye Driscoll, whose work is consistently witty and challenging, will debut a new piece March 1-3 that examines dance making, space, and performance as ritual, followed March 8-10 by the Liz Gerring Dance Company’s She Dreams in Code, which was performed in fall 2011 at the Baryshnikov Arts Center. On March 15-17, Ronald K. Brown/Evidence, a Dance Company, which just blew away audiences at the Joyce with Torch, moves into Buttenwieser Hall to perform Gatekeepers, a 1999 work, originally commissioned by Philadanco, that deals with wounded soldiers. The season concludes March 22-24 with the Kate Weare Company’s Garden, in which two men and two women traipse through a mysterious natural world.

11 FLOWERS

11 FLOWERS

Four friends grow up during the end of the Cultural Revolution in Wang Xiaoshuai’s 11 FLOWERS

11 FLOWERS (Wang Xiaoshuai, 2011)
Quad Cinema, 34 West 13th St., 212-255-2243
Film Society of Lincoln Center, Elinor Bunin Munroe Film Center
Francesca Beale Theater, 144 West 65th St. between Broadway & Amsterdam Ave., 212-875-5601
Opens Friday, February 22
firstrunfeatures.com/11flowers

Sixth Generation Chinese director Wang Xiaoshuai (Beijing Bicycle, Shanghai Dreams) reaches back into his childhood in the poignant, autobiographical 11 Flowers. Set in 1975 near the end of Mao’s Cultural Revolution, the film is seen through the eyes of eleven-year-old Wang Han (Liu Wenquing), who lives with his family in a poor, remote village in Guizhou province as part of the Third Front movement, in which the nation moved industry inland to protect it from possible Soviet attack. Wang’s father (Wang Jingchun) spends the week away from his wife (Yan Ni), son, and young daughter (Zhao Shiqi), working at an opera house in town. When one of Wang’s teachers, Miss Zhou (Yu Yue), tells Wang that he should get a clean shirt so he can look good as the new class gym leader, his mother at first is mad at him for even asking for such a luxury item but ultimately makes him one. However, while fooling around with his friends, Louse (Zhang Kexuan), Mouse (Zhong Guo Liuxing), and Wei Jun (Lou Yihao), something happens to the shirt, which soon winds up in the hands of a possible murderer (Wang Ziyi) on the run from the police. Based on actual events that happened to him as a child, Wang’s 11 Flowers is a beautifully crafted coming-of-age film, reminiscent of Rob Reiner’s Stand by Me. Wang, who was known as Wang Han when he was a boy, narrates the opening and closing himself, adding yet more personal touches to the tale. Hovering over the work is the specter of the Cultural Revolution; in one moving scene, adults have gathered for a small dinner party, but when one of them starts singing an old favorite tune, Wang’s father quickly changes it to a Mao-endorsed propaganda song for fear of being caught doing something against the government’s wishes. Much like Wang’s father teaches his son how to paint, interpreting reality on canvas, director Wang interprets his childhood reality onscreen in this small gem of a film.

NEW YORK KOREAN FILM FESTIVAL: IN ANOTHER COUNTRY

A lifeguard (Yu Jun-sang) makes the first of several offers to Anne (Isabelle Huppert) in Hong Sang-soo’s IN ANOTHER COUNTRY

IN ANOTHER COUNTRY (DA-REUN NA-RA-E-SUH) (Hong Sang-soo, 2012)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Sunday, February 24, 2:00
Series runs February 22-24
718-636-4100
www.bam.org

Korean auteur Hong Sang-soo continues his fascinating exploration of cinematic narrative in In Another Country, although this one turns somewhat nasty and tiresome by the end. After being duped in a bad business deal by a family member, an older woman (Youn Yuh-jung) and her daughter, Wonju (Jung Yumi), move to the small seaside town of Mohjang, where the disenchanted Wonju decides to write a screenplay to deal with her frustration. Based on an actual experience she had, she writes three tales in which a French woman named Anne (each played by an English-speaking Isabelle Huppert) comes to the town for different reasons. In the first section, Anne is a prominent filmmaker invited by Korean director Jungsoo (Kwon Hye-hyo), who has a thing for her even though he is about to become a father with his very suspicious wife, Kumhee (Moon So-ri). In the second story, Anne, a woman married to a wealthy CEO, has come to Mohjang to continue her affair with a well-known director, Munsoo (Moon Sung-keun), who is careful that the two are not seen together in public. And in the final part, Anne, whose husband recently left her for a young Korean woman, has arrived in Mohjang with an older friend (Youn), seeking to rediscover herself. In all three stories, Anne searches for a lighthouse, as if that could shine a light on her future, and meets up with a goofy lifeguard (Yu Jun-sang) who offers the possibility of sex, but each Anne reacts in different ways to his advances. Dialogue and scenes repeat, with slight adjustments made based on the different versions of Anne, investigating character, identity, and desire both in film and in real life. Hong wrote the film specifically for Huppert, who is charming and delightful in the first two sections before turning ugly in the third as Anne suddenly becomes annoying, selfish, and irritating, the plot taking hard-to-believe twists that nearly undermine what has gone on before. As he has done in such previous films as Like You Know It All, The Day He Arrives, Tale of Cinema, and Oki’s Movie, Hong weaves together an intricate plot that is soon commenting on itself and coming together in unexpected, surreal ways, but he loses his usual taut narrative thread in the final, disappointing section. In Another Country is screening on February 24 as part of the New York Korean Film Festival at BAMcinématek, which begins February 22 with Kim Ki-Duk’s Golden Lion-winning Pieta and also includes Jo Byeong-ok’s All Bark, No Bite, Lee Suk-hoon’s Dancing Queen, Choo Chang-min’s Masquerade, Jo Sung-hee’s A Werewolf Boy, Yong-Joo Lee’s Architecture 101, and Jeong-woo Park’s Deranged. (In Another Country is also screening on February 22 at 7:00 as the final film in the Museum of the Moving Image series “Curators’ Choice: The Best of 2012” series, consisting of exemplary works from last year selected by chief curator David Schwartz and assistant film curator Rachael Rakes.)

L.A. REBELLION — CREATING A NEW BLACK CINEMA: MY BROTHER’S WEDDING

Charles Burnett’s MY BROTHER’S WEDDING is a poignant tale of a family struggling to survive in Watts

Charles Burnett’s MY BROTHER’S WEDDING is a poignant tale of a family struggling to survive in Watts

CHANGING THE PICTURE: MY BROTHER’S WEDDING (Charles Burnett, 1983/2007)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Saturday, February 23, free with museum admission, 6:00
718-777-6800
www.movingimage.us
www.milestonefilms.com

Following the breakout success of the 2006 release of Charles Burnett’s remarkable Killer of Sheep (1977), the following year Milestone Films released a restored and digitally reedited version of Burnett’s poignant My Brother’s Wedding. Everett Silas stars as Pierce Mundy, a ne’er-do-well slacker who loafs around in his parents’ dry-cleaning store, waits for his best friend, the smooth-talking Soldier (Ronnie Bell), to get out of jail, and resents that his brother, Wendell (Dennis Kemper), has become a successful lawyer and is preparing to marry the snobby Sonia (Gaye Shannon-Burnett, the director’s real-life wife). As he did with Killer of Sheep, Burnett (To Sleep with Anger) sets the film in Watts, where poor black families struggle to make a go of it in the shadow of ritzy Los Angeles. Although Pierce never seems to make the right decision, his choices are limited, but that doesn’t stop Burnett from coming up with some very droll, funny scenes. Shot in color (Killer of Sheep was made in black-and-white), My Brother’s Wedding is another no-budget treasure from a vital director who is vastly underrecognized. My Brother’s Wedding is screening on February 23 as part of the Museum of the Moving Image series “Changing the Picture” and “L.A. Rebellion: Creating a New Black Cinema,” focusing on films that look at the real black experience in postwar America, and will be preceded by Robert Wheaton’s 1986 short, A Little Off Mark. The series concludes February 24 with Zeinabu irene Davis’s Compensation, preceded by Iverson White’s Dark Exodus, and Billy Woodberry’s Bless Their Little Hearts and The Pocketbook.