“All art constantly aspires towards the condition of music” Walter Pater famously wrote. While this statement is usually understood in terms of an author’s subconscious intentions, and an artwork’s ability to transcend its form and content, there are some artists who purposefully make their works musical.
Those of us who have participated in the Jewish poetry scene in New York City over the last decade might argue that the journal Mima’amakim invented it. Though Jewish women and men have been performing and publishing poetry for many decades as part of a thriving New York poetry scene, Mima’amakim established the first readings and performances that featured not only poetry written by Jews, but also poetry with specifically Jewish content. On February 5 at the Sixth Street Synagogue, Mima’amakim will hold a publication party celebrating its last issue and 10 years of publishing innovative Jewish poetry.
Poet, singer-songwriter, revolutionary, publisher, street vendor, historian, mentor, sage, wise man and wise guy, forward-thinking artist, activist, intellectual, pacifist, anarchist, teacher, dreamer and dear friend Tuli Kupferberg has gone on to wherever one goes.
If you find yourself at an avant-garde jazz concert and poet Steve Dalachinsky is not in the audience, you probably have the wrong address. An unparalleled jazz aficionado, Dalachinsky has soaked in enough of the music to attempt the impossible: to create the same indescribable, musical feeling through words.
Tuli Kupferberg — 86 year old beat poet, musician and activist, and famed leader of the avant-folk band The Fugs — has been on the news lately. An article on him appeared in the New York Times in late January , another piece was published here, in the Forward just last week, and Tablet carried a podcast, as well.