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What an ER doctor and musical trendsetter Miri Ben-Ari, a Jay Z collaborator, have in common
Being a successful musician is a lot like being a trauma room physician. You need to collaborate harmoniously with others, practice a lot and perform expertly in real time.
One might think that performing on some of the world’s largest stages and at high-profile venues like the White House is nothing like working in a tight space in a hospital emergency room. One involves art, the other science; one happens in public, the other behind closed doors; one appears beautiful and clean, the other can be messy and bloody. But the two actually have a lot in common.
Dr. Tal Patalon, the head of Kahn Sagol Maccabi (KSM), the Research and Innovation Center of the Israeli HMO Maccabi Healthcare Services, highlighted this when she hosted Grammy Award-winning violinist, producer and UN Goodwill Ambassador of Music Miri Ben-Ari on her podcast, “A Matter of Life and Death.”
“It is as though I am meditating on the highest frequency when I am in front of a live audience,” Ben-Ari said. “It is like an out-of-body experience.”
Patalon, an active clinician specializing in family and emergency medicine, said, “The same thing happens to me when a patient comes in. Every decision is one of life and death. You have to be in the moment. You have to give your everything to perform at your max.”
Musical trendsetter Ben-Ari has brought the violin to the fore in commercial pop music, collaborating with artists including John Legend, Alicia Keys, Janet Jackson and Jay Z.
The unusual and popular podcast — now in its third season, but the first in English — is an opportunity for Patalon to talk with thought leaders from a wide variety of backgrounds and fields, including medicine, academia, technology and the corporate world, and she brings to listeners unusual conversations that wind their way from the esoteric to the profound. Recent guests on the program have included astrophysicist Avi Loeb, former Mossad chief Yossi Cohen, and psychologist and happiness expert Tal Ben-Shahar.
KSM has unique access to Maccabi’s professional medical data and conducts medical research, helping scientists, tech companies and entrepreneurs through various partnerships; uses a unique cloud-based platform that relies in part on AI technology; operates a bio-bank with over 1 million biological samples that assist companies in genetic sequencing and genetic research; and supports a range of other big data and clinical research projects.
Patalon thinks broadly, seeking inspiration from all corners.
Born in Tel Aviv, violinist Ben-Ari, 44, grew up playing classical music and at one point studied under the legendary Israeli violinist Isaac Stern.
“But something switched for me when I heard a recording of Charlie Parker,” Ben-Ari said. “He wasn’t playing the saxophone; he was talking to it. I wanted to do that with the violin. So I studied jazz in the United States and played with the best.”
Ben-Ari, who remained in the United States and lives in New Jersey, felt she was finally in her zone. “Now I could do me. I could integrate, harmonize and collaborate,” she said.
Miri Ben-Ari, left, was a guest of Dr. Tal Patalon, the head of Kahn Sagol Maccabi (KSM), the Research and Innovation Center of the Israeli HMO Maccabi Healthcare Services, on her podcast “A Matter of Life and Death.” (Courtesy of KSM Research and Innovation Center)
Over the past two years, Ben-Ari has branched out even further by working with African artists such as Nigerian producer Young D and Tanzanian superstar Diamond Platumz, who plays bongo flava — a melange of American hip hop and traditional Tanzanian styles.
“It’s been fascinating working with African artists,” Ben-Ari said. “Africa is so close to Israel, so it was natural for me to go in this direction. The music is different in each country, and in each region of the continent.”
Patalon asked Ben-Ari on her podcast what it has been like to move from classical music training to experimentation with so many genres.
“I actually gave a TED talk about how to take a skill from one place to another,” Ben-Ari said. “You first have to have a firm foundation, then you can let your imagination take over and think outside the box.”
But it’s not easy, she said. “You find your own individual way of expression. It takes a lot of chutzpah, drive, persistence, dedication and bravery to keep continuing when you get a lot of no’s along the way.”
According to Patalon, the process bears some similarities to medicine. Just as Ben-Ari had to have years of classical training behind her to be able to innovate as she does, trauma care doctors need to have their basics intact before trying new approaches, Patalon said. One can only innovate on top of a deep foundation of expertise, experience and competence.
“It’s more than just knowing the basics. You need to be able to do them as an automatic response behavior. I need to know how to resuscitate a patient with my eyes closed and one hand tied behind my back,” she said. “We have to be experts.”
At the end of every podcast episode, Patalon asks her guest whether they think about death and how they would like to be remembered.
Ben-Ari said that the prospect of death doesn’t regularly occupy her: “I am busy with life, and I don’t think about what will happen after I die.”
When Patalon asked Ben-Ari what she would like the epitaph on her gravestone to say, she said she didn’t want an actual place of burial.
“I don’t believe in graves,” Ben Ari said. “I want to be an NFT or something technological like that. I would want there to be one private one just for my child, and a different version for my fans.”
Patalon suggested that she wasn’t surprised that Ben-Ari doesn’t think much about death, noting how common it is for people to fear death because they fear pain and losing relationships with loved ones — and are afraid of the unknown.
In the last episode of her popular podcast, Patalon offers some intriguing insights into the future of medical treatment: how technology will help predict a person’s medical future, how therapies can be tailored to the individual’s level, and the ethical questions that arise from these advances.
Ultimately, Patalon concludes, our well-being will be determined by what we do outside medical establishments: “I hope that we will all learn how to take the time to introspect, to develop relationships that are meaningful, because at the end of the day that’s what really keeps us happy.”
To listen to this episode and others from Season 3, visit ksminnovation.com/podcast.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
The post VIDEO: A Hasid gives us a tour of Morocco in Yiddish appeared first on The Forward.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
The post Conservative and Christian movies are coming for Hollywood appeared first on The Forward.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.
