A Communal Rosh Hashanah Resolution

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A well-known greeting used in the days preceding Rosh Hashanah is “Tichleh shannah v’killeloteha, tachel shannah uvirchoteha.” It means, “Bring an end to the year and all its curses, and begin the New Year and all its blessings.”


The words come from a Hebrew poem written in 13th century Spain, but the sentiment is most applicable to the end of 5774 and our hopes for 5775.

5774 was a difficult year, one we’d rather forget. It opened with the controversial findings of the Pew Report, “A Portrait of American Jews,” in early October and the U.S.-sponsored negotiations between Israel and Palestinians that took many from cautious hope to despair. Next came the kidnapping and murder of three Israeli teens and the calls for and acts of revenge for those murders. The growth of anti-Semitism around the globe has everyone on edge.

Hamas missiles fell on Israeli towns while Jews in our own communities were divided about Israel and Zionism. “Operation Protective Edge” and the death and destruction in its wake have left us with much uncertainty. Bring an end to the year and all its curses, indeed!

The High Holidays traditionally mark a period of 10 days during which we engage in heshbon hanefesh (deep introspection), mostly as individuals. But soul-searching is something that is incumbent upon us as a community as well. Could we have done anything to make the past year a better one? Can we do anything to make a difference in the year ahead?

The Jewish world faces many challenges that can have an impact on both Jewish life and Jewish lives (as well as the lives of others). Too often our community is unable to engage in meaningful conversation about perilous issues. The Jewish world has become averse to internal conflict, often preferring the anodyne voices of the echo chamber. One must ask: if we cannot talk among our own people, how can we ever expect to come to a peaceful resolution with others?

We should consider a communal Rosh Hashanah resolution: to learn to listen to those with whom we may disagree with open minds and hearts, and to learn to disagree agreeably.

This originally appeared in the Jewish Journal on September 25, 2014.

PEM’s Calder Exhibit a Dance in Slow Motion

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Peabody Essex Museum’s exclusive East Coast presentation of “Calder and Abstraction: From Avant-Garde to Iconic” is everything an art exhibit should be. It is welldesigned, sensually pleasing and intellectually stimulating. The 40 pieces by one of the most influential and innovative artists of the 20th century reinforce PEM’s commitment to American art and celebrate Alexander Calder’s contribution of single-handedly transforming what would be thereafter thought of as “sculpture.”

Visiting the show is like entering an elegant abstract landscape, one where shadows have mass and gravity is irrelevant. The theatrical, dancing mobiles, which Calder invented, and stabiles (grounded pieces that still move) activate time and space in a way that creates an atmosphere of performance. Background avantgarde music by such composers as John Cage adds to the multi­sensory experience.

Calder was raised in Pennsylvania and his family included accomplished sculptors. He travelled to Paris frequently during the 1920’s and 30’s, befriending such surrealist and abstract artists as Joan Miro, Jean Arp and Marcel Duchamp. When he saw Piet Mondrian’s paintings, which only used primary colors, Calder exclaimed, “I would like to do that, but I would like it to move.”

Trained as an engineer, Calder became fascinated by the challenge of liberating sculpture from its historical limitations. His goal was to take the static, hollow, pedestalled medium and reinvent it. “Just as one can compose colors or forms,” Calder said, “so one can compose motion.”

Calder started working with wire in 1930, and the gallery’s first pieces explore his development of mobiles, ethereal works that create lines in space and, thanks to the superb lighting design, moving shadows. Many of the works, such as a trilogy of mobiles mounted in front of colored panels, are owned by the Calder Foundation N.Y. and are rarely exhibited.

“Little Face” is a choreographer’s delight, untethered parts creating a cohesive whole. Calder’s engineering genius is evident in his knowledge of the precise weight and density of each black piece that would counter the elements above and below.

From the magical, slow wake of the mobiles, one next explores his stabiles. Moving more slowly, subtly and quietly than the mobiles, their effect is one of benevolent creatures that happily invite the viewer to connect emotionally.

The exciting “Un effet du japonais” is like an anthropomorphic animal dance, its three legs stationary, its two arms poised, ready for the frenzy a puff of air would create. “Southern Cross,” displayed nearby, is a blend of mass and weightlessness, of movement and stillness. The effect is spell-binding, and prompted Albert Einstein to remark, “I wish I’d thought of that.”

Before his death, Calder also revolutionized monumental sculpture constructed for large outdoor spaces. La Grande Vitesse, a landmark in Grand Rapids, Michigan, marked the first time the public embraced abstract sculpture.

Pictured at top: 2014 Calder Foundation, New York/Art Resource Un effet du japonais (1941)

Sowing A Master Seed

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The recent release of the documentary, “The Green Prince,” came at the perfect time. After a summer of Operation Protective Edge, we could use a breath of hope and optimism. On its surface, the film tells the story of Mosab Hassan Yousef, a Hamas informant, and his Shin Bet enlister and handler, Gonen ben Yitzhak. Digging a bit deeper, however, reveals an inspiring story of friendship, loyalty and admiration between two individuals who had every reason to hate and mistrust each other.


For ten years, the two collaborated to foil Hamas’s terrorist activities. Both were creative and unorthodox; both were courageous and both took paths that transcended the constraints of their ingrained politics and ideologies. They found and followed their own moral compasses, taking on the responsibility of acting on those convictions.

In the present context of fragile, temporary cease-fires and fierce armed conflict, one has to ask oneself, “How did this Palestinian and this Israeli, each entrenched on opposite sides of a decades long conflict, overcome those external barriers to develop this kind of selfless bond? What was their secret?”

This is one small story about just two people, but it is a story with a very big message.

This film serves as a reminder and inspiration that it is through individual people that both peace and war are waged, and that tolerance, understanding and acceptance are flip sides of intolerance, revenge and hatred. Each of us is capable of forming relationships with anyone; it is a mental barrier that tells us otherwise.

At some point, that seed of hope at the core of “The Green Prince” must take root.

This originally appeared in the Jewish Journal on September 18, 2014.

Honky Tonk on Parade

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There should be a jukebox tucked in the corner of Endicott College’s Manninen Center for the Arts Heftler Visiting Artist Gallery, one loaded with songs by the country music favorites whose portraits adorn the compact gallery’s walls. Dolly Parton, Bill Monroe, Loretta Lynn, Waylon Jennings and Doc Watson are all there, looking young and fresh and ready to break into toothy, foottapping song. “Honky Tonk: Portraits of Country Music” is a collection of 27 black and white photographs taken between 1968 and 2010 by Henry Hornstein, a 67-yearold New Bedford native who teaches photography and illustration at Rhode Island School of Design. His photos document the changing world of country music and its fans, and reflect his deep love for the music, its performers and its unique venues.

Horenstein describes how a Jewish kid growing up in New Bedford developed an interest in country music in the exhibition notes. He started hanging out in the “kid friendly” Melody Shop, New Bedford’s only music store, at age eight. He met folk singer Paul Clayton there, who recommended he buy “Johnny Cash Sings Hank Williams.” It was Horenstein’s first LP and he still plays that record.

When his parents moved to Boston during his high school years, he essentially took up residence at Cambridge’s legendary Club 47, hearing many different performers playing many different genres. His interest in photography blossomed as a junior history major at University of Chicago. Heeding the advice of his teacher, Harry Callahan, to “photograph people and places to which I was naturally drawn,” he took pictures in Nashville and Texas, in smoke-filled bars and hillbilly ranches during the 1970’s.

All along, he knew he wanted to preserve on film what he saw as a disappearing world of lesser honky tonks and country music parks. In 2012, he published “Honky Tonk: Portraits of Country Music,” a sumptuous collection of 120 black and white photographs he shot from 1972 through 2011, many of which are part of the Manninen exhibit.

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Waylon Jennings, Performance Center, Cambridge, 1976


What is most surprising is how well represented New England, and especially Massachusetts, is. There is Don Stover, a banjo picker from West Virginia, who came to Boston in 1952 and settled in Billerica. A 26-year-old Dolly Parton, looking like the poster child for the song, “Honky Tonk Angel,” posed in front of Symphony Hall before her debut concert there in 1972. Doc Watson, the North Carolina blind guitarist and singer who performed until his death at 89 in 2012, was memorialized at Cambridge’s Performance Center in 1974, as was the hard-living Waylon Jennings in 1976.

The Hillbilly Ranch in Boston was a favorite of Horenstein’s, and he photographed Tex Ritter there, as well as the regular patrons. Jerry Lee Lewis, at an old Baldwin piano, nonchalantly lights up a cigar at Boston’s Ramada Inn in 1976.

“A lot of people assume that country music is a Southern thing,” Horenstein wrote. “It isn’t. It’s everywhere.”

“Honky Tonk” will be at Endicott College Manninen Center for the Arts through October 17. For directions and hours, go to endicott.edu/centerforthearts.

Pictured at top: Jerry Lee Lewis, Ramada Inn, Boston, 1976

 

 

Peace of Mind

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September 11, 2001 marked a day of fear, disorientation and profound sadness for all Americans. Life as we knew it was suddenly altered. Since then, we have learned to live with its aftermath: color-coded terror alerts, heightened airport security and increased surveillance camera presence. We have become accustomed to the new post-9/11 “normal.” We may not be our pre-9/11 complacent selves but neither are we perpetually on the brink of panic. We take precautions, but we carry on.


September 11, 2014 presents similar challenges for Jews everywhere in the world. A wave of anti-Semitism and anti-Israel demonstrations has swept across every European country, Canada, the United Kingdom and the United States since the start of Operation Protective Edge on July 8. Daily reports of violence and defamation against Jews and Jewish property are impossible to ignore. The head of the Israeli-Jewish Congress, Vladimir Sloutzer, warned, “Never before since the Holocaust have we seen such a situation as today.” Such pronouncements are unnerving.

World Jewry is on edge, with good reason. This is not paranoia; to be anxious about the scope of this toxic hostility makes sense. There is a real and present danger in this anti-Semitic trend, and the relentless media coverage only increases our unease. Furthermore, there is the added complication of Israeli policies, politics and tactics with which not all Jews agree. However, disagreements with the policies of the Israeli government does not make us any more or less vulnerable to anti-Semitic attacks.

How can we American Jews avoid being consumed by feelings of helplessness and victimization? How do we maintain inner calm and peace of mind in this turbulent time of vandalism and desecration?

The answers are as different as the individuals asking the questions. For some, engagement, action and protest lighten the weight. Many seek the support of community and discussion and the outlet of action. For others, turning a hopeful eye inward works.

We must find ways to cope as individuals and as a global community with this new fear, disorientation and sadness. If we let the enemy destroy our peace of mind, then they will have truly won.

This originally appeared in the Jewish Journal on September 11, 2014.

A Living Chain of Tikkun Olam in Chelsea

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CHELSEA — Aweis Hussein tends his family’s vegetables in a community garden located at Chelsea’s Temple Emmanuel. He grows okra, tomatoes and corn, staples in his native Somalia.

Eleven years ago, Hussein and many from his current Chelsea Somali Bantu community lived in a Kenyan refugee camp. He arrived at the camp in 1991 at the age of 14, in need of protection and sanctuary from the relentless persecution and discrimination the minority Bantus suffered in their homeland.

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Aweis Hussein

Today, ten years after arriving in Chelsea, he is the community organizer and leader of the SCA (Shanbaro Community Association). The SCA operates under the umbrella of the Chelsea Collaborative, an organization founded in 1988 to enhance the social, economic and environmental health of the Chelsea community and its people. The SCA’s mission is to support the 400+ Somali Bantu refugees living in the greater Boston area as they forge community relationships and adjust to their new surroundings.

“I was lucky to go to refugee school in Kenya,” Hussein told the Journal by phone. He learned to read and speak English. He learned what to expect in America. Most of his Chelsea community members weren’t as fortunate. “They have never been to school. They have never been to a big village. They were mainly farmers in Somalia. They did not know about flushing toilets and lights and grocery stores.” His leadership role is his way of giving back to his people and using his special knowledge to ease their transition.

Ellen Rovner, of Brookline, is a member of the boards of directors of Chelsea’s Temple Emmanuel and the Chelsea Collaborative. She has a Ph.D. in cultural anthropology and an academic passion for food. She also has a keen interest in Chelsea’s immigrant community and in bettering the world through tikkun olam.

The idea for the community garden at Temple Emmanuel came to Rovner five years ago, when she was doing field work for her doctoral thesis, “It’s Just Like Coming Home: Food, Gender and Memory in a Jewish Community,” at Temple Emmanuel. She reached out to Roseann Bongiovanni, associate executive director of the Chelsea Collaborative and director of Chelsea Green Space.

“Ellen and I started to talk several years back about making deeper connections between the established Jewish community and the newer immigrant population in Chelsea,” said Bongiovanni, who has worked at the Collaborative for 19 years. “At the same time, Aweis’ group was looking for a place in Chelsea.”

“Roseann contacted me and said, ‘Listen, we have a community of people who are coming out of refugee camps in Kenya, many of whom have spent almost a generation there. They are farmers and they need a place to gather,’” Rovner told the Journal. Hussein pulled together some interested families and Rovner contacted Sara Lee Callahan, Temple Emmanuel president. The temple board members decided to loan the families space in its side yard to grow a community garden.

According to Rovner, Marlene Demko is the person who really made the garden happen. Demko, a lifelong Chelsea resident and a member of Temple Emmanuel since she was a child, sits on its board and acted as liaison between the temple and the Collaborative.

Bongiovanni explained that the first three garden plots were built with donated labor from the NE Carpenters Union. The Union members worked with teens from the Collaborative’s Chelsea Summer Youth Employment Initiative. Teens from YouthBuild, a Cambridge organization, came in recently to expand the garden with three additional beds. They cleared overgrown brush and provided significant landscaping work as well.

Demko worked with them to create a vibrant vegetable garden in the temple’s side yard.

“It has been great to see kids from many different backgrounds in Chelsea get excited about bettering their community at the same time a group of Somali Bantu families is becoming more integrated into the community and growing some of their own food on a property owned by a synagogue,” Rovner shared. “Given what’s going on in the world today, that a group of Somali Bantu refugees can find some solace growing food on the temple’s property is fabulous.”

Demko was thrilled to offer the Journal a personal tour of Temple Emmanuel and its community garden. She proudly pointed out the many yahrzeit (remembrance) boards lining the temple’s sanctuary walls, explaining that as the number of Chelsea’s active synagogues dwindled from almost twenty to one, Temple Emmanuel wanted to be sure the Jewish community would always have a place to say kaddish. “We do tikkun olam in so many ways because we’re so grateful that we can do these things and give back,” she explained. The temple has been holding full Passover seders for over ten years for over 130 people, enabling many who might find it otherwise difficult to gather their extended families to celebrate this important holiday.

The Somali Bantu community vegetable garden has inspired Demko to plan several enhancements for congregants, including a temple peace garden and biblical herb garden on some of the rest of the yard. She also envisions a “walk of honor” with stones engraved with donors’ names. With the help of other temple volunteers, she hopes to start this project next spring.

“This will be my mitzvah,” she beams, eyes filling with tears.” I want there to be a peaceful place for the rabbi and congregants to come outside and reflect, even during a service.” The garden will have benches and five gorgeous new trees, donated by the Department of Conservation and Recreation through a grant with the city of Chelsea, the Chelsea Collaborative and the Department of Energy.

Sara Lee Callahan, of Swampscott, has served as president of Temple Emmanuel for ten years. She is proud of the part her temple plays in helping to better the world. “Temple Emmanuel was founded in 1929 and in recent years has experienced a miraculous rejuvenation. Many temple members living all over the United States maintain a connection to this area through the immigrant generations who brought them here. As Temple Emmanuel looks forward to its bright future, and in the spirit of gratitude, we want to create a living chain of tikkun olam. The Somali Bantu’s community garden reflects this concept.”

Aweis Hussein is grateful that Temple Emmanuel has given his community the space to gather and farm together, growing healthy fresh food that is not easily accessible or affordable. More than that, however, he is grateful to meet people who understand what it means to be a persecuted minority and to live in a diaspora. “Many of the temple members are older. We try to talk about our history, to share our histories. It is helping us, this new relationship. I hope it continues,” he said.

Pictured at top: Fatuma plants her garden. (Melissa Shook)

The Gift of Elul

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Elul, the lunar month that precedes Rosh Hashanah and Yom Kippur, marks a distinctive time in the Jewish calendar. By tradition, we begin the monthlong process of reflection and introspection that will culminate in the High Holy Days. We sound the shofar almost daily to awaken our souls and remind us of the special tasks that lie ahead. Much as we clean our earthly homes to prepare for Passover, we use this month to prepare our spiritual homes to welcome a new year.


We take stock of our relationships with ourselves, with others and with God, with the goal of making better choices to make the world a better place. It is a private, internal and personal task.

The process of looking inward is always challenging, but this year it is especially so. External events demand our attention. With Israel at risk and global anti-Semitism surging, self-reflection may feel self-indulgent. Too much danger looms, and too many need our support, to sit idly thinking about ourselves.

And yet, heeding the call of the shofar may be exactly what we need. Hearing the sound is meant to encourage us to search our souls and acknowledge our weaknesses, with the goal of becoming more compassionate towards each other and more reverent towards God. It is a time to celebrate life, an opportunity to resensitize ourselves and to renew our commitments. We are reminded that our individual choices matter and that every day we are given the opportunity to choose anew.

These times of large-scale political upheaval can make us feel frustrated and hopeless about our ability to improve the world. After all, others, much more politically powerful than us, are the decisionmakers. The month of Elul reminds us that each individual matters, that “tikkun olam” (repairing the world) depends on each of us doing our best. Quiet self-assessment and reflection may be a great place to start.

This originally appeared in the Jewish Journal on August 28, 2014.

Gaza’s Real Enemy

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On August 4, Nobel Peace Laureate Eli Wiesel published a full-page Op-ed ad rebuking Hamas for using children in Gaza as human shields against Israeli rockets. Titled “Jews rejected child sacrifices 3,500 years ago. Now it’s Hamas’ turn,” it ran in major U.S. newspapers including The New York Times and The Washington Post, and was paid for by Rabbi Shmuley Boteach’s This World: The Values Network.


In the ad, Wiesel contended that the world must shift its criticism away from Israeli soldiers for the suffering of those in Gaza and instead hold the real culprit, Hamas, solely to blame. He used these points to build his case.

First, although Hamas and the Palestinians both live in Gaza, they are not alike. Hamas is a recognized terrorist death cult that uses children as suicide bombers and human shields. The Palestinian citizens of Gaza want a hopeful future of peace for their families. Instead, Hamas has imposed its murderous regime on them.

Second, Palestinian parents have more in common with Israeli parents than they do with Hamas. Parents in Gaza and parents in Israel are united by their love for their children and by the fact that neither would voluntarily put a child in danger. Hamas deliberately puts children and other civilians in harm’s way.

Third, both Israelis and Palestinians suffer at the hands of Hamas. Israel struggles for its survival as a nation. Those people of Gaza who reject Hamas’ credo of terror are disenfranchised and alienated by the very people they elected and entrusted to protect and defend them. Instead of the peace and hope they desire and deserve, Hamas gives them war and despair.

Last, both Muslim and Jewish cultures share a love of life and learning while Hamas promotes a barbaric cult of death.

Some have criticized Wiesel’s language as unduly provocative and forceful. The London Times even refused to run the paid ad. Stylistic affinities notwithstanding, he undeniably makes a powerful and rational argument for why Arabs and Jews and “all moderate men and women of faith” must view the war differently.

According to Wiesel, this is not a battle between Arab and Jew or Israeli and Palestinian as much as it is a battle between Hamas and Israel and Hamas and the people of Gaza. Israel’s fight with Hamas, a force determined to annihilate it, is for its right to exist. The true Muslims among the Gaza Palestinians, the ones held hostage and occupied by their own people, are unable to fight back against their Hamas oppressors.

Wiesel’s plea to the world to recognize that Hamas, and not Israel, is the real enemy of the Gaza Palestinians deserves to be heard.

This originally appeared in the Jewish Journal on August 14, 2014.

A Trip Down Memory Lane with Bill Marx

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The Marx Brothers created the kind of universally appealing comedy that transcends time and trend. Chico, Groucho and Harpo (and occasionally Zeppo) had worked on stage, screen and radio for nearly 50 years when their last film, “Love Happy,” premiered in 1949. They left behind a treasure trove of comedic classics, including “Cocoanuts” (1929), “Animal Crackers” (1930), “Horse Feathers” (1932) and “Duck Soup” (1933).

By the time television burst on the cultural scene in the 1950’s, the vaudeville-era stars were middle-aged and the transition to the new medium gave them the largest audience they ever had. The kinescope technology available then created poor quality recordings, but the development of film allowed preservation of such later classics as Harpo’s famous 1955 recreation of the “Duck Soup” mirror scene on the “I Love Lucy” show. This episode has rerun in syndication for decades and has been seen by millions.

Most of the Marx Brothers’ television performances were as guests on TV variety shows such as The Jack Benny Program, The Colgate Comedy Hour, and The Red Skelton Hour. Although they all forged careers as individuals on the smaller screen, only Groucho was successful with his long-running “You Bet Your Life.”

Thanks to the teamwork of Harpo’s curator son, Bill Marx, and Marxophile producer Robert S. Bader, a new three-disc DVD set, “The Marx Brothers TV Collection,” is now available from Shout! Factory with ten hours of shows, home movies, outtakes, commercials and interviews from their golden television years.

The Journal spoke by phone with Bill Marx about this project and about his memories of growing up as a member of such a famous family.

“The Marx Brothers embraced every facet of the industry,” Marx began. “Although you can see all their movies on the internet, this DVD set is kind of special because it’s all TV. In a way, it’s good they haven’t been overexposed. This compilation of their life’s work is a positive thing for Marx Brothers fans, especially the youth who can see these for the first time.”

He and Bader wanted to highlight segments not available anywhere else, which is why they did not include the famous Lucy episode in their collection.

Marx enthusiastically talked about his religious upbringing. His father Harpo (born Arthur) always felt Jewish growing up, although Harpo’s parents never had much time for embracing the outward traditions of being a Jew. “They were too busy trying to survive in turn of the century New York City. The only time they experienced being Jewish was when they had to defend it.”

Harpo, whose will donated two harps to the state of Israel, was heavily involved in United Jewish Appeal and other Jewish causes. His first trip to Israel was in 1961. When he came home, he shared his experience with his son.

“Dad was probably 72 or 73 at the time,” said Marx, who is 77. “He told me it was the first time he ever really felt his Jewishness without having to defend it. He was very moved by being in a place where Jews were not a minority. It was a real epiphany for him.”

The brothers rarely got together socially with their families. “They would see each other every day at a country club they belonged to for lunch. They were sick of each other,” he chuckled. He remains close to his cousins Bob (Gummo Marx’s son) and Miriam (Groucho’s eldest daughter).

Like his two brothers and sister, Bill Marx was adopted. His desire to pay tribute to his dad inspired him to create the website, harposplace.com, and to undertake this latest project. “I am the luckiest guy in the world to have ended up accidentally in the orbit of the Marx Brothers,” he said. “I don’t know how to repay anybody except by producing this kind of homage to them and to my dad, who was such a unique and special person.”

Although he never embraced a traditional Jewish journey, Marx observes Yizkor, lighting yahrzeit candles for his parents. “I don’t appear in temple all that much,” he said, “but Yizkor is the one Jewish observance I set aside.”

On a closing note, Marx revealed his thoughts about Israel. “I am one of those incurably optimistic kind of guys when it comes to Israel. I think they will somehow or another weather this. They certainly know how to take care of themselves.”

Visit harposplace.com for more information. The Marx Brothers TV Collection is available from Shout!Factory.com and amazon.com.

52nd Street and All That Jazz

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Billie Holiday’s unmistakably seductive voice singing “Fine and Mellow” lures the listener into Bowdoin College of Art’s second floor Shaw Ruddock Gallery. Stepping into the installation “On 52nd Street: The Jazz Photography of William P. Gottlieb” is like entering a time capsule into the 1940’s, when 52nd Street’s “Swing Alley” in New York City was the epicenter of jazz, and William P. Gottlieb (1917-2006) was its passionate chronicler.

The exhibit is a compact, deeply satisfying gem. The 40 vintage gelatin silver prints of jazz musicians in performance are accompanied by a continuous loop of nine classic songs from such masters as Louis Armstrong, Ella Fitzgerald, Coleman Hawkins and Lionel Hampton. Gottlieb’s photographs capture the artists’ personalities with all the intimacy that close-up pictures provide. The narratives beside each photograph include Gottlieb’s descriptions of what he felt, shooting in the dark, densely packed confines of those smoky, heady jazz clubs. They also describe some of the innovative techniques he had to invent so he could shoot without a flash. His ability to remain unobtrusive is evident in the unguarded portraits he produced.

Known as “Mr. Jazz,” Gottlieb was born in Brooklyn and began writing a jazz column for The Washington Post during his senior year at Lehigh University. When the Post decided it could not afford to pay a photographer to shoot photos for his column, Gottlieb bought his own press camera and began taking his own photographs. Over the course of his career, he took hundreds of pictures of jazz musicians, four of which were the basis for U.S. postage stamps and 250 of which found their way onto record album covers.

A skilled craftsman, Gottlieb’s photos embody a natural empathy for and attraction to his subjects. He captures the personalities of the jazz musicians in a subtle, anecdotal way. “In my photographs, I try to say something visually that augments the written review,” Gottlieb said. In his iconic 1947 photograph of Billie Holiday, he wanted to capture “the beauty of her face and the pain in her voice.” It remained one of his favorite pictures.

“The Street,” according to Gottlieb, “was heaven on earth for jazz fans and musicians.” Bowdoin College Museum of Art’s exhibit is a little piece of that heaven on earth, at least until September 14, 2014.


Pictured at top: Billie Holiday, 1946 Photos by William P. Gottlieb and courtesy of the Bowdoin College Museum of Art