mashdownbabylon

Product Placement

 

I'll be the first to admit that I've done a mediocre job of keeping track of my clips. Though I've kept copies of nearly all of the magazine articles I've written, most of the book reviews and all of the travel pieces I wrote for the San Francisco Bay Guardian between 2000 and 2004 vaporized when SFBG revamped it's website.

In the midst of putting the finishing touches on a brand new personal site (including a Word Press replacement for this blog) I came across a PDF version of this collection of micro-reviews, Sikkum: Tikkun Recommends, that I wrote for the September/October edition in 2005.

Traditionally the domain of the magazine's publisher, I ended up writing most of these interior back page book reviews my last year and a half as Tikkun's managing editor. I'll be posting a couple of more of these, including the color version we debuted with the magazine's re-design in 2006, shortly.

Click on the image for greater detail.

London Calling

On July 1st, I stepped down from my editorial position at Allvoices. With two months to pack up our home and move to the United Kingdom, I couldn't have had a better reason to punch out. I'll be spending the next eight weeks at home writing and editing a couple of terrific books while we get everything ready. To make the transition back to book editing, after being immersed in the world of blogs and online periodicals is interesting to note, (as a format exercise), given the direction that this kind of work now moves.

Leaving my office in San Francisco's financial district (pictured above) for the very last time, I couldn't resist capturing the signage of the cylinder shaped newsstand that sits at the building's front entrance. Housing not only my ex-employer, but also a Reuters office, and the headquarters of the local Jewish weekly, The J, my former firm's new abode hosts an above average number of news publishers for such a small, albeit significant, American city.

Just before I left, however, I received a call from the very first periodical I ever worked for, in between my freshman and sophomore years of high school, in 1982. Serving as a summer intern for the legendary Mother Jones (whose building, pictured above, is three blocks west of my former office) has earned me a semi-annual email or phone call from what sounds like another MoJo intern, keeping tabs on alumni. "You're a writer, right?" asked the young man who called me. "Yes," I told him. "And an editor, too."

Why I Love Italy

At least a third of my time at Allvoices has been spent writing summaries of developing news stories. Over the course of the last 6 months, I completed over 130 such pieces.

I wrote Italy to Fingerprint Gypsy Population last Thursday afternoon. It's a good example of how I write these kinds of analyses when I feel as though I have a little more room than usual to editorialize.

Making News

Nearly a year to the day I left Tikkun to complete my book, I went back to work as an editor again. Not so coincidentally, the gig was online, with Allvoices, an international news and community portal. Tasked with recruiting a team of bloggers to help launch the site's publishing platform, and responsibility for editing and managing the largest collection of international news feeds I've ever seen, I've spent the last five months adjusting to a job that's both new and extremely familiar at the exact same time.

I'm very grateful for the opportunity. Given what a crisis publishing is in, I continue to find myself exceedingly lucky I found any work at all, let alone work in news media. The degree of relief I feel, as you might imagine, remains profound. My biggest concern in quitting my former job in such dreadful economic circumstances was that my book might be my final hurrah to fourteen years in publishing. I'm glad to say its not, though I would have continued to do this irrespective of whether I'm paid or not.

One aspect of my present gig that makes it so fulfilling is familiarizing myself with English language news resources in places I would not have otherwise gotten to know, such as central Africa and the Caribbean, discovering first class, UN-funded news organizations, or independent European agencies that are every bit as good as AP or Reuters. It's all been enormously inspirational to discover, especially at a time when it seems as though the business is going to absolute pot.

The other aspect of my present gig that I've really enjoyed has been working with a crew of twenty-two regular bloggers, such as my longtime colleague and pal Mitchell Plitnick, the Belgrade-based  journalist Amy Miller, Cairo's aBendinTheNile, and Ilana Sichel in Jerusalem, to name a few. Their writing can be every bit as good as anything I read at past gigs, if not more so. I still do a serious amount of traditional editorial work at Zeek to balance it all out, and the perspective it helps provides is something else.

The best anecdote I can impart about all of this is that my co-workers, who hail from India, Europe, and Pakistan, like to jokingly refer to me as the 'Mossad agent.' Though it's not meant to be pejorative, in context, it's still a hoot to hear. Relating this to a relative who queried me about the Arab media I've been having to review, giggling, he responded, " Nu, you know, this stuff could come in useful some day."

(De)Programming the Middle East

If you live in the US and need to follow events in the Middle East closely, Mosaic is absolutely indispensable. A thirty-minute long aggregation of regional television news programming broadcast on Link TV, the show is the brainchild of award-winning producer Jamal Dajani.

A Jerusalem native, and a resident of the San Francisco Bay Area, I spoke to Dajani about his work on Mosaic for the March issue of Zeek. What transpires is a fascinating conversation about the state of Middle Eastern media today, and its increasing importance for Americans.

If you enjoy this piece, check out Covering the Coverage, and Left of the Middle East. Short excerpts from my book, they cover much of the same topical ground as my conversation with Dajani, but focus on US and otherwise progressive Western news media instead.

The Song Remains the Same

The best stocked section (aside from the Health and Diet shelf) in San Francisco's Green Apple Books bargain media annex.

Perhaps the single most frequently asked question posed by my interns at Tikkun was why we continued to receive so many books about Nazism and the Holocaust to review.

Indeed, every day, new books about the Shoah would inevitably outnumber arriving titles on Israel and Judaism. "It's one of the occupational hazards of being a Jewish magazine," was my stock reply.

Blast From the Past

It's finally out, and boy does it look good. Strolling through the Haight yesterday, Jennifer and I stumbled upon the brand new edition of the Punk Planet interview collection, We Owe You Nothing, at the appropriately DiY, volunteer-staffed Bound Together Books.

Featuring several new interviews conducted between 2001 and 2007, We Owe You contains six pieces I acquired for PP back in the day, including interviews with Steve Albini, Sonic Youth's Thurston Moore, Negativland, Team Dresch's Jody Bleyle, Outpunk's Matt Wobensmith and Black Flag.

Toronto's Eye Weekly reviewed the collection on the 9th, together with former Punk Planet Associate Publisher Anne Elizabeth Moore's excellent Unmarketable. Putting Anne's book in the mix not only was smart. It also explains why PP remains essential to understanding the zeitgeist.

An Editor's Whiteboard

The golden road to unlimited content. Beit Schalit, 2008.

Year End Top Ten: Books

Despite the fact that this was a book writing year, I still managed to pack in a few titles that were distinctly off-topic. For regular MashDown readers, of course, that means, unsurprisingly, I read a lot about politics, music and the visual arts, though not necessarily of the gallery kind.

This was also the first time in almost a decade that I was able to read for pleasure, and not for the purpose of assigning books for review. That, in itself, was a welcome change. Instead of scanning a chapter or two and then sending them off, I was able to take in new books in their entirety.

In no specific order, here are the ten tomes that made the biggest impression on me in 2007:

Eyal Weizman, Hollow Land (Verso)

Gil Hochberg, In Spite of Partition (Princeton)

Jacqueline Rose, The Last Resistance (Verso)

Sari Nusseibeh, Once Upon a Country (FSG)

Judith Butler & Gayatri Spivak, Who Sings the Nation State? (Seagull)

Michael Chabon, The Yiddish Policeman's Union (Harper Collins)

Michael Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae (U. New England Press)

Jeff Chang, Total Chaos: The Art And Aesthetics of Hip-Hop (Basic Civitas)

Abby Banks and Thurston Moore, Punk House: Interiors in Anarchy (Harry N. Abrams)

Jennifer Baumgardner, Look Both Ways (FSG)

Liberation Theology

It's just about out, and the first reviews for Righteous Indignation: A Jewish Call for Justice, are starting to filter through.

Edited by my former Tikkun colleagues Jo Ellen Green Kaiser and Or Rose, and the Kavod House's Margie Klein, this inspired collection, documenting the new American Jewish social justice movement, is already receiving the recognition that it deserves. According to this week's edition of Publisher's Weekly,

While written for progressive Jews and their communities, anyone struggling with the age-old conundrum of "…but what can I do?" should sample this wonderful buffet of ideas, replete not just with tradition, but with innovative interpretations suited to a 21st-century approach toward social action and reform.

A slimmed down version of "Everything Falls Apart", the first chapter from my forthcoming book, Israel vs Utopia, has a home in Righteous Indignation's Israel section. A representative excerpt, The New Jewish Left, was posted to Mashdown last July.

The Liberal Arts

   
Ron Nachmann is an Israeli-American journalist based in San Francisco. A close friend and colleague, we've worked together at a number of different periodicals, including Tikkun, where Ron served as music editor. Now a contributor to Zeek, his latest article, a review of Tom Segev's 1967: Israel, the War and the Year That Transformed the Middle East, was published in the December issue. It's not only a marvelous piece of writing on an incredibly complex and politically loaded book. Ron's essay is an excellent introduction to the politics of writing about Israeli history.

The appropriately-titled Continuity has finally arrived. A CD/DVD by the Tokyo-based, Polish sound artist Zbigniew Karkowski (in collaboration with Japanese videographer Atsuko Nojiri), this unorthodox career retrospective is the last project we signed when I was Asphodel's label manager. Already receiving excellent reviews in Europe from publications such as Vital Weekly, given press like this, I have the sneaking suspicion that Continuity will cement Karkowski's reputation as one of the world's most forward-thinking electronic musicians.

Publication Party

The new issue of Other is officially out. Though I'm running a little late posting this terrific postcard, (the release party took place a couple of weeks ago), we finally had the time to scan a copy.

A contributor (and sometimes contributing editor) to this great, freethinking mag since it was first launched, there's a piece in the current issue by me, about my years editing the late Punk Planet.

For the first time since 2003, when I served up a really loud noise set for a bunch of tranny friends at a local hair salon, I brought my Macbook and MIDI controller to the Other party and played DJ.

Speaking of Punk Planet, Paul M. Davis posted his article on the distribution crisis that triggered PP's collapse to the magazine's website. Click here to read his analysis. It's from the very last edition.

Inside the Former Fortress

The acoustics in Akko's old city are something else. Next time I go home to Israel, I'm going to make a recording of a British friend with a thick cockney accent reciting T.S. Eliot poems, in Hebrew, inside.

Changing Channels

Speaking of Al Jazeera English, if you get the chance, check out  Roger Cohen's excellent op-ed on the Qatari broadcaster in today's New York Times.

Discussing the difficulties that the service has had trying to find national distribution from America's cable and satellite providers, the Times' International-Writer-at-Large extols the network's virtues, noting, in reference to the same polarized context invoked in Friday's posting, that Al Jazeera is carried (by Yes) in Israel, where it replaced the BBC last winter.

Incidentally (and much discussed as of late) Al Jazeera English was also slated to replace CNN on Israel's largest cable service, Hot, but was outbid at the last minute by Fox News.

Covering the Coverage

His curiosity piqued by a recent article in Haaretz discussing the relative merits of the New York Times' coverage of Israel, a colleague asked me if I could point him to what I think are the best studies of Western media reporting on the Arab-Israeli conflict. For those who understand the subtext of such inquiries,  the editor couldn't have asked a more loaded question. To make such a request in today's environment means that you first have to ask why the question is important, and second, for whom.

Since September 11th, domestic coverage of the Middle East has obviously become more significant. Not just because the attacks on New York and Washington signaled the beginning of a conflict  between America and West Asian Islamists. But, also because of how it placed far more editorial requirements on a news media already struggling - and, in the US, largely failing - to meet the complex cultural demands already required of Mideast coverage by the country's Jewish and Muslim Diaspora communities.

US news agencies haven't done the best job of striking this balance yet either. However, there is more English-language, Mideast-based media to rely on than ever before to make up for it. Take for example, Israeli publications like the English edition of Haaretz on the one hand, and Al Jazeera's English broadcasting service on the other, not to mention all of the translated editions of regional sources in between. Americans now have every opportunity to read news that's potentially more informative.

Though "local" is not always a synonym for "better", irrespective of partisanship and the limitations international media inevitably find themselves subject to, in comparison, few domestic sources, including the ethnic press, deliver the same quality goods.  Does that mean that American periodicals should hang up their hats? No. Because of this country's obvious ties to the region - economic, cultural, and military, to name a few - US news outlets are morally obligated to continue reporting on the Mideast.

The question is how. Obviously, one answer would be to create content that was complementary with a foreign reporting that is better privileged for information. Another angle would be to concentrate on commissioning work on the numerous ways in which Americans deliberate about their involvement in a particular country's affairs. Thus, you emphasize domestic political discussions at, say the State Department, or, amongst Americans with cultural ties to said state, instead of the other way around.

As many editors at American news periodicals will tell you, the two biggest complaints about Mideast coverage are always that its either anti-Semitic, or similarly compromised by a desire to satisfy special interest groups. The problem with such criticisms is that they're not only frequently incorrect. But, most importantly, that they help divert editorial attention away from very real ethical problems, like learning how to properly tailor international news for a cosmopolitan, multicultural readership - during wartime.   

- From my notebook, Nov 1.

Left of the Middle East

From an unpublished conversation with a Jewish magazine editor

We have a terrible disjuncture at present, where the critical coverage that we increasingly rely on in this country comes from progressive sources that aren’t as discriminating in their approach to the Middle East as they should be. Being rightly committed to criticizing imperialism and colonialism, they frequently make the mistake of seeing all of the disparate crises afflicting the region as being different versions of the same political problem. It’s like saying that all Jews or Arabs are identical.

Take a look at how the occupation of Iraq has impacted a lot of progressive reporting on Israel: As the occupation has worsened, it has increasingly conditioned a way of covering the country that has assimilated Israel's conflict with the Palestinians with the situation created by the Americans in Iraq. The problem is that if this is the general disposition of the left press in covering the region, it therefore makes it difficult to explain the very real differences that distinguish the Iraqi refugee crisis from the Palestinian, Kurdish, or Armenian refugee crises which preceded it.

The Middle East is a very big place. Even within the space of short distances, such as that which exists between Gaza and Ramallah, the cultural and political distinctions can be extraordinary. The irony is that this is partially a product of territorial divisions first introduced by Europeans to the area. We ought to encourage the journalists we work with to strike a better balance between understanding the Middle Eastern experience of the West with the domestic differences that the outside world seems so oblivious towards.

The Ice Age is Here

Speaking of the golden oldies, in today's Guardian, there's an absolutely terrific article on the continuing relevance of The Clash's 1979 LP, London Calling. Penned by Joe Queenan, this is the kind of exquisitely written, politically-charged music criticism glaringly absent from most US news periodicals.

Part of an ongoing series of articles commemorating the 30th anniversary of the first punk explosion, The Guardian's special focus on '77 contrasts sharply with the near-exclusive emphasis placed on remembering 1967's Summer of Love in the arts sections of numerous American dailies over the past few months.

None of this is to say that similarly high quality, big picture music writing can't be found here. I've worked with countless first class writers for whom this kind of journalism is second nature. The problem is a resistance to commissioning such pieces outside of indie music magazines and alternative weeklies.

From Here to Epitome

Exhibit A

Exhibit B

In July, we started to receive a complimentary 'subscription' to The San Francisco Examiner. By featuring musicians like Nick Cave and Yo La Tengo on its cover, this historically conservative (and now free) tabloid appears to be intent on capturing my specific demographic: post-punk professionals who came of age in the early 1990s. In other words, the Nirvana generation.

I find such explicit overtures annoying because American news periodicals always over-emphasize their music coverage when they don't know who their readership is. I can't tell you how many editorial meetings I've attended over the years where an editor has asked the staff to "up" the coverage of cool bands when they're worried that they're not reaching a younger audience.

Just look at the headlines above to see what I mean. Fifty-year old Nick Cave "Gets Rowdy", fourty something Yo La Tengo "Still Has It." Its the kind of self-conscious headline writing that speaks reams about what the editors are really worried about: the vitality and worth of their newspaper.

Thinking Ahead

When I first began working in publishing, it was the mid-1990s. The 'zine explosion was already well underway, and the first web periodicals (such as Bad Subjects) were just starting to build the first substantial online readerships. Conversely, in the world of books, traditionally academic, non-fiction publishers such as Verso were beginning to chalk up serious successes with crossover political titles, such as journalist Doug Henwood's legendary Wall Street.  For the intellectual left, it was a time of immense creativity and ferment.

Compared to the past, according to the headlines, all we currently have to offer is a culture of continuous crises and closures. Music consumption is at an all time low, magazines and newspapers (both in print and online) point to dwindling (and, to be quite frank, aging) readerships, and book publishers keep issuing reports of mounting losses. After my new book is done, one of the things I would definitely like to explore is writing a cultural history of this period. Say, 1989-2009.

Bass Materialism: Grievous Angel Presents Dubstep Sufferah Volume 3
 

The New Jewish Left

Israel has become 'normalized' within Diaspora identity, (as it is for Israelis) even though the country may no longer be considered central to what it means to be religiously Jewish. From this context stems the freedom to adopt the progressive positions espoused by peace and justice oriented Israel advocacy organizations such as Brit Tzedek v'Shalom and Jewish Voice for Peace.

Along with this normalization of pro-Israel identity for Diaspora Jews has come an increasing unwillingness to refrain from criticizing the Jewish state. Where Diaspora critics of Israeli policies were once silenced by accusations that they were self-hating Jews, they now fight back by referencing the lively debate on the same policies in Israel itself. 

- Excerpted From "Everything Falls Apart", my contribution to the forthcoming anthology of new Jewish progressive writings, Righteous Indignation. (Jewish Lights, 2008.)

Goodbye to All That

Yesterday's announcement that Punk Planet was closing its doors did not come as a surprise. Still personally close to the magazine that I helped edit for over seven years (between 1997 and 2004 I served as the periodical's associate editor and books editor, in addition to writing a column), I was entirely clear about PP's situation. That does not mean, however, that the news was not upsetting. Yes, I was intellectually prepared for it. But emotionally, I was not. I've spent the better part of today dragging, going grocery shopping instead of writing. Coming home from Trader Joe's an hour ago, I even missed my exit, and had to drive several extra miles to rectify the error.

Over the course of the last 24 hours, press coverage of Punk Planet's closure has been intense. From an  SF Bay Guardian piece (GW Schulz waxing about the days when Annalee Newitz wrote for us) to the Village Voice (a critical overview of the magazine's history, by Tom Breihan) the entire alt.press world seems to have gone into mourning with us. It all very much reminds me of the fact that Punk Planet was really a writer's magazine - staffed by serious, young writers, and admired by left-of-center journalists in the rest of the U.S. press. As a young editor, that always meant an enormous amount to me. The journalistic focus on the magazine was a deep and lasting complement that helped us all get by under less than ideal economic circumstances.

But that's only half the story. Punk Planet was a cultural event as much as it was a magazine. Unlike other similar events associated with youth culture, it was a product of immense ingenuity and tireless, hard work too. Thus, when its talented writers started to get offers from other periodical and book publishers, and record labels saw Punk Planet as an important place to break artists, the reason was obvious: Because the work PP was commissioning was insightful, well-written and passionate. During an era in which every 'punk' career move was considered suspect, imagine what a wrench this threw in the so-called works. For once, or so we felt, our subculture was being recognized for non-musical achievements, like political writing, which there was no point in feeling conflicted about.

Punk Planet allowed us to live 'punk' lives without the fear - or the anxiety - of selling out. Sure, we might end up working for a New Times periodical, or sell in excess of 60,000 copies of a novel. But in the grand scheme of things, that's still chump change compared to the 'sinful' kinds of music-derived incomes that punks always complained about. What giving its staff such opportunities entailed was a right to be equally culturally influential without any of the ideological excess associated with the so-called culture of careerism. By itself, that is an absolutely immense achievement, particularly considering how we defined success. The proof is in the pudding: thirteen years of successive issues, a first class book imprint, and thousands of ex-contributors in every wing of publishing.

I could write more about PP, but I've done it before, and I think I've said enough. If you'd like to read an earlier piece about working at PP, which details a bit more about what I personally think about the magazine, check out Punk Planet Forever in Stylus. Written after the first IPA-induced storm clouds began to gather in late 2005, it does a much better job of saying what I've already said above, if not a bit more.

A Nation of Metaphors

Absorbing it all with Haaretz.

Its been well over a week since my last post. As much as I'd like to say that I didn't want to write an Israel blog because:

A. I don't like reading them
B. I'm not a tourist, I'm a citizen
C. I've been insanely busy
D. The email connection at home has been bad

I just haven't decided yet. Though all of the above is true, the fact is that I've been pondering what it'd mean to write it all up on the way back to SF, much as I used to do on these trips before the advent of blogs.

Nonetheless, I've broken down because the photograph above was simply too precious to ignore: My favorite Middle Eastern daily being used to mop up the contents of a spilled Heineken.

Reduce, Reuse, Recycle

June 1967: The endless remix.

Long Live Independent Publishing

Have you ever read The New York Review of Magazines? In the new issue, there's a great feature on the collapse of Indy Press Newsstand Services. Once the largest distributor of independent magazines in the US, ranging from Mother Jones, Harpers and ReadyMade to Punk Planet, Bitch and Tikkun, IPNS closed its doors at the end of 2006, leaving an enormous number of periodicals in serious financial crisis.

The article, Independent Publishing is Dead. Long Live Independent Publishing, covers an enormous amount of territory, talking to nearly all of the hardest-hit titles in the IPNS drama. My good friend, Punk Planet publisher Dan Sinker, is in brilliant form throughout, while former IPNS chief Richard Landry issues forth the expected. Tikkun's former editors - Jo Ellen Green Kaiser & myself - are also included.

To read my initial reaction to the closure of IPNS, click here.

This is the Modern World

For anyone who watches BBC America with any degree of regularity, I'm sure you've seen the New York Times ad that runs towards the end of every week. A pitch for The Weekender, a Friday-Sunday discount subscription package, the presentation is truly seductive. Featuring a multiethnic array of attractive, hip adults (ages 27-40, I'd wager), even though the background music is annoying, the commercial makes an excellent case for buying a three day subscription to the 'Times.  Despite the fact that I've seen it over a hundred times, it still leaves me feeling positively predisposed towards the newspaper.

That is, until I read the Saturday edition. As Jennifer has noted time and time again, its always a little too thin. Nine times out of ten, compared to the rest of the week,  there's rarely a feature story that holds our interest. Looking over today's paper, I had to agree with her. Even though there was one or two pieces that briefly caught my eye, nothing quite grabbed my attention as compared to the Sunday edition, which while like any news periodical, can be inconsistent, is always a bit more compelling.

Part of this I chalk up to the fact that there's only so many days in a week that a daily newspaper can be half-way reasonable. And, part of this I attribute to the fact that American news media tends to focus on Sunday as its "big" day, when, as someone who has lived a fair amount of their life abroad, I am used to Friday and Saturday newspapers being the Sunday-equivalent for said periodical mass. Thus, for example, if I could buy the print edition of Friday's Haaretz here in the US, I probably would. I'd read that well into Saturday, and likewise follow it up with Saturday's edition of The Guardian. Sunday would be 'Times day.

Though I could seek my fix out online every Saturday morning, my solution to this problem is to mix things up. Drinking my first cup of coffee, I watch a half-hour's broadcast of the BBC news, followed by another thirty minutes of Mosaic, the daily aggregation of Middle Eastern television news offered by Link TV. Then, I follow it up with an initial perusal of the new issue of The Economist, which we receive in the mail every Friday afternoon. Between these media, I get the equivalent of a foreign weekend paper, and, for all intents and purposes, a respectable alternative to Saturday's New York Times.

This is why, when fellow editors bemoan the falling circulation rates of established periodicals like the 'Times, ("They're all fleeing for the web!" or so the refrain goes) I tend to bristle. People aren't necessarily fleeing any specific medium. For one reason or another (think of my rather exaggerated example here), they're simply diversifying how they get their news and culture. With so many new choices, online, on TV, and in print (like the  increasing US availability of UK periodicals), can you blame them?

I Heart Ms. Dynamite: Illa State Records Presents A Little Darker

Jerusalem Calling

CBS Records, 1967

With last week's news of Jennifer's grandmother's death, it seems as though all of the sudden, there's many places to travel. To LA on Wednesday, for Dorothy's funeral. And then to Manhattan, next Monday, for Jennifer to begin an impromptu six to eight week stay on behalf of her firm. If we can afford it, before the end of the month, I'll try and join her for a weekend.

All of this talk of traveling is also an important reminder that I am leaving for Israel at the end of this month, and have to start putting my own professional house in order. Flying out there together with Vance, we'll be spending two weeks conducting interviews and making field recordings for both my book, and our new album. My parents will, of course, be hosting us.

We'll be arriving a week before the 40th anniversary of the Six Day War, and the ensuing occupation. That will of course add its own hue to the proceedings. I've been giving much thought to how we might commemorate this occasion in audio format, by reviewing numerous old documentary LPs I have, commemorating such things as Israel's capture of east Jerusalem.

Part of me thinks it would be an interesting exercise to simply "cover" one of these records, like one would an older musical recording. Another option, of course, would be to make a facsimile, only with slight differences to indicate the 40 year change in time, as refracted through our own distinct political orientations. We'll see. Clearly, we have a lot of work to do.

Field Recordings

From an essay in progress

Turn to any progressive periodical in the United States today, and in all likelihood, you'll find at least one article about the Israeli/Palestinian conflict. From large circulation monthlies such as Z Magazine, and the American Prospect, to weeklies like The Nation and online dailies such as Counterpunch and Salon, reporting on the region tends to reflexively match events on the ground, either in the form of investigative articles or opinion editorials. 

Coverage of the Israeli/Palestinian conflict by America’s left press has traditionally focused on the occupation of the West Bank and Gaza, and the plight of Palestinians living under Israeli military rule. This emphasis was sharpened during the course of the two intifadas (1987-1991 and 2000-2005) and the peace process of the 1990s, when settlement building actually increased, and the Israel Defense Forces inaugurated its policy of geographical bisections and closures in the 'territories.

Since the invasion of Iraq in March 2003, this area of coverage has expanded to include analyses of Israel’s relationship with the United States, with a specific emphasis on the role of the “Israel Lobby” in formulating US foreign policy towards the Islamic world. Reflecting ongoing concerns about Israel’s purported impact on the US decision to go to war with Iraq, in the eyes of many progressive magazine editors, Israel is no longer just an occupying power, but an inordinately influential, and frequently manipulative party to US efforts to dominate the Middle East.

When it comes to domestic Israeli politics, progressive periodicals pay little attention to it, except when it holds importance for the country’s peace prospects. Thus, when trade unionist Amir Peretz was elected head of Israel’s Labor Party in November 2005, progressive periodicals welcomed his appointment, hoping that, given Peretz’ leftwing background, he would reinvigorate the peace process. Similarly, when Israel Beitenu chief Avigdor Lieberman was appointed 'Minister of Strategic Threats' in 2006, given his ultra-nationalist politics, Lieberman's appointment was heralded as a threat to peace.

[For my outgoing editor's take on how Tikkun covered Israel, click here.]

Editorial Notes

From a conference paper I've been working on

The Crisis of Progressive Periodical Publishing

You've heard it all before. Print periodicals are in deep crisis. Whether they be newspapers, magazines or home-produced ‘zines, each year, the circulation for nearly all American print media continues to decline. With increasing self-righteousness, analysts predictably respond to this situation with an “I told you so” kind of smugness, proclaiming this change to be part of a larger, evolutionary process that publishers must either adapt to or die.

Thirteen years after the web first emerged as a viable publishing platform, no one questions this wisdom. In every sphere of the publishing industry, the question is not “when?” but “how?” Do we simply recreate our print editions online, or are we to innovate a wholly new form of periodical that commissions every kind of media for publication? If we do so, can we still call what we’re doing a magazine or a newspaper, or are we all now television stations like Justin.TV? No one quite knows yet.

Unfortunately, its uncertain as to whether there will ever be a comparable level of revenue generated online as there once was by print fulfillment and advertising charges. For example, the Internet’s flagship periodicals – Salon and Slate – despite increasingly successful ad policies, still struggle towards profitability, while only one newspaper – the Wall Street Journal – has generated a discernible profit offering online-only subscriptions.

Clearly, despite the immense number of schemes being toyed with to raise money, most are not working yet. So why do pundits continue to make such a convincing fuss about a medium that has yet to prove itself? Is it that we’re still in a ramp-up period prior to the emergence of a new set of mechanisms to accrue revenue? Or is all of the hope expressed by the move online a reflection of how publishing is losing its economic value, and that most periodicals are increasingly supported by patronage, not sales?

Lets assume the worst: that the push to move online is because it’s a cheaper and easier place to publish, which, under present circumstances requires less staff, less marketing, and thus less investment. Just a one time-set up fee for a technologist, a design team, the creation of a posting script, and enough capital to cover minor, ongoing design work and a small commission for authors. Like print, the test of the magazine’s success remains squarely on its content, and how it’s subsequently ranked and circulated.

Milestones and Memories

Milestones

I delivered the first chapter of Israel vs. Utopia on Tuesday, and received the first feedback about the book today. Everything was absolutely right on, and extremely helpful. I can't over-emphasize what a different experience it is being edited again after the last three years of being the so-called editor. Very cool. Instructions are all systems go: continue writing and sending in the chapters. 

A big shoutout to my longtime publisher and friend, Johnny Temple. We first met by email in the Fall of '99, over an article in Punk Planet about indie labels and health care which, as a member of Girls Against Boys, he'd been interviewed for. I'm not sure what occasioned this first exchange. Here's to banging out more dissenting product together. I can't think of a better editor to be working with - as always.

Memories

In 1996-1997, I formed incredible friendships with two extremely gifted and inspiring individuals: Dan Sinker, the publisher of Chicago's Punk Planet magazine (and now, Punk Planet Books, which Dan runs in collaboration with Johnny), and Rich Jensen, who was then the COO of Sub Pop records in Seattle, and the co-owner of Up Records, which put out the first Modest Mouse and Quasi albums.

For nearly seven years, I served as Dan's second, in the capacity of PP's Associate Editor, in addition to producing copious amounts of copy as a contributor. For a little over three years, I put out Christal Methodists records with Rich on our own little stealth imprint, Kolazhnikov after the band was dropped from a manufacturing and distribution deal by Sub Pop over sample clearance concerns.

Over the course of the past two weeks, I managed to spend two of the best days in recent memory with both gentlemen. Dan came over last week, together with his two year-old son, Roosevelt. Visiting the Bay Area for personal reasons, it was the first time we'd seen each other since the spring of 2002, when I spent a week in Chicago giving book readings and worked out of the Punk Planet office.

Yesterday morning, I met Rich at the 24th street BART station, and spent the day walking around San Francisco together. Stopping over here for a few hours en route to a business event in LA, it was the first time we'd seen each other since November 2003, when Rich curated a series of readings and events in the Bay Area on behalf of his publishing house, Clear Cut Press.

Very special to have had the opportunity to hang out with both Dan and Rich after all this time. Things are changing so much in our cultural end of the world. Its beyond poetic to spend time with these two specific folks at such a significant juncture. Even better, given what a tremendous sense of community connecting with all three of these guys continues to provide.

Tanya Reinhart RIP

I just received word that Tanya Reinhart passed away this weekend in New York. She was sixty-three. What a terrible tragedy. My condolences go out to her family and friends. It was only today that I learned she'd moved to Manhattan towards the end of last year, in order to assume a teaching position at NYU.

Though I didn't agree with all of her positions, Reinhart's tireless efforts to end the occupation of the West Bank and the Gaza Strip are worthy of the utmost respect. In the last issue of Tikkun that I edited (Jan/Feb 2007), Jerome Slater wrote an absolutely outstanding meditation on Reinhart's most recent book, The Road Map to Nowhere. You can read it here.

Aside from a brief email exchange we'd had in the Spring of 2005, the last time I talked to Reinhart was almost exactly three years ago, when I interviewed her for LiP Magazine. An eight hundred word excerpt ended up running in the Summer 2004 issue. I just found a copy of the unedited transcript, and thought these following words would be good to remember Reinhart by:

LiP: Is there an Israeli left at this point?

Reinhart: What’s been extremely encouraging – my ray of light in these bleak days – is to observe that in the young generation there is a movement of resistance that is completely new and courageous. It’s the same generation that got its roots in the anti-WTO demonstrations in Seattle. You first noticed it with the draft resistance movement, which is now bigger than it ever was.

Another amazing new development is that there is a whole new popular resistance movement initiated by Palestinian farmers along the line of the new fence whose land is being stolen by Israelis for the fence. Along that line, in village after village, you’ll find the entire village sitting on the ground in front of the bulldozers. Together with them you’ll find young Israelis.

For the first time in the history of the Occupation, you’ll find the Israeli army facing Palestinians and Israelis together sitting together defending Palestinian land. For me, it’s a big source of hope.

This blog entry can also be found on Alternet.

Authors, Friends

The nicest thing about being an editor are the relationships you forge with authors. By no means the first time I was reminded of this, (but definitely the first since I left Tikkun,) my former film editor decided to pay me a visit on Monday. The first time we'd actually met (after nearly three years of exchanging email and phone calls), Shai Ginsburg was out here on a brief break, determined to finally get together.

One of the best critics of Israeli film writing in English (in fact, the top right now), Shai added the kind of depth to our Israel coverage at Tikkun, which, in the form of film reviews, helped me obviate the magazine's never-ending problems with being deemed too 'anti-colonialist' (to quote a right-wing friend of mine), in its historical emphasis on the occupation, to the exclusion of other forms of Israel analysis.

Much to my delight, as Shai and I walked down to San Francisco's best Middle Eastern joint, the Old Jerusalem Restaurant, we ran into one of my longtime contributors, Other publisher and Choir Boy author Charlie Anders, whose work I've printed in both Punk Planet and Tikkun, as well as The Anti-Capitalism Reader. Strolling quickly by on Mission Street in one of her signature outfits, we almost missed her.

Thankfully, Charlie noticed us, and flagged me down. Introducing her to Shai, I explained that Charlie was the author of one of the more controversial religious pieces I commissioned at Tikkun, an article on transgendered Jews. Long in the making, Charlie's piece was a terrific read, and had a kind of secular quality to it which is so lacking in most Jewish periodical coverage of the new queer spirituality scene.

Speaking of Tikkun, the magazine's webmasters were kind enough to consolidate my infrequent blog entries into one URL. Not exactly god's gift to the blogosphere, there's still some stuff of interest. My last entry was in late December, when, despite my crazy schedule, I attempted to jot down some final thoughts on our Israel/Palestine coverage. Check it out. I'm sure I'll be writing more on this greater subject in the future.

Bring the Noise: Drunks with Guns: Second Verses (Intellectual Convulsion, 1990)

On the Road

Reading flyer, Portland, Oregon, November 2002.

Source Material

Not the best time writing-wise this past week. I've been finishing the bibliographical work that I've needed to complete for my book, and have spent a lot of time gathering together any remaining news articles I can find in order to bring myself totally up-to-date. I feel pretty good about what I've pulled together so far, though, as with other book projects I've worked on (this is my fifth), I've had to set severe limits to my source material so I don't find myself overwhelmed.

As a rule of thumb, once I've acquired everything I need to start writing, I focus on covering only the most representative instances of my subject matter and comment on them until there's hopefully nothing left to discuss. If I have material left over that I might find useful later, voila, its always there. I hold on to everything. I can't tell you how many times over the years that I've found myself grateful for my packrat habits. Sometimes I wish I'd become a librarian.

Despite this self-congratulatory pat on the back, there are two standout occasions in which I've failed to live up to my archivist's ethos. The first was during high school, when my then-classmate John Whitson gave me his only copy of a live soundboard tape of a Husker Du show in Walla Walla, Washington. Unmarked, I recorded over the cassette, thinking that it was a blank. Talk about stupid. Even then, in the spring of '86, I knew I'd committed a horrible mistake.

The second time was equally profound. In the fall of 2005, director Julien Temple contacted me, explaining that he was making a documentary about the life and times of his old friend, Joe Strummer. He wanted to know if I could give him a copy of a recording of an interview I'd done with Joe, which had been the cover story of the January/February 2000 edition of Punk Planet, (and had just been reprinted in Let Fury Have the Hour, an anthology of writings about the late Clash frontman edited by Antonino D'Ambrosio.) Temple explained that he wanted to use the recording in his film, and was hoping I would allow him to do so.

Several hours later, as I searched through boxes of cassettes in my basement looking for the interview, I found the tape. Unfortunately, along with a number of recordings of my old radio shows at my alma mater, Reed College, the cassette had been damaged by water, and was in an advanced state of deterioration. Even though Temple's crew kindly offered to try to restore it, the recording engineer that I am knew that the tape was beyond repair.

Clearly, I should have known better. It would have been great to have been able to give the Strummer interview its proper due. It was a terrific recording, and Joe was in absolutely marvelous form. As much as I like the written transcription of the interview, nothing comes close to how charming and witty he sounded on the phone. Even Strummer's coughs (was there a bong nearby?) were hilarious.

Instant Community

Yours truly with my old friend Eric Zassenhaus, at the Bitch mag going away party on Wednesday night. Eric is an editor of the terrific local literary journal, Instant City.

Photo courtesy of Bitch publisher Debbie Rasmussen. Really sad to see them leave the Bay Area, but their new home - Portland, Oregon - is about as good as it gets outside of these here parts.

Knowing Portland's publishing scene extremely well, Bitch is going to be an excellent addition to the community. Its been a while since PDX hosted a national magazine of Bitch's stature.

Today's work songs: Boxcutter, Oneiric (Planet Mu)

Pimping Product

One of the many responsibilities I ended up assuming at Tikkun was writing six 100 word book reviews which we always printed on the interior back page of each new issue. Titled Tikkun Recommends (my last TR can be found in the present edition - Jan/Feb 2007) the purpose of the section was to promote books and publishers that we felt ought to receive special consideration, above and beyond the publications we'd review in the Books section of the magazine.

I particularly enjoyed writing these reviews, because, as Tikkun's culture editor,  there were always books I wanted to cover which we neither had the room nor the writers to tackle. As one of those many editors who wished they had more time to write, penning these short pieces always gave me something of an outlet for this frustrated desire. Having written numerous book reviews over the years - for the San Francisco Bay Guardian's Lit supplement and Punk Planet - this also allowed me to keep my review writing chops somewhat fresh.

The reason I mention all of this is because yesterday I wrote my first TR-style reviews for Zeek, the periodical that I recently joined as a contributing editor. As burnt out as I still am, it was nice to re-inhabit this style of writing, and push a few books which deserve attention. If you were to ask me precisely why I like to do these things, that pretty much nails it. There is so much excellent culture being produced right now - by writers, musicians, film directors, software designers , the works - that it feels almost like a categorical imperative to continue to support it all somehow.

This was always the modus operandi we worked with in terms of the bands and writers we covered when I was Punk Planet's associate editor. As a culture magazine, we channelled this ideological sensibility religiously, to a point that we treated our cultural coverage as though it were a political endeavor. By pointing our readers to productions that we felt were important, like many punks, we genuinely believed that we were creating some kind of cultural front out of which a better politics would emerge.

Upon sending out my reviews late yesterday afternoon, I recalled this political impulse and asked myself whether, ten years later, I still believed in it.  "Yes," I muttered to myself, giggling. "If only because I'm still being asked to write the same things I've always written."  Wondering if I was talking to them (and not myself), our two dogs got up from the carpet and started nuzzling my knees with their small furry heads, thinking that I was telling them it was time for dinner.

Currently in Rotation: Various Artists, Tectonic Plates (Tectonic Recordings/Baked Goods)

My New Job(s)

Its been nine days since I left Tikkun. Unwinding has not been easy. As I imagined, there would be email and calls to answer, and loose ends to help the accountant and staff sew up. I'd wager that at least three days were devoted to helping the office out, which is actually less time than I anticipated would be the case. Having spent six weeks at the office after resigning on November 22nd, I dedicated myself to wrapping up as much as humanly possible. I'm sure that there will be more calls and emails in the future. But for now, until the magazine hires a new managing editor, its my assumption that my major post-Tikkun work is complete.

Every time I find myself growing impatient with my inability to get going on my next projects faster - a book, a record and two essays - I always look back at my "To Do" list for December to remind myself of why I'm so damn beat. (That does not include the fatigue accumulated from having worked six days a week for two and a half years.) Ranging from IT, distribution and general business tasks to editorial planning, writing, updating the website and employee training, the six week period during which I undertook my concluding work sums up everything that made my former job so draining. I'm really grateful for the experience, but I'm also extremely relieved to be moving on.

The best part about being home is how comfortable it is to write in. Ever since we moved into our new house in San Francisco's Bernal Heights neighborhood two years ago, unfortunately, given my work schedule, I've had a devil of a time finding any real occasion to spend time here. Every weekday morning, when I'd get up to make coffee before work, I'd stare into my beautiful office, wondering whether I'd ever get a chance to enjoy the space and take advantage of what it ideally could afford me. Lined with books and vinyl LPs, and a large desk bearing my home studio set-up, sitting in my decrepit Berkeley office, I'd frequently find myself daydreaming about importing old records bought at foreign flea markets into my rapidly aging computer.

Now that I'm truly here, I can't say enough good things about it. The sun shines through my window for the better part of the day, giving my room some of the best light of any spot in the house. Sitting in my father's old office chair, typing away while my favorite BBC shows stream through my Mac and my two dogs chill on the floor beside me, I can't quite recall a time that I felt so at home. Really, anywhere. Though this definitely will not last forever -  essentially five months from today - it feels like I won the lottery. And I don't feel the least bit guilty about this opportunity either.

As much as this all might seem like its about finally doing what one really wants to do, that's not quite it. It's about having a decent quality of life, and the time to take care of the kinds of things that we ignore, delay, or put off when we work sixty hours a week. Like spending time with one's family, paying bills promptly, returning phone calls from friends (the same day, as opposed to two weeks later), and doing laundry.  And, most importantly, cooking dinner for my wife.  Seeing the smile on Jennifer's face as she sat down to a freshly-grilled flank steak last night summed up exactly why this was one of the best decisions I've ever made. All I can say in response is "Sweetie, there's a lot more meat where that came from."

And We All Fall Down

By now, you've probably heard the news: America's biggest boutique magazine distributor closed its doors on December 27th. By no means a surprise, the closure of the Indy Press Newsstand Services (formerly known as Big Top) remains a big blow to independent periodicals in the US. A significant number of its former clients remain owed substantial sums of money - including my former magazine, Tikkun. While Tikkun will be fine (we left the IPA a year ago), it remains unclear whether many of its former clients are going to survive.

In the interim, the IPA's inability to pay its titles have resulted in the closure of a number of outstanding national magazines, including the award-winning Clamor, and the end of the print edition of one of America's best up-and-coming music publications, Grooves. (Interesting to note that in all of the online discussions of the IPA's closure, no one has said anything about this specific periodical's status.) One of the first  reported casualties of the IPA's financial misanthropy, Grooves stopped appearing on newsstands in 2005. In 2006, it relaunched as a web magazine.

As a publisher, the most important lesson I learned from the IPA debacle is how much it underlined the continuing crisis of professionalization in indie culture. For example, every time I'd go to the IPA's office to attend a sales meeting, I was continually reminded to be 'more professional' regarding design and editorial considerations. For a brief while, I found myself grateful for these talks. I already had a strong background in distribution, and had been hired in part to help shore up the business end of things.

But, as time wore on and the issue was increasingly invoked, I began to wonder whether the subject's continuous reappearance in our business discussions was symptomatic of something far more worrysome. When our regular sales statements and payments  eventually halted, and allegations of poor accounting and distro fee collections emerged, I finally understood what all of this talk about  being 'more professional' was all about. The IPA was failing to perform its most basic functions as a distributor. To put it bluntly, the company could barely tie its own shoelaces.

For any firm, administrative incompetence is always a recipe for disaster. Unfortunately, such imperfections are common to many independent businesses, and have more often than not led to their downfall. What troubles me most is not the fact that the IPA was not an exception to the rule, but the cultural consequences of its failings. Through its mismanagement, the IPA put an entire wing of the American periodical business in crisis. Some would even go so far as to say that the IPA killed it. I'm not just talking about any community either. I'm speaking about the countless number of publications which grew up in the turn of the century indie publishing scene.

For the past thirty plus years, America has witnessed the growth of one of the most creative periodical industries in its history. Despite the fact that this business has weathered numerous ups and downs, it was not until the 'zine explosion of the 1990s that independent periodical publishing in the US fully flowered, creating numerous special interest political and cultural titles expressing the enormous ingenuity and literary talent of an entire generation of artists, writers and designers. Not only did this milieu produce something culturally valid; it also created a market, which despite its small size, was sustainable, significant, and most importantly, politically influential.

And that is precisely the problem. The IPA's ultimate crime was that it never took this milieu seriously enough to understand what it was putting at risk through its administrative incompetence. By failing to live up to its mandate to be a responsible "antidote to media monopoly," the IPA helped irreperably damage a counterculture that was a proven platform for distributing alternative information and ideas. That is a horrible legacy to be responsible for. But it is one which ought to serve as a burning reminder of why the left still has to learn how to do business properly.