All it would take is a quick hug, a handshake, hell, even one of Dawson's A+ lovingly scolding glares - anything to show the audience enough respect to acknowledge our investment in the relationship previous seasons built.īy the same token, the Frank Castle problem is an easy fix. And I get it, she's with Luke then, but there's still room to acknowledge the relationships that came before. For another instance, look no further than the aforementioned Miss Claire Temple, who developed quite an intimate relationship with Matt in Season 1 and 2 of Daredevil and who simply can't be fazed by his safety or general presence in The Defenders. This isn't the first time the Netflix Marvel-verse has undermined its own relationships either. "I will come for you," he promised when Karen was in danger, and that didn't sound like a one time offer. The key point is that The Punisher further deepened the pair's relationship to the point that Castle referred to her as his family. It's hard to put into words, but there was forehead touching and swaying in an elevator. In one of the most significant, story-driven crossovers to date, Karen Page played a key role in The Punisher as Frank's friend, confidante, and well. Rosario Dawson's Claire Temple (the true hero of the MCU) has been oft-referred to as the Coulson of the Netflix shows, appearing in at least one episode of each solo show and the big Defenders team-up.
Carrie-Anne Moss's Jeri Hogarth has appeared in Jessica Jones, Daredevil, Iron Fist and The Defenders, but most of the time she's just there. Peretz once wrote that the singing voice is on the borderline between spirit and matter, and London and Berger's music brings Peretz's world of earthy mysticism to life.Likewise, the supporting characters and non-heroes of the Netflix Marvel-verse have had a chance to move around from show to show. Most of the songs can be enjoyed on their own, but be prepared to sit down with the liner notes if you want to really follow the story. The album closes with indie rock band They Might Be Giants performing "A Tavern in Pinsk," a song about a bar where the dead gather ("The Talmud doesn't have a clue/If they're allowed to have a few/but Nu! It takes the sting off dying").
My favorite song was the clever "G-d's Reply to Job," where Job gets put in his place by a deep-voiced God, backed by girl-group-style vocals: Other highlights are the smoky torch song addressed to a gargoyle in "Forever Yours," the Broadway-esque duet "It Doesn't Matter," and the mischievous "Tale of the Drowned Klezmorim," about a group of free-living klezmorim heading home after playing at a gentile wedding ("Though they strayed off of their path at the end of the night/They had already strayed at night's beginning"). Glen Berger's lyrics dramatize philosophical themes in the debate between a religious man and an apikoros socialist in "Madness," which slips in a fuzz guitar between cantorial vocals, and treats the Zohar's creation story as operatic tragedy in "Ten Faces of G-d," identifying the broken glass at a wedding with the divine broken vessels. The album opens with "The Bottom of a Well," an inordinately catchy song about death by drowning. The main storyline concerns the thwarted love of Nosn (sung in a cameo by the sweet-voiced Lorin Sklamberg) and his true love Sheyndele, who drowns herself in a well to avoid marrying Itzhak, "the lecher who bought her for kopeks." The badkhn (wedding jester) attempts to reunite the doomed lovers by resurrecting Sheyndele for a ghostly wedding but once the border between the dead and the living is broken, all hell breaks loose, so to speak. London blends eclectic jazz, rock, klezmer, and Broadway musical influences to portray a world inhabited by seductive gargoyles, mad Kabalists, phantom singers, and haunted marketplaces. Peretz's macabre play of the same name, written a century ago, which drew on Yiddish folklore. London, Sklamberg, Schwimmer / The Zmiros Project, 2002įrank London is also in the following bands listed on the KlezmerShack:įrank London's experimental klezmer opera A Night in the Old Marketplace is a brilliant musical adaptation of Y.London, Sklamberg, Caine / Nigunim, 1998.Other Frank London CDs reviewed on the KlezmerShack: If you would like to tell your own story, the Yiddish Book Center's Wexler Oral History Project would like to record it! The complete one-hour interview is available as well. " Frank London Part One: Frank London talks hyphenated Jewish-American identities, klezmer as the bridge between East and West, and the synergistic parallels between Hasidic nigunim and the music of Albert Ayler, 1."įrom the National Yiddish BookCenter Wexler Oral History Archive: Interview with Tzvi Gluckin, "The Ingathering": Note that the latest stuff may not yet be indexed.
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