One more recap for the day: Eric Alterman’s MSNBC blog Altercation has a compelling review of Nellie McKay‘s sold-out performance at Makor last week, in case you missed it:

McKay’s performance was like a lenticular photograph—at any moment you might see another angle, another image. When she addressed and amused the crowd, she occasionally stuttered and fumbled for words, her accent reminiscent of Audrey Hepburn. Singing, she transformed into a luminous, confident star, stilling the standing-room only crowd. Her best moments were without the band; they overpowered her smart lyrics and drowned her charm. At one point, she stopped the band mid-song and requested they start the number again.

I was up at Makor to see award-winning Polish documentary maker Slawomir Grunberg’s heart-wrenching documentary “The Legacy of Jedwabne,” for which I also provided the music (and am actually interviewed in, as a participant in the memorial ceremonies held in Poland in 2001 in which the Polish government officially apologized to the Jewish surviving family members—of which I am one—for the hideous pogrom which took place in this little Polish town in 1941).

Slawomir is a lovely and charismatic man who coaxed me to play my acoustic guitar after the memorial ceremony in the old Jedwabne graveyard, not far from where 2,000 Jews were incinerated in a barn. It was cold and raining and I stumbled through the haunted landscape playing with tears in my eyes… it was a very heavy, emotionally draining day. To see his film on the big screen brought tears to my eyes again… and I do not cry very easily.

Stu Van Airsdale of The Reeler blog ended up attending Sunday’s film-critic panel at Makor with Stephen Holden of The New York Times, Thelma Adams of Us Weekly, Glenn Kenny of Premiere and Armond White (right) of the New York Press, and wrote a synopsis. What did Van Airsale learn?

A) Film critics love talking about Brokeback Mountain.

B) Munich and King Kong inspire visceral love/hate reactions among the critics who saw them.

C) Armond White secretly likes Steven Spielberg.

Aaron Hillis of Cinephiliac was there, too.

Steve Smith, associate music editor at Time Out New York, has a blog—shockingly—and he just posted an interesting in-depth review of Saturday night’s eighth blackbird concert and their signature choreography:

eighth blackbird’s stage choreography may well turn out to be the group’s most revolutionary innovation: Both Frederic Rzewski’s peppy Les Moutons de Panurge and Fred Lerdahl’s sumptuous Fantasy Etudes benefitted from the players moving about on stage—drawing attention to the score’s direction of solo and ensemble play, and thus enhancing comprehension rather than inhibiting it. While I won’t suggest that every chamber group should be dancing its programs, it definitely works for this one.

He then goes on to review the Germs‘ reunion show.

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