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Jacob Brackman

Jacob Brackman (born September 22, 1943) is an American lyricist, , screenwriter, and film producer renowned for his songwriting collaborations with and his work in cinema. Born in , Brackman graduated from in 1965, after which he briefly worked as a for Newsweek before transitioning to at Esquire and . His career in music gained prominence through a long partnership with , beginning in the early 1970s; he provided lyrics for hits such as "That's the Way I've Always Heard It Should Be" (1971), which peaked at No. 10 on the , as well as "Attitude Dancing" (1975, No. 21) and "Haven't Got Time for the Pain" (1974, No. 14). Brackman also co-wrote songs with artists including and his late wife, musician Mindy Jostyn, with whom he collaborated on albums like In His Eyes (1998) until her death from cancer in 2005. In film, Brackman co-wrote the screenplay for The King of Marvin Gardens (1972), directed by Bob Rafelson and starring Jack Nicholson, and served as executive producer on Terrence Malick's critically acclaimed Days of Heaven (1978), which earned four Academy Award nominations. He contributed to soundtracks for films such as The Karate Kid Part II (1986) and Times Square (1980), blending his journalistic insight with creative storytelling. On stage, Brackman penned lyrics for the musical King of Hearts (1978), adapted from the 1966 French film and featuring music by Peter Link. As an author, he published The Put-On: Modern Fooling and Modern Mistrust (1967), an exploration of deception in contemporary culture, and The Acid in the Attic: Legacies of the Sixties (1997), a collection of essays and reporting from his career. Brackman's multifaceted work reflects the cultural transitions of the late , from journalism to mainstream artistic achievements.

Early life

Birth and family background

Jacob Brackman was born on September 22, 1943, in , , . Public information about Brackman's parents and siblings remains limited, with few details available regarding his immediate family background. Brackman spent part of his early childhood in , living there from 1948 to 1953 with his grandfather, who worked in the hotel business, before returning to the urban environment of . This setting in the exposed him to a dynamic that would later inform his pursuits in writing and the arts, though specific family influences on these interests are not well-documented.

Education at Harvard

Brackman attended and graduated in the class of 1965. At Harvard, Brackman immersed himself in student journalism, serving as features editor for at the age of 21. In this role, he contributed profiles and articles that highlighted his emerging skills in observational writing and cultural commentary, including pieces on contemporary figures and campus life. A standout example of his early work was the April 1965 Crimson profile "Washington's Happy Heretic," which portrayed independent journalist I.F. Stone as a witty, relentless critic of power structures, drawing on interviews to capture Stone's contrarian spirit and dedication to unfiltered reporting. These undergraduate writing endeavors foreshadowed Brackman's professional trajectory in journalism, where he would apply similar techniques to longer-form essays and reviews.

Journalism career

Early roles at Newsweek and Esquire

Upon graduating from in 1965, Jacob Brackman joined as a staff journalist, marking his entry into professional journalism. His initial role involved general reporting and writing, building on the skills honed during his time contributing to . He remained at for approximately six months before transitioning to other opportunities. In the late 1960s, Brackman began contributing to Esquire magazine, where he established himself as a sharp cultural observer. A notable early piece was his 1968 article "My Generation," which critiqued the exploratory yet directionless spirit of the Sixties counterculture, blending personal insight with broader societal analysis. This work showcased his emerging voice in cultural criticism, characterized by witty, incisive commentary on contemporary trends. By 1969, Brackman had taken on the role of Esquire's film critic, reviewing dozens of films monthly in dedicated columns that appeared regularly through the early . His reviews often highlighted the human elements and cultural implications of , as seen in his September 1969 column dissecting recent releases and his October 1970 on Hollywood's evolving portrayals of race in films like . These pieces solidified his reputation for perceptive, context-rich criticism that connected movies to larger social dynamics, distinguishing him among period journalists.

Contributions to The New Yorker

Following his brief stint at , Jacob Brackman joined in the mid-1960s as an all-purpose writer-reviewer, contributing and cultural features until 1969. One of his most prominent pieces was the July 1968 essay "Why Do We Love ''?", a dissection of Mike Nichols's film that explored its resonance as a generational touchstone amid social upheaval, blending sharp analysis of narrative structure with broader commentary on youth alienation and cultural rebellion. Brackman's review, which critiqued the film's apolitical undertones while acknowledging its emotional pull, has been widely referenced in later scholarship for capturing the era's cinematic zeitgeist. Beyond film, Brackman penned incisive features on societal shifts, such as his 1967 piece "The Put-On," which examined the rise of ironic detachment and hoax culture as responses to post-war conformity, and co-authored with Terrence Malick and Renata Adler a 1968 report on the assassination of Martin Luther King Jr., reflecting on racial tensions and national grief. These analytical works, often weaving personal observation with cultural critique, honed Brackman's narrative style and directly informed his subsequent screenwriting career by emphasizing character-driven explorations of American malaise. Brackman's tenure at The New Yorker enriched the magazine's coverage of 1960s cinema and society, positioning it as a forum for probing the intersections of art, politics, and everyday life during a period of profound change, from countercultural movements to evolving media landscapes.

Songwriting and musical lyrics

Collaboration with Carly Simon

Jacob Brackman began his songwriting partnership with in the early 1970s, following their meeting as counselors at a summer camp in 1969. Their collaboration typically involved Simon composing the music while Brackman provided the lyrics, resulting in numerous tracks that appeared across her albums throughout the decade. This process allowed Brackman to infuse Simon's melodies with introspective and relational themes drawn from personal and societal observations, often reflecting on love, doubt, and emotional growth. One of their earliest and most successful collaborations was "That's the Way I've Always Heard It Should Be," released on Simon's debut album. Brackman penned the lyrics, which explore the disillusionment with and family ideals, questioning societal expectations amid personal introspection. The song became a breakthrough hit, peaking at No. 10 on the chart. Brackman's contributions extended to other notable tracks, such as "Share the End" from Simon's 1971 album , which lyrically depicts apocalyptic visions and human folly in relationships and , and "Haven't Got Time for the " from her 1974 album Hotcakes, addressing resilience and moving beyond emotional suffering in love. Additional examples include "The Garden" and "Attitude Dancing," both emphasizing themes of escape, self-discovery, and relational dynamics. In February 2025, a remixed and remastered version of "Share the End" was released, underscoring the song's continued relevance to contemporary issues of division and leadership. Over the course of their partnership, Brackman wrote for dozens of Simon's songs, contributing to her signature blend of vulnerability and wit in exploring interpersonal connections.

Work on Broadway musicals

Jacob Brackman contributed lyrics to the Broadway musical King of Hearts, which premiered on October 22, 1978, at the and ran for 48 performances. The production featured music by Peter Link and a book by , adapting the 1966 French film directed by . Brackman's lyrics complemented the score's blend of French influences and American folk elements, capturing the story's whimsical tone through songs that highlighted character quirks and emotional undercurrents. Set in a deserted village during the final days of , the musical explores themes of war's devastation contrasted with the apparent sanity found among escaped asylum inmates who inhabit the town. An soldier, Johnny Able, enters the village to warn of impending destruction but becomes entangled in the inmates' playful chaos, where they crown him "." Brackman's role involved crafting lyrics that advanced the narrative's anti-war message, emphasizing the madness of conflict through harmonious ensemble numbers like "Going Home Tomorrow," sung by opposing soldiers. This adaptation through song underscored the inmates' joyful absurdity as a critique of societal insanity outside the asylum. Although the Broadway run was short, saw revivals that restored elements of the original book by , intended before Stein's revisions for the 1978 production. A notable 2002 staging at reverted to Tesich's script while retaining Brackman and Link's score, earning praise for its intimate portrayal of love and frivolity amid war. Subsequent productions, including regional theater runs in the 1980s and 2000s, have kept the musical alive, often highlighting Brackman's lyrics in scenes of communal revelry and poignant reflection.

Screenwriting and film production

Key screenplays in the 1970s

Jacob Brackman's debut screenplay, (1972), marked his entry into film writing during the vibrant era of cinema. Directed by and produced under the influential BBS Productions banner, the film features as David Staebler, a reserved radio host, and as his estranged brother Jason, a charismatic but reckless hustler in Atlantic City. Brackman co-developed the story with Rafelson, drawing from his own childhood memories of the decaying to craft an original that explores the brothers' fraught reunion amid Jason's ill-fated scheme to purchase a Hawaiian island. The screenplay delves into themes of family dysfunction, shattered illusions, and the elusive , portraying the brothers' relationship as a microcosm of broader societal disillusionment in post-1960s . David's introspective monologues contrast sharply with Jason's manic optimism, highlighting tensions between reality and fantasy, while the seedy backdrop of Atlantic City underscores failed aspirations and . Brackman's journalistic background as a film critic for Esquire and informed his nuanced dialogue and character depth, allowing the narrative to unfold through subtle, observational scenes rather than overt plot mechanics. Critically, The King of Marvin Gardens received praise for its bold artistry and performances, though some found its deliberate pacing frustrating; awarded it three out of four stars, lauding it as "an original, individual... movie that takes a lot of chances" while noting its uneven execution. The film exemplifies New Hollywood's emphasis on auteur-driven stories and sensibilities, emerging from BBS's collaborative ethos that empowered independent voices like Rafelson and Brackman to challenge studio conventions. Its enduring cult status reflects Brackman's early contributions to the movement's introspective dramas.

Later film contributions

In the late 1970s, Brackman transitioned into production roles, serving as and on Terrence Malick's (1978). The film, a poetic drama set in rural Texas, stars , Brooke Adams, and , and earned four Academy Award nominations, including for Best Picture and Best . Brackman's involvement helped bring Malick's visionary project to fruition through Productions. Building on this in the , Brackman expanded his into production, notably with (1980), for which he penned the screenplay based on an original story by director and Leanne Ungar. The film, a depicting two teenage runaways who form an all-girl rock band amid City's underbelly, starred and , with in a supporting role as a sleazy promoter. Brackman also served as producer, collaborating with music mogul to infuse the project with a punk-rock soundtrack featuring artists like The and . This marked an evolution from his earlier 1970s writing efforts, blending narrative storytelling with musical elements he had honed through songwriting. Building on this, Brackman's later film contributions shifted toward songwriting for s, leveraging his lyrical expertise in high-profile projects. For (1986), directed by , he co-wrote the end-credits song "Two Looking at One" with and composer , performed by Simon to underscore the film's themes of resilience and romance. The track appeared on the official , contributing to the sequel's success, which grossed over $115 million worldwide. Decades later, Brackman provided a similar lyrical touch to All Good Things (2010), a directed by and starring and . He co-wrote the song "That's the Way I've Always Heard It Should Be" with , an earlier composition from 1971 that was licensed and performed by her in to evoke introspection and disillusionment in the narrative about a real-life case. This selective involvement highlighted his transition to oversight roles, where he influenced films through targeted creative input rather than full scripts, drawing on decades of interdisciplinary experience.

Personal life

Marriage to Mindy Jostyn

Jacob Brackman was married to the lyricist and musician Mindy Jostyn until her death on March 10, 2005. Jostyn, a multi-instrumentalist and singer, served as musical director for , touring and recording with her for many years while handling a wide range of instruments and arrangements. Their intertwined their creative lives, as Brackman co-wrote for all of Jostyn's albums, including Five Miles from Hope (1995), Blue Stories (2000), and the posthumously released Coming Home (2005), blending his songwriting expertise with her musical vision. This partnership not only deepened Brackman's involvement in and but also reinforced his connections within Simon's circle, where Jostyn was regarded as a close collaborator and confidante. Jostyn died of cancer at age 48 in , leaving a profound emotional void for Brackman, who had shared both personal and professional stages with her. Professionally, her passing marked the end of their joint songwriting efforts, though the release of Coming Home—featuring Brackman's lyrics—served as a final testament to their collaborative legacy. The loss reverberated through their shared musical community, with later reflecting on Jostyn as an irreplaceable "" whose absence altered the dynamics of their work.

Family and later years

Brackman and his wife, Mindy Jostyn, had two sons, and , who were young children at the time of her death. Jostyn's death from cancer in March 2005 profoundly affected the family, leaving Brackman to raise and as a single father in , where they had been residing. In the ensuing years, Brackman maintained a low public profile while focusing on family life in , with limited details available about his sons' personal endeavors as adults. As of 2025, Brackman continues to reside in , having co-purchased a home at 23 Rossman Avenue with Vajra Kingsley in June of that year.

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