As the new year begins, here at Jewschool we put together an entirely unscientific, completely biased view of some of the best and worst of 2011.
2011 was simultaneously one of the most inspiring and dispiriting years I can think of. From the shooting of Rep. Gabrielle Giffords way back at the beginning of the year, to the passing of important greats like Debbie Friedman, to Occupy Judaism’s prominent place in the Occupy Everything movement. Israel has been a roller coaster, between the hopefulness of the J-14 protests to their quiet whimpering away, new settler attacks, undemocratic legislation, and fights over gender segregation. However, it was a mostly great year for the arts, despite JDub Records’ closing. Here’s to a new year with more distillants, and less despirits.
Just over a week ago, the world Yiddish community lost the greatest Yiddish songstress of our time, Adrienne Khane Cooper, who died on December 25, 2011 at the age of 65. Adrienne was a person of enormous passion and talent who, as both a performer and teacher, molded a whole generation of young Yiddishists and klezmorim.
In her short 65 years on this earth, Adrienne zigzagged the map, both domestically (living in Oakland, Chicago, and New York), and internationally, touring and studying far and wide, bringing with her a love of Yiddish that was contagious as it was deep. A scholar, a writer, a performer, and an innovator, Adrienne was a trailblazer in demonstrating to the world that the adventure of Yiddish has only begun. Adrienne’s profound love and respect for language, combined with her progressive politics made her the ideal figure for spearheading the contemporary Yiddish renaissance.
After working at the YIVO Language, Literature, and Culture summer program in New York City, Adrienne envisioned an intensified Yiddish cultural experience, and so, along with Henry Sapoznik, she created KlezKamp, the renowned annual Klezmer and Yiddish culture gathering in the Catskills, now nearing its 30th year. These two programs, both of which Adrienne had a significant hand in shaping, are responsible for the outpouring of new Yiddish cultural expression—fueled largely by the enthusiasm of their young participants—that has emerged in recent years.
Among the countless Yiddish scholars and artists whom Adrienne mentored are such prominent figures in the Yiddish world as Yiddish scholar Jeffrey Shandler, acclaimed Yiddish singer Lorin Sklamberg, and outstanding Klezmer violinist Alicia Svigals. The assembled crowd at the New York memorial service for Ms. Cooper (which packed Ansche Chesed’s main sanctuary on Sunday, January 1st) was a veritable ‘who’s who’ in the Yiddish world, and each person in attendance seemed to have at least one story of how Adrienne had changed her/his life. Each of the twelve speakers who eulogised Adrienne at this memorial service shared thoughts regarding the varied and far-reaching aspects of Adrienne’s life and legacy. Upon exiting Ansche Chesed after the memorial service, I overheard an older man ask his friend, “Did you work with Adrienne?” his friend replied, “Of course. Who didn’t??”
As one who delights in all things Yiddish and also sees in it a larger social mission, it warmed my heart when I heard dramatist and political activist Jenny Romaine read an excerpt from the Rabbi Marshall T. Meyer Risk Taker award, which was presented to Adrienne by Jews for Racial and Economic Justice (JFREJ) in 2010: “For all of this, and for never working from a place of chosen-ness or nostalgia but from a place of justice, empathy, and complex Yiddish polyphony, JFREJ is deeply honored to present the 2010 Rabbi Marshall T. Meyer Risk Taker Award to Adrienne Cooper. ” Indeed, for Adrienne, Yiddish language and culture was not a quaint novelty trapped in a glass box in a museum, but rather a living, breathing, and evolving hands-on process which could help create a better world.
Perhaps my favourite memory of Adrienne was a Yiddish song workshop she facilitated at the 2008 YIVO summer program, where both myself and Adrienne’s daughter, Sarah Gordon, who is a talented and innovative Yiddish songstress in her own right, were students. At the aforementioned workshop, I witnessed the special beauty of the bond between Adrienne and Sarah, a bond, spanning the generations, of shared dedication and love, both for Yiddish language and culture and for each other. This special bond was best summarised by the final eulogy delivered at the memorial service last Sunday by Sarah, who stated simply, but most eloquently, “She was my mother.” All too often, when we speak of great figures, we forget the unique and personal relationships that are truly the defining aspects of life—the relationships that make us who we are. After hearing eleven people speak beautifully of Adrienne as a legend, Sarah reminded us that she was also a “Yidishe Mame.”
Because of her dedication to helping create a better world, Adrienne served on the Board of Directors of JFREJ, and the family requests that donations in her memory be made to them: www.jfrej.org/. Koved ir ondenk.
New York — Matisyahu, a Jewish kid who “found” Torah Judaism through reggae and lost his ability to trim his facial hair, reported today via Twitter that he shaved.
Jewish News services the world over sent news alerts, alerting their followers that the “musician” who has made a fortune “utilizing” another culture’s music for the “benefit” of the Jewish people shaved.
It would appear that by cleaning himself of his facial hair he has lost his magical powers to assume the musical styling of the Islands as well as his ability to be a role model for other lost Jews.
This modern day Samson story doesn’t end well for this mediocre musician. While reaction is mixed, his blatant abuse of his religion and the plagiarizing of another for his career is most likely over. Few are upset about this, yet there will be many who use this as further proof that young American Jews do not have the same connection to their traditions as previous generations.
[Editor's Note: We cut the rest of this article because it isn't news. For the sake of the holiness code move on. This guy made bad music with lame ass messaging based in a lack-luster Jewish indoctrination education.]
In today’s popular American culture, expecting celebrities often recede from the limelight while pregnant. In her new EP, Beautiful Land, singer/songwriter Chana Rothman actively embraces the opportunity to channel her creative energy into an unforgettable musical journey, specifically during her pregnancy. The result is a celebration of life, brimming with heartfelt empathy, mesmerising grooves, and earthy splendor.
Photo by Elise Warshavsky
In just six tracks, Rothman creates a universe, transporting the listener to a different realm, one in which emotional honesty and whimsical funkiness reign supreme. Rothman’s music resides somewhere between the intersection of pop, folk, and ethnic, but she transcends all of them. As Rothman’s music demonstrates, we live in a thoroughly cosmopolitan, interconnected time, when such designations are essentially irrelevant labels.
The opening track, Shine, offers a life-affirming message to young people, with its light, breezy groove. The title track, Beautiful Land, showcases Rothman’s impressive stylistic and thematic versatility. Inspired by her travels in Jamaica, Rothman wrote this loving, polyrhythmic reggae-infused piece as a tribute to its people. Accented with hints of a West African groove, Beautiful Land conjures up distant times and lands, while insisting on a temporal and spatial immediacy with its hypnotic rhythms and gentle melody.
Of all the pieces on this EP, Inadequate packs in the most nerve and verve, with its brutally honest lyrics, reflecting on body image. Other reviewers likened Rothman’s lyrically-driven Inadequate to Ani DiFranco—and this was my initial association. One could also compare this track to India Arie’s I’m Not My Hair, but Rothman’s upbeat and bluesy piece has much more flavor, political punch, and lyrical colour.
In Come on Home, Rothman shifts gears again, this time offering a poignantly understated elegiac ballad. A modern-day Psalm of sorts, this piece never names the subject of its mourning, but rather evokes a flood of feeling and taps the core of the experience of loss. The following track again radically departs into an entirely different feeling and space. Listening to Baby Do That Dance for Me, one almost expects Django Reinhardt to surface magically and rip into one of his legendary hot jazz guitar solos. This joyful and jazzily ambient piece certainly makes you want to rise to your feet and dance along.
Remember Your Name, the other ballad on this EP, is the final track and mourns the loss of Michael Jackson, while also reflecting on his legacy and memory. Enlisting Soulfarm guitarist C Lanzbom’s help on the slide guitar, this track serves as an apt coda to an album which amply attests to the restorative power of music. Beautiful Land, which is available in stores starting today (and will be available digitally beginning Thursday, December 8), would make a gloriously soulful Hanukkah gift for the music lovers on your list.
'Beautiful Land' cover art: Graphic design by Michelle Nichols; Artwork by Michele Kishita
Thanksgiving celebrators around the country, here ye. Amidst all your holiday planning and travel, and your decisions on how to spend “Black Friday,” please consider how you might conclude this festive weekend. On Saturday evening, Rosh Chodesh will be upon us. On Sunday morning it is traditional to give praise to the Most High. One way to do this is by Occupying Rosh Chodesh, as some of us are doing this Sunday at Zuccotti Park in Lower Manhattan. All are invited. For more information see below:
What is Rosh Chodesh? This Sunday November 27th we are entering into the darkest month of the year, Kislev. However, during the month of Kislev, we celebrate Hanukkah, the festival of light.
Why be Occupied with it? It’s easy to celebrate when life is pleasant, when victory has been achieved and when the weather is warm. Rosh Chodesh is a monthly celebration fueled by a historical memory of enslavement. No matter where we are in the struggle for freedom and justice, Jewish tradition commands us to find ways to join forces and sing together – to experience the feeling of what redemption will truly taste like.
How will we celebrate it? On the Thanksgiving Sunday, two days after Black Friday, we will welcome the Hebrew month of Kislev with song and praise. In contrast to the melodies used to urge us toward the season of ‘holiday shopping’ we will sing the traditional Hallel / songs of praise sung on Rosh Chodesh. As part of the service, there will also be a chance for some learning and reflection on how Rosh Chodesh connects to the wider Occupy movement. The whole service should last no longer than one hour.
Who is invited? We welcome people of all backgrounds, races, gender identities and religious/faith affiliations.
As you may have heard by now, the Union for Reform Judaism has chosen Rabbi Richard (Rick) Jacobs of Westchester, New York, as its next president, to succeed Rabbi Eric Yoffie, who is retiring after 16 years. Here at Jewschool, we wish Rabbi Jacobs the best in his leadership of the Reform movement, but we are left with one burning question: We are wondering whether he is related to Gregory E. Jacobs, aka Shock G, the former member of Digital Underground best known for his alternate persona Edward Ellington Humphrey III, aka Humpty Hump.
They share more than a last name: As a number of news reports have noted, Rabbi Jacobs is doing a Ph.D. in ritual dance, and Mr. Jacobs has “even got [his] own dance“. Rabbi Jacobs leads one of the largest Jewish congregations in America; both how Mr. Jacobs is living and his nose are large.
Whether or not they are related, we hope Rabbi Jacobs’s tenure at the URJ will be committed to the Reform Jewish values of informed autonomy (“No two people will do it the same”), inclusivity (“Anyone can play this game”), intellectual honesty (“Oh yes ladies, I’m really being sincere”), and social justice (“Peace and humptiness forever”).
I’ve been into Cee-Lo for a long time now. I grew up on a steady diet of Goodie Mob cereal, and it wasn’t before long that that mid-90s southern hip hop twisted my brain for good. After devouring Jewish race literature, it was safe to say that ‘being Jewish’ became something like a form of James Weldom Johnson-style race-conciousness. Now, some years later, I see Cee-Lo, a talented wordsmith, is a haute-pop artist wearing peacock feathers in duets with Gwyneth Paltrow. Whither the ikar of Double-Consciousness.
Cee-Lo Green’s recent performance at the Grammys seemed Jewish insofar as its melodies made me think that my mother had once danced to this in the smoky parts of Hell’s Kitchen.
Cee-Lo co-wrote the song, and one of his collaborators is a 25 year old by the name of Ari Levine. Part of a group of songwriters, musicians and producers named The Smeezingtons, Teaneck High School dropout Ari Levine (no word yet on his Hebrew name) also worked with Matisyahu and various other pop outfits currently hot in the land. Born into the Conservative Movement, he seems to stand outside all these current debates about the innovation within. I like that, o ghost of Max Fleischer.
Sometimes I come across videos on YouTube that I simply can’t resist sharing with you all here.
Today, I present Steve Lawrence & Eydie Gorme singing the hits of Israel:
I wish I had grown up in a time when this is what Zionism sounded like. I wonder if we’ll achieve a time when Zionism can once again sound like this. May it come speedily and in our time.
For those of you in the DC area: The community is joining together on Tuesday, January 18, 2011, at 7 pm, at the Religious Action Center, 2027 Massachusetts Avenue NW, Washington DC, to sing the songs of Debbie Friedman z”l and remember her far-reaching legacy. Please spread the word to your friends and communities. You can RSVP at the Facebook event page.
For those of you who aren’t in the DC area: What’s been going on in your area?
Proceeds from the show will benefit the medical expenses incurred by Golem’s drummer, Tim Monaghan, who was clobbered and left comatose in a stairwell after a December party.
This time the band is supported by the Environmental Encroachment Magic Circus Band,whose ‘Burning Man’ style antics include dressing in various steam-punk and and fuzzy bunny costumes. Should be fun. If you’re located anywhere between the Hudson and MIssissippi Rivers, consider attending.
(x-posted to to KFAR) This week, representatives from Jewish cultural institutions from around the world convened in New York for the annual ‘Schmooze Conference” of the International Jewish Presenters Association. Other commitments prevented my attendance, but I was fortunate to speak at the first one a few years back.
Its a wonderful concept, and it seems to have some practical benefits beyond collegiality. As with his other projects and contributions, I applaud Michael Dorf for bringing this idea to fruition. The greater opportunity, however, is for this Association to be more than an Annual Conference for the American Jewish community.
We know all the research and findings over the last decade about the impact of Jewish arts and culture and their role as a portal to Jewish identity. IJPA has an opportunity to be the voice of the providers of these portals and advocate for the artists and member presenters who are expanding notions of Jewish expression. With the arrival of Mp3 players and digital videos and music distribution, there is unprecedented opportunity to engage untold numbers of Jews, young and old. The passing of Debbie Friedman this week, with her innumerable musical contributions to Jewish life, underscores this.
I’ll admit it- there was a time when my younger self was not into Debbie Friedman, ZL. Growing up in a Conservative minyan in a Reform shul, and being the youngest by a generation in said minyan, I mostly thought her stuff was kinda weak. English? Who sings prayers in English? Non-Jews do, that’s who.
I didn’t see what Momma K saw in her, using her music in her Sunday school class. I didn’t see how a song about a latke going bad b/c it wasn’t being fried quickly enough was going to do anything to help my fellow Sunday School students (most of whom were jerks who were not interested in being there or, as far as I could tell, being jewish) actually get into the history, the tradition and the faith of our people.
Of course, it’s easy to see now how wrong I was then. How many loved ones, friends, teachers, how many yids are moved by her voluminous catalog of songs? Friends and acquaintances are sponsoring memorial singalongs across the country, another noted how quiet facebook was during the funeral ceremony. This is the fourth post that’s referencing her on Jewschool in the last few days. How many melodies of hers have I sung and not even known it?
And that’s a question I pose to you, readers. What are your favorite melodies of hers? Let me go one step further. I’ve decided to stay home in the county of rulers instead of joining so many of our friends at an amazing LimmudNY weekend. A friend and neighbor is hosting a singalong service on Friday. Full singalong. What are melodies we could use in a full hebrew liturgy service?
When I heard that Debbie Friedman had passed away, I was sitting in a conference room at the San Francisco Federation, participating in a board meeting for Keshet, a nonprofit organization working for the full inclusion of GLBT Jews in Jewish Life. I learned of Debbie’s passing via a message posted on Twitter by a lesbian Jewish educator with whom I used to work. The news hit our meeting hard. We stopped for a moment of silence. After all, she was one of us.
Sadly, Debbie Friedman was not a member of the Keshet board of directors. She was, however, a lesbian Jew. But reading the press asking for healing prayers during her recent illness, or the overwhelming displays of grief and affection in both the Jewish and mainstream press since her passing, you’d never know it.
I didn’t know Debbie personally. But like most liberal Jews my age who have been even the slightest bit involved with organized Judaism, I’ve been touched by her melodies. Most of those songs came to me second- or third-hand, learned at summer camp and USY events from song-leaders and enthusiastic youth leaders who taught their friends to sing “Not By Might” or her havdalah niggun as though they were as old and as central to Judaism as the Torah itself. Although I eventually became familiar with Debbie Friedman’s name, I still prefer to hear her songs shouted by enthusiastic teenagers over her considerably more polished renditions. And it wasn’t until I reached graduate school that I learned that the havdalah melody I had been singing since the fifth grade came from her wellspring of melody.
I didn’t know Debbie personally. But as someone who’s been a leader in the Jewish GLBT world for a number of years, I’ve heard persistent stories about her life as a lesbian. It seems that Debbie’s sexuality was an open secret; everybody knew about it, but no one spoke of it. This made me angry. Was she ashamed? Did she fear for her career? From all accounts, Debbie was incredibly humble – is it possible that she didn’t realize how central and beloved she was to not only her Reform Movement, but to contemporary American Judaism as a whole? I can’t imagine a single synagogue refusing to sing her prayer for healing because the love of her life was a woman, but maybe Debbie could.
I don’t bear any ill-will towards Debbie for staying in the closet. But her life in the closet was double-barreled tragedy: how sad that Debbie could not live her life with wholeness, and how sad that so many queer kids were deprived such an important role model. How ironic that the tyranny of the closet overpowered the woman whose songs let us let go for a moment of what the world might think of us, just long enough to shout “Nutter butter peanut butter” or sway with our arms around our friends and not worry if we looked gay.
My friends who knew Debbie tell me that she had a life-partner. I don’t know her partner’s name, because all the press around Debbie’s illness and passing only asked for prayers and comfort on behalf of Debbie’s sister, family and friends. I hope this did not add to the unbearable pain and loss her partner must be experiencing now, but how could it not?
My friends who knew Debbie tell me that she struggled against the closet, that as recently as this year she expressed a desire to come out and a loss as to how to do so. It saddens me to think of her life ending, prematurely, with this business left unfinished. I hope whoever becomes the guardian of her legacy will follow through on this wish of Debbie’s, so that her life can be a blessing to future generations of GLBT Jews, and to all Jews.
Debbie Friedman‘s memory is a blessing. Beyond the hundreds of songs she composed, she was a pioneer of an entire genre of Jewish religious music (sometimes known as “American nusach”) that has revolutionized American Jewish prayer. My memories of Debbie are too numerous to put in a comment, so I’m putting some of them in a new post.
Everything I know about songleading I learned from Debbie Friedman. She could lead a group in song (whether she was performing a concert or leading a service) with her little finger. I had the opportunity to study songleading with her at Hava Nashira for four years. At my first Hava Nashira in 1997, in Debbie’s songleading workshop, it was my turn to get up and teach a song to the group, and then be critiqued by the group. After I finished, the first thing Debbie said was “You need to take off your clothes. Get naked.” After I got over the shock, it became clear that she was speaking figuratively; she meant that when we lead a group in song or prayer, we need to shed our inhibitions. And she was right; I have taken her advice to heart ever since then (as well as laughed many times about the time Debbie Friedman told me to take off my clothes).
In some ways she was a larger-than-life figure. She composed hundreds of songs without knowing how to read music; if you asked her for the chords to a song, she would say that she didn’t know the names of the chords, but she would play it so you could watch and write them down (“…and then it’s this one with the two fingers over here…”). There was the time at NFTY Convention 1997 when she broke a string during “Miriam’s Song”, and the backup musicians kept on going while she removed the broken string, put on a new one, wound it, tuned it, and came back in for a triumphant final chorus. And then there was the time at Hava Nashira when the power was out on Shabbat morning. Before services began, Debbie taught her new melody for Yotzeir Or (“creator of light”). When we got to that point in the service, we sang Debbie’s Yotzeir Or… and all the lights went back on!
Yet despite her larger-than-life celebrity, Debbie Friedman never sought out the spotlight. Her goal was always (as she wrote in the liner notes to Sing Unto God back in 1972) “the importance of community involvement in worship”. Debbie was at Limmud NY in 2006, where I was leading the Shabbat team. We had asked Debbie to lead havdalah for the conference. Then, on Shabbat afternoon, she told me that she was having second thoughts, and didn’t think it would be appropriate for her to do it. She felt that she was already famous, and that Limmud should be an opportunity for a new generation to take the reins, and that it would be a step backwards for her to lead it. My thought as a program organizer was that this would have been a good conversation to have several weeks before, but now that it was a few hours before havdalah, it was too late to rethink the plan for an 800-person program. But Debbie persisted, and tried to encourage me, of all people, to do it. To be clear, she was Debbie Friedman, and I was (and still am) a nobody, but I was one of her students and she was encouraging me to take off my clothes. In the end, Debbie led havdalah after all, and it was amazing of course, but what made it amazing was the way she brought the whole room together in song.
So Debbie Friedman has passed away. JTA has an article and the URJ has issued a statement. Her passing has been really sad for me and thousands of others. I will write a longer post in the coming days but I thought I would invite those of you who were touched by her music and dedication to the Jewish people share your Remembering Debbie stories in the comments here as well as on Twitter with the Hash Tag #rememberingdebbie.
Here is mine: Once in the late 1990s Debbie preformed at House of the Book at the then Brandeis-Bardin Institute and she told us that Jews can’t clap on 2 and 4 and proceed to prove it to us. It was funny. It was sad. It was classic Debbie Friedman.
Please take a moment and sing her songs, think of her contribution to modern Jewish life and how we all would not be here talking on this blog and fighting about important progressive issues if it weren’t for people liker her throughout history.
She now needs us to provide her the healing and support she has always provided us.
Thank you.
Update: There will be a healing service for Debbie Friedman at the JCC of Manhattan and it will be streamed online so people unable to attend in person can watch online.
While snow once again blankets NYC, it has failed to restrain the fearsome 
(x-posted to to 
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