The death of Arik Einstein z”l highlights the jagged seam line where Israeli and Diaspora Jews meet. Or don’t meet. JJ Goldberg comments on this in the Forward and Liel Leibowitz rips the seam wide open in Tablet Magazine. Initially I laughed through my tears at Leibowitz’s in-your-face comments: I have nothing to say to you about Arik Einstein. I’m sorry to sound like a prick, but you wouldn’t get it…But then he went in an altogether different direction to where my own heart was headed.
So I will try to say something to you about Arik Einstein, as many were just recently commenting about what the loss of Lou Reed means to them personally. I never listened much to Lou Reed, but Arik Einstein’s music changed my life.
An Israeli friend from my Hashomer Hatzair group gave me Einstein’s 1971 album, Badeshe Etzel Avigdor (vinyl)in 1974 That album introduced many to the anthem of my generation – Ani Ve Ata. . Members of Hashomer Hatzair were singing it years before it became the go-to song for American Jewish tikkun olam projects. But other tracks on that album touched me more deeply in unexpected ways. The song about his own experiences in Hashomer Hatzair, HASHRIKA SHEL HATNUA placed people like my friends and me at the center of a rock star’s view of the world.
I was one of those marginalized, radical, intellectual but “bad” kids born too late to be part of the Jewish Catalogue crowd of DIY Jews but too early to belong to the Gen X reimagining of alternative Jewish community. In the mid-1970s, our idea of a good time waswatching Arik Einstein’s comedy Lool in tandem with Monty Python. How better to understand the absurdity in being Ber Borochov quoting socialist Zionist Jewish kids in mid-1970s north America?
Fast forward to November, 1995. Right after the assassination of Yitzhak Rabin, Einstein released “Zeh Pitom Nafal ָAleha” זה פתאום נפל עליה -. a public outpouring of sorrow and compassion for Rabin’s widow Leah. I imagine there are those who wish there had been such a song for Jackie when JFK was assassinated.
Arik Einstein seemed to create the soundtrack to which many of us living away from Israel healed from the restach (assassination) from miles away. An Israeli friend sent me Shalom Chaver, the 2 CD live recording of the Rabin memorial concert and, had it been on vinyl, I would have worn down the grooves. All of Israel’s great musical artists offered moving tributes to the slain Prime Minister at that long, poignant gathering. But, as the first disc opens with Einstein’s rendition of Aviv Geffen’s iconic lament, Livkot Lekha–(I am going to cry for you) and closes with his classic Uf gozal-(the little bird flies away) ,his iconic baritone voice was like a comforting embrace, enclosing the rest of the music.
Of course, Einstein induced laughter at least as often as tears. My friend Rabbi Leila Berner captured this in an e-mail, writing that “sometimes I cried so much when I listened to his songs…and sometimes I laughed so hard when he realized that (as Reinhold Niebuhr once said), “laughter is a no man’s land between faith and despair.” Arik gave us laughter when we couldn’t find our faith and when despair was an all too frequent visitor.”
Fast forward to Limmud Conference in the UK, 2008:
I invite a new Israeli friend to join me at a late night sing-along, but he was afraid it would be mostly English tunes he didn’t know. He want on tell me that it was the eve of Arik Einstein’s 70th birthday and he was afraid nobody in the room would understand. He was going to call it a night. I began to sing one of Arik’s silly songs, אני אוהב לישון-Ani ohav lishon (I love to sleep). My friend decided to come along. And many people there did get where he was coming from. Arik Einstein’s songs turned a random group of people, who ranged in age from around 16 to over 60 and who came from places as far flung as Stockholm and Cape Town, into a community celebrating the birthday of a cultural hero.
The beauty of it was that the songs surely meant something different to each singer. For me, it was much more than simple nostalgia. It spoke directly to the piece of me that feels alienated almost everywhere these days, as I feel that most of the Diaspora Jewish world seems to have split into two groups, neither to which I belong: the one for non- and anti Zionists, the other for center to right-wing Zionists. That night, Arik’s music brought me home for a short while.
My friend, the musician Stuart Rosenberg, remembers Einstein’s music like this: In 1971 I was 15 years old, away from home for six-month exchange program, living in an Israeli boarding school while studying Hebrew and working in the fields. That was the summer of Arik Einstein’s hit song Ani V’Atah…. Lying awake at night… with the aroma of night blooming jasmine in the air and the sound of Arik Einstein playing beneath my pillow, I was as far as I could be from my own bed, yet listening to those words I knew I was home. I eventually returned to the states, but forever after that summer that song and those words have been at my core, and, like the aroma of night blooming jasmine, it only takes a few notes to transport me back to those moments when I truly became who I am.
Another friend told me that she watched the memorial ceremony in Rabin Square. In my mind I immediately heard Arik Einstein singing about the night Rabin was assassinated, so I listend to Shalom Haver – .Then I played Einstein’s cover of the Geffen song, from the Shalom Haver album:
When we are sad, we go to the sea. / That’s why it’s salty. And it’s sad —That we can return borrowed equipment But it’s not possible to give back this longing…
When I saw the link for the new Maccabeats video, I was excited! Another song to play ad nauseum on youtube as I sit in my office. Those Maccabeats, they’re so catchy. And I love showing the videos to my students.
Then, a friend’s comment gave me pause. She noted that this video (now “unlisted” on youtube) was (probably inadvertently) really awful to Sigma Delta Tau (ΣΔΤ, pronounced “SDT”), a national (and it just so happens, historically Jewish) sorority.
Full disclosure, I was in a (different) sorority at a large state school and am a graduate/alumna in good standing. I was in the sorority for the food, mostly, and didn’t really enjoy it like many of my friends did. It (being in a sorority) seemed like the thing to do at my school, so I did it. While I felt that the Greek system was mostly silly, some of my friends flat-out hated it. My feelings of mild dislike for the system and my modicum of tolerance for the silliness within the walls of my own house stayed with me for the 4 years of school and beyond.
Sigma Delta Tau is a national sorority, formed in 1917 when other sororities at Cornell closed their doors to these Jewish women. Today, many chapters of ΣΔΤ exist, and while they’re no longer 100% Jewish, they are filled with lovely (and, I’m sure, not-so-lovely) young ladies who enjoy the sorority life. I’ve always said that if a ΣΔΤ existed at my school, I would’ve joined it, because I like that the letters look like EAT.
In the video, a pack of stereotypical high school bullies (decked out in Glee-like letterman jackets and hats with Greek letters on them) harasses a kid at his locker. Too bad ΣΔΤ is not a fraternity. It is not a group of high school boys. (If I had to guess, I’d hazard that the Maccabeats chose the letters on the hats of their video’s bullies because the Greek characters look like “EAT.”) Why use letterman jackets and Greek letters to transform “nice” guys into “mean” guys, just by throwing on some emblematic gear? Bullies come in all shapes and sizes, and by stereotyping Greeks and Greek life, you’re not really doing much better than the people you’re attempting to mock.
Maccabeats. Guys. You have to “earn” your letters when you join a Greek house. The nice girls of ΣΔΤ wouldn’t just give their letters to mean high school boys. In fact, a quick perusal of their website shows that, as a national sorority, Sigma Delta Tau supports organizations like Jewish Women International. If you’re going to use Greek letters, do your research. I don’t care if your school doesn’t have a Greek system. Don’t (inadvertently, I hope) falsely make a Greek organization out to be a bunch of teenage bullies.
I know there’s a Greek aspect to the Chanukah story. Those Greeks and the kids in Greek letter organizations are totally different.
It’s Chanukah, guys. Time to rededicate your video. Fix your error. Or, at the very least, apologize to the women of ΣΔΤ.
Like the zombie living dead trend,Torah manicures fever just will not die.
Starve the cold, feed the fever, or the reverse. Kill it, already. Why is this still being talked about as though it were an innovative thing? It is NOT.
Look, the idea seems innocuous- in order to make Torah attractive to girls, let’s have a middle school club in which they give themselves manicures with things related to the Torah, parsha scenes, perhaps, and (eventually) discuss them. (How bold, how innovative! came the cry from the innovation alter kockers.)
Guess what Midrash Manicures is not, other than innovative? Innocuous. It trivializes both the girls and the Torah. It doesn’t (as some claim) make Torah more accessible, it makes it “cute” – compared to what “boys do” – which is, study commentaries, and use Torah to make laws and meaning. (When boys do things like get manicures, as they sometimes do for events like Manicure for the Cure, it’s funny, because what girls and women do is seen as trivial and silly. Even though they’re stepping outside of traditional masculinity, they can do it in this instance, as long as they make a joke out of it.)
But, everyone howls, it makes girls more interested in Torah! Well, does it really?
Let’s say it does: So, why aren’t they interested in Torah without it then? What is the structural problems with the way we teach Torah that makes girls think, Nope, not for me? The reason girls maybe don’t love the Torah or whatever is that it’s not cute or cool or sexy for girls to be smart, ESPECIALLY in middle school, when this whole manicure thing is going down. Girls are socialized to not be openly smart or bold or interesting because boys don’t like it. (And boys are the most important thing. Duh.) Instead of openly challenging that-or anything else- Midrash Manicures is buying right into it. It’s not unlike fraternities and sororities who coordinate massive efforts around philanthropy and raise money for kids with cancer-it looks like a great thing to do, so no one questions it, or their failure to work on any level for structural change or systemic roots.
It’s not that, in and of itself, there’s something wrong with getting a manicure. It’s the idea that painting one’s nails with the parshah is an innovative way to teach girls Torah instead of a regressive reinforcement of ideas about gender and both the importance of Torah (it’s so simple you can put it on your nails, if you’re a girl) and how girls can be induced to learn. But in several of the articles lauding this innovation, when the girls were asked about it, their responses were along the lines of: My friends say I’m so lucky because I get to do my nails in school. Clearly the Torah study is sinking in.
Rainbow Tallit Baby has written about this as well, and nailed it (pun intended): “While the manicure program may get more girls in the door than a regular midrash class, offering this program sends the message that torah study is not a serious occupation for women and that torah is not appealing on its own and needs to be sugar-coated (or Ravishing Red coated) to be made palatable to them.”
Hey, Jewschoolers. Check out my piece in Heeb about Lou Reed, z”l. I’ll tease it here, and you can click on the link to read the rest on Heeb.
If you’re reading this, you probably already know that Lou Reed died. So, I’m not going to write a newspaper obituary. This is the internet; you can find betterones on your own, and learn all about why The Velvet Underground was such an important band and all that. I’m also not going to write one of those “Hey, Lou Reed kicked ass and Lou Reed was Jewish, so see? Judaism can kick ass too” kinds of pieces, nahmean? Let’s not stretch the Jewish thing, but take him at his word: “My God is rock’n’roll. It’s an obscure power that can change your life. The most important part of my religion is to play guitar.”
But I’m Jewish and Jewy and I do want to reflect about why I think Lou Reed’s artistry is so vital, how it reaches me, through my prisms, or as the case may be, mirrors.
“I’ll be your mirror
Reflect what you are, in case you don’t know
I’ll be the wind, the rain and the sunset
The light on your door to show that you’re home” (“I’ll Be Your Mirror”)
More than anything else, Lou Reed was our mirror, reflecting what we are, in case we didn’t know.
We are terrified of freedom, but deny it. Shaking off the effects of sterile Long Island and forced, adolescent, electro-convulsive “therapy” to “cure” him of his bisexuality (it didn’t work), Lou Reed grabbed a rock and roll public by the collar, spit in its face, made it stop averting its eye from anyone fearful, and look hard at what liberation really looks like.
To read the rest of this article, follow this link.
The following is a guest post by Efrem L. Epstein. Efrem is the founder of Elijah’s Journey, an organization focusing on the issues of suicide awareness and prevention in the Jewish community.
For several months now I’ve joked about the potential lawsuit I could file against Matthew Quick, author of the novel “Silver Linings Playbook” from which the film nominated for eight 2013 Oscars is adapted. On first glance, Pat Peoples (renamed “Pat Solitano” in the film) could only be based on me. We’re both die-hard Philadelphia Eagles fans, who took up dancing as a hobby, spent time living in Baltimore, wrestled with issues of life’s purpose and idealized love and battled the demons of depression and won (K’eyn Ayin Hara). In reality, I am hardly the only person in the world who can relate to Pat. Depression affects 350 Million globally and, in the U.S. alone, there are 1,000,000 suicide attempts annually. Many are surprised to learn that reported suicides outnumber homicides by more than a 2:1 ratio (and if one were to account for unreported/unconfirmed suicides the ratio would likely be closer to 3:1). In thanking David O. Russell after her SAG-AFTRA Best Female Actor win, Jennifer Lawrence proclaimed, “You made a movie for your son so that he wouldn’t feel alone, and so that he could feel understood. And I think I can speak on behalf of most of us and say that you helped more than your son. You’ve helped so many sons and daughters, husbands, wives, everybody.”
The positive lessons that can be learned from Silver Linings Playbook are so numerous that at times it feels like an entire social justice curriculum…and a good one at that! Not only does the movie enlighten us about tolerance and acceptance but it also offers some fresh and rich insight on how we as a society can move past many of our stubborn stigmas regarding depression, mental illness and emotional disorders (three cheers for Pat’s character being portrayed as both desirable and dateable even with his demons and flaws). And let’s not forget the lesson about how so many of our personal relationships (romantic, platonic and family) can be improved through more open and honest lines of communication. Silver Linings Playbook has also been a wonderful conversation-starter that has prompted many public figures to further share their own stories. I strongly recommend reading former Congressman Patrick J. Kennedy’s piece from The Daily Beast.
But the movie is especially poignant in my eyes for offering up a “playbook” of sorts for handling life’s curves. Life is, and should be, full of dreams but the dark side of dreams is that they often get shattered! Six months before Pat Solitano appeared on movie screens, Vice President Joe Biden gave many of us in the suicide awareness/prevention movement our own “Jackie Robinson moment.” Recalling the tragic accident which claimed the lives of his daughter and first wife, he recounted, “”For the first time in my life, I understood how someone could consciously decide to commit suicide…because they had been to the top of the mountain and they just knew in their heart they’d never get there again.” As we watch Pat move on from his old dreams to build new ones, we realize a truth of life: Bad things do happen to us and sometimes REALLY bad things happen to us, but even amongst our most shattered dreams there is always a road back to happiness. “Folks, it can and will get better,” Biden told the audience later in his speech.
Tomorrow night is to be the first of many Jewish events unlike anything ever seen before.
The reason: it’s explicitly secular, and therefore explicitly Jewish.
Let me explain.
Tomorrow night is the premier event of Oholiav (oh-HO-lee-AV), a “meeting place” where the secular art and pop worlds come into contact with Jewish values, philosophies and narratives.
That’s abstract. Let me break it down.
Jewish culture and secular Western culture share some basic values: don’t murder people, stand up for what is right, be a good person.
When you look into some of those deeper details though, the wide range of Jewish views on gender roles, on human rights, on politics, on the importance of spirituality, are very likely to differ from that which we have to come to know in the secular world.
So, where are these points of tension, and where are those moments of harmony?
Oholiav examines secular culture through the pop culture—films, YouTube videos, singles, albums, TV shows, Broadway musicals, plays—and the world of art—literature, art galleries, dance. In pinpointing those moments when values are espoused in the secular world, or stories are told or beliefs are “preached” in the secular world, Oholiav compares these moments with their Jewish counterparts.
Does Dinner For Schmucks parallel the Jewish value of hospitality towards guests (hakhnasat orehim) or slam the door on the face of the ideal? Does Francisco Goya’s “The Disasters of War” series serve as a reprimand of oppression, unconsciously echoing Jewish discomfort with militarism? Do these elements perhaps meet somewhere in the middle? Perhaps the twain shall never meet? (Not to mention, the Jewish people rarely hold similarly with only one point of view on anything.)
At 7 PM, in celebration of the art openings, we’ll gather together on the 5th floor of the Kraft Center for special performances by OMG Poetry, Ezra Benus, Lori Leifer and ChEckiT!Dance; followed at 8 PM by a Q&A Talkback with questions from the audience, in conversation with Ellen Alt and with ChEckiT!Dance about both artistic and Jewish elements of their biographies and bodies of work.
The result is Wake the f**k up, a new video reminding us to vote (for Obama) that is getting a lot of attention and play on the youtubes.
I don’t personally feel it any great accomplishment of craft or cleverness, but is noteworthy in that JCER is now officially a Super PAC, has funding from George Soros and is using its funding to offer campaigns rooted in Jewish culture as a counterpoint to the Adelson cash flooding the election. Its also noteworthy in that it is circulating virally (voluntarily) rather than mass-cast on the airwaves. Its not Ezekial 25:17, but it has about the same amount of profanity (you have been warned) and is just as entertaining.Watch it here.
Asked whether Tel Aviv had any “personal significance” to him as a choice of venue for Lollapalooza, Ferrell gazed as he struggled to give a non-committal response, “Let’s just say that I think that it’s a place that needs good music. It deserves it, it demands it, and so it shall be.” Elsewhere he has cited Tel Aviv’s geography, lack of an international festival or a curfew… Very nice, but is that all?
Indie Rocker and Jewish Day School Alumna Regina Spektor
As those of you who have been following this season’s America’s Got Talent and/or have read my previous post know, one of the most promising contenders in the show is a religious Jew who is a singer. Not only that, but he is an incoming freshman at the Jewish high school I attended. Curious if any ICJA alumni before have ever enjoyed success and fame as popular musicians, I did some searching but could not find anything. To my knowledge, the only music icon to have graduated from ICJA was Disturbed front man David Draiman (who first spent some time at the Wisconsin Institute of Torah Study, WITS, and Torah Valley High in California).
I then expanded my search to include alumni rockers from any major Jewish day school in the U.S., the U.K., Canada, and Australia. (Incidentally, this search revealed volumes about the institutional identities of the individual schools. While some schools mention Nobel Prize winners and Rhodes Scholars among their graduates, others mention only male ‘notable alumni,’ and some only rabbis, major Jewish community leaders, and mega-machers. And some even mention convicted murderers. I’m looking at you, Charles E Smith Jewish Day School.) Interestingly, the rock star Jew-school grads hail disproportionately from Orthodox day schools. Care to interpret?
Anyway, on to the challenge (answers after the ‘more,’ but no peeking!):
which of these famous musicians attended which of these Jewish Day Schools? Hint: two or more may have attended the same school
Lest there be any doubt in your minds, Skokie, IL is the bastion of cool these days. Jewschool’s very own Adam Davis just moved there, I grew up there, and…oh yeah, the likely winner of this season’s America’s Got Talent hails from there too.
AGT Contestant and Skokie native Edon Pinchot, 14
Singing sensation AGT finalist Edon Pinchot is 14 years old and about to start high school at Chicago’s Ida Crown Jewish Academy this coming fall. He and his family live just blocks from my parents (who are long-time friends of his grandparents), and his parents are pillars of the orthodox Jewish community there. I remember his mother, Laurie—an exquisitely refined, thoughtful woman, from the Skokie Women’s Tefilla Group which I regularly attended in my pre-adolescent years. The rest of the family are also substantial folks who excel at what they do. More »
Jewschool founder Mobius aka Dan Sieradski is part of the panel at this very interesting event at the 14th Street Y on “The Future of Jewish Culture.” A full press kit is here. A quick look at the panel shows it covers not only various sectors but geographies and aims to address a significant amount of ground in an evening:
“After a decade of flourishing Jewish creativity, major Jewish cultural enterprises are being forced to scale
back operations or close entirely. Using recent funding cuts as a springboard to examine the most pressing
issues facing new Jewish arts and culture, “Now What?” addresses:
New perspectives on American Jewish identity
Waning support for quality Jewish art and culture
Strategies for cultivating Jewish art and culture in the future”
May 15, 2012 7pm, 14th Street Y, 344 East 14th Street (between 1st and 2nd Ave.), New York, NY 10003
If you’re in the area and are interested, sign up here. Naturally, this is a subject that deserves and requires significantly more time than a single evening. The need to advocate for, plan and implement a national Jewish Cultural Policy could be the focus of a week long conference with representatives from major communal institutions and umbrella organizations, local presenting arms and various elements from artists and performers to independent organizations. It could also be a great panel to recreate at the General Assembly because the message points need to be heard by people who hold the purse strings and those who put the money in that purse
As someone who runs a Jewish cultural initiative, I’m very interested in this and am excited that its taking place. I’d be interested to know who’s attending and if any funders or folks from the institutional community will be within earshot. And of course, as a non-New Yorker, I’m glad to see there’s three other regional centers represented on the panel.
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.
Hilarious and amazing. This might be one of the greatest things I’ve read in quite some time. Apparently, there are just under 3000 Jews in the Czech Republic; however, according to the most recent census data, those in the Czech Republic who voluntarily filled in their religion as “Jedi” numbered over 15,000.
I hate to have to ask this, but would a Jewish Jedi be a Jew-di? Terrible, I know — forgive me.
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