Journalism by Jewish college students, for Jewish college students.
The day-end sea of black-and-white flooding out of Jerusalem’s yeshivas is a lesson in the pleasure of monochrome. At what seems like the same time every afternoon, thousands of frocked and bearded men turn Strauss Street into a conveyor belt of bobbing Borsalino hats. It’s amazing to watch during any day of the year. The…
On the first day of Ulpan, Jenna Gang showed us the tattoo of her Hebrew name printed on the back of her neck. From then on, we called her Yosefa. We lived together in a cramped apartment in Jerusalem, she the established New York City photographer and I the aspiring California writer, both participating on…
You may not be familiar with Israel’s new hit “Kathmandu.” If not, check out this feature story by our own Gabe Weinstein to learn more. Though it may be a bit over dramatized, the show’s central premise is definitely true: there are few places in the world that don’t have a Chabad presence. If one of…
Every Friday night thousands of backpackers, suburbanites and college students stream into Chabad Houses from Columbus to Cambodia. But before Chabad emissaries can clank their glasses of Johnnie Walker to a “gut Shabbos,” they have to learn where to find kosher meat at the local Kroger, or master the art of bartering for vegetables at…
Good music calms your brainwaves and massages your emotions. But great music does something else too: It tickles your mind and makes you think. This winning combination of heart and intellect are what world band Epichorus inspires within curious listeners. Initially, you should expect to get lost in the exotic, meditative beats and richly layered sounds on debut album “One…
When my belly dancing teacher asked if I wanted to be a clean-up volunteer at the Arab Film Festival, in exchange for a little pocket cash and a glossy all-access pass, I immediately said yes. I’ve loved Middle Eastern culture – its rich food, contagious rhythms, and ancient history – since I was small. Now…
The image has become a classic in our pop culture lexicon: Charlton Heston, arms outstretched, robe billowing about him as if wrapped in a thundercloud. He turns from the teeming masses below him toward the sea and, with a voice equal parts prophet and politician, cries out, “Behold his mighty hand.” The sea parts. People cross on dry land. Music swells. “ABC’s presentation of ‘The Ten Commandments’ will conclude after these messages.” Thankful for the brief interlude, we race to relieve our bladders.
If there’s one thing Matisyahu wants to make clear, it’s that he, like his music, can’t be easily understood in simple terms, in boxes or categories. “I’m a varied artist, I don’t really have my foot stuck into one genre,” he explains in my recent interview with him. Important words from a man whose career has often depended on the assumptions brought on by labels: “Jewish.” “Orthodox.” “Reggae.”
But perhaps we’re getting ahead of ourselves. First things first: “OMG, did u c Matis w/o his yamikkuh (sp.?)???” “LOL! i no, rite?”
With the use of technology on the rise and our interconnectedness increasing, it is no surprise that for many Jews, the intersection of worship and tech — iPads, Kindles, projections screens, you name it — would be the next step. To understand the reasons for this and its implications, we spoke to Rabbi Daniel Medwin, publishing technology manager for the Central Conference of American Rabbis, the Reform rabbinic organization, about the movement’s much-praised iT’filah siddur app and what it may mean for the future.
There is something fundamentally Jewish about Christopher Hitchens’ legacy of debate, intellectualism and moral exploration. It doesn’t take much to see a parallel between his confrontational, often enraged discussion style and the general tone of the Judaism’s prophetic books — especially on questions of ethics and morality. Let’s acknowledge from the outset that Hitchens’ impact was felt by all who crossed his path. He would not have appreciated the imposition of a narrative with spiritual undertones upon his words, choices and platforms. Nevertheless — with all his question marks, conflicts and contradictions — Hitchens embodied a fiery, secular Judaism with totality of spirit.
For the fifth consecutive year, Manhattan’s Jewish Community Center hosted the Other Israel Film Festival. A project devoted to exposing issues facing Israeli minorities, the festival brought together directors and films from Nov. 10-17 to “foster social awareness and cultural understanding,” according to the festival’s website. The festival included two Palestinian filmmakers this year. “We are constantly expanding and including other minority populations,” Isaac Zablocki, the JCC’s director of film programs, wrote in an email. The films shown at the festival represent the identities of many of contemporary’s Israel’s disenfranchised communities.
Last year, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) advised “conscientious filmmakers not to participate in this festival,” according to a release on its website. The organization’s concerns included allegedly propagandistic wording in official OIFF statements and “whitewashing” of what they call Apartheid-like practices in Israel.
The hot new book to have on your coffee table during the High Holidays this year is “Bad for Jews” by Scott Sherman, a hilarious account of which Jewish celebrities are bad, worse and the worst for the Jewish image. Clear away the Ansel Adams books and old copies of Reform Judaism Magazine and make room for the funniest book of the season. Sherman is a staff writer on Comedy Central’s “The Colbert Report,” so expect great jokes and relevant comedy that is relevant to everyone from boychick to bubbe. So he delivers, but then goes on to make his writing appealing to all ages, which is a pretty good value for $13.99. The book takes 50 Jewish celebrities and discusses why they are great or not so great for the Jews.
When it comes to Jewish rappers, there aren’t that many names–MC Serch, the Beastie Boyz, Shyne. The biggest one out right now is Kosha Dillz, an Israeli-American from New Jersey who raps everything from grimy battle raps to hasbara (staunchly pro-Israel messages). He plays festivals from Summer Jam in his home state of New Jersey to South by Southwest (SXSW) in Austin, Texas.
He’s a hustler. Before I even heard his music, I saw him on twitter, hitting up Israeli celebrities to promote his music. When I saw him at the Middle East nightclub in Cambidge, Mass. Back in June, he was in the crowd a half hour before his set, passing out bumper stickers and pins.
I called him up a few days ago to talk hip-hop, business and politics. A lot of politics.
The Jewish world has so many layers beyond its pain, but tales of Jewish identity too often recount suffering with an almost liturgical precision – to the exclusion of its triumphs. Evelyn Toynton’s second novel, “The Oriental Wife,” is the tale of young Jews who flee Hitler’s pogroms for America, exploring the effects of culture clash without miring itself in that inescapable identity pity that asserts itself in similar works. As they struggle to eke out a life of substance in a strange country, these young people must deal with their shattered expectations and a new tragedy that will shake and redefine their relationships permanently.
Amy Winehouse’s “Frank” took its fast-and-easy hold on audiences with opening track “Stronger than Me,” a bouncing number that made sweet love to Winehouse’s knowing voice, while pushing the track’s subject away for not being man enough for her. Perhaps it was telling that Winehouse began her mainstream career with a hefty world-weariness that the greats of jazz and blues take a lifetime to cultivate. When she came on the scene, Winehouse – almost immediately the darling of music critics who praised her raspy cynicism and jazz roots – seemed somehow already old.
For the many who would not discover her until ‘Rehab’ became a pop culture staple (and something of a mean-spirited soundtrack for tabloid readers who followed her drug and alcohol problems), Winehouse’s fatigue was something of an absolute, a perpetual state of personal angst. This clouded Winehouse’s lighter material, her playful sense of self on tracks like “Fuck Me Pumps” and “Moody’s Mood for Love,” and made her a public punch line for many.