Kafka on the BBC!

I flew out to the far remote borough of Manhattan yesterday to record an interview for the BBC! They did some really cool things with it. I had a super long conversation with one of their producers, completely without knowing that they'd recorded her 7-year-old listening to (and reacting to) our version of "The Metamorphosis" being read.

Here are the oddest things about it:

a) it was in Manhattan, not London;
b) the person interviewing me was in London, and so I ended up talking to an empty chair in a completely empty room;
c) they asked me a line of questions about what my kids thought of the book, and what other kids thought of it, and then they asked a question about how Kafka's feelings about the Austro-Hungarian Empire led to his feelings of isolation. I didn't really answer that one well. Seriously, interviews make me into a deer in the headlights! Which is really odd to say, itself. I'm not used to, you know, saying "interviews" in the plural. Or being on this side of the gun. Err, the microphone.

But the producer was wonderful and Dan Damon, the host, was incredibly nice and gracious, and asked about my other books even though the interview was over and he didn't have to at all. I didn't see the real TARDIS, but I suppose they could always invite me back one day. You can listen to the whole dang thing at this link. For the next week, anyway.

Caught Rapping on Video

Aaaaaah. I hate the way I look on video. But I do rap, and that's something of a consolation, right?

Yesterday the amazing Sawyer Novack and I got interviewed about 1/20, the movie I wrote and he costarred in. We were promoting the first New York City screening of the film -- which is happening on Sunday, November 6 (see below). He was a really good sport. And we saw each other for the first time since filming, and (now I'm going to sound like a grandparent or something) he's at least twice as tall as he was when we shot it, and he's been up to all this other stuff. For instance:
New Anti-Smoking Ads Warn Teens 'It's Gay To Smoke'

That's right. SAWYER IS ON ONION.TV. (And it is totally offensive, and hilarious. Sawyer comes in at 1:55 if you're squeamish.)

And, yes, we're going to be screening the movie live! It's at the Branded Saloon in Brooklyn. It's a "brunch screening" at noon, whatever that means. Come and figure it out with me. (Oh, and here's Part 1 of yesterday's interview, which I'm putting on the bottom because I fidget a lot at the beginning. I know. Diva.)

Dressing the Part

So a few weeks ago I stumbled across this weird video. It's a fashion show from the '80s, a Jean-Paul Gaultier collection featuring hot bored-looking chicks dressed up as Hasidic Jewish men.

Of course.

I was basically compelled to feature it in a Jewniverse, which I did (it's out next week--subscribe right now to get it!). Then I wrote it. Then I thought that was the end of it.

It wasn't.

Today I'm wearing a white button-down shirt. It's a far cry from the punk-rock t-shirts of my choice, the vaguely hip blazers of my wife's selection, but it's what I've been wearing more often lately. Like Gaultier, I might be going through a phase of my own -- albeit, less fashionably. And, uh, less revealingly.

I have to say, I kind of like it. I feel more serious -- about work, about myself, and about little things. (My posture is improving dramatically.) It's a little more distinguished. And when I walk down the streets of my own relatively ultra-Orthodox neighborhood in Brooklyn, I get this whole stare of respect and/or identification with a group of people whose respect or comradeship I never thought I'd be after. Which is to say, the old guys. I always wondered why the bulk of retired people didn't just wear t-shirts and Bermuda shorts. Now I think I know.

Anyway. A few weeks ago, the online show Rew and Who did a feature on 1/20, the movie I wrote. It's filmed in the East Village, in a studio in the back of a bar called Otto's Shrunken Head, and it's every bit as punk and alterna-something as you think it is. I was invited in for an interview along with one of the stars. Heading out of the office, I shed my starched and Jewish shirt and changed into a more-suitable Mumm-Ra t-shirt (which you might think is related to Mamre, where Abraham pitched his famous tent, but is actually the bad guy on ThunderCats) and ran downtown.

So that was how I filmed the first interview:  

We got invited back today -- we're appearing with Alan Merill, who wrote "I Love Rock 'n Roll." And again, I'm wearing a white shirt. This time, I'm not taking it off. After all, there's nothing more punk than not looking very punk in the first place. This might not be all of who I am, but it's a part of who I am.

Even if they mistake me for Jean-Paul Gaultier.

1/20: The Official Sub-Page

Just as a matter of site stuff: I added a page here for 1/20, the movie I wrote. (It isn't the film's actual website, which is more comprehensive and informed; this is just sort of reminding me that I wrote a movie, and anyone else who winds up on that page too I guess.)

And Kayla Dempsey, who plays Yvette, and I were just interviewed yesterday on the punk variety show Rew & Who. Kayla bursts out with some a capella Janis Joplin because she is incredible. Rew is pretty amazing, too. I mostly just giggle and prevaricate. Here's Part 1. Edit: Here's Part 2! With Kayla singing Janis Joplin's "Mercedes Benz." She is so amazing.



And because I'm not quite ready yet to stop talking about it constantly: I wrote a new book! It's about my best friend dying and the R.E.M. album Automatic for the People and the first time I fell in love. Check it out and review it. You can even maybe buy it, if you've got $2.

Every Day Is Yom Kippur

A few weeks ago, I got an email from a writer named Adi Elbaz. She'd just finished Yom Kippur a Go-Go and wanted to talk to me. Could she do it? And could she do something with it?

She just wrote a really, really sweet piece about my book. It's here. This is just a bit of the awesomeness contained:


Lonely (Wo)man of Faith in a Modern World

In many ways, Yom Kippur A Go-Go  is the story of Hava Aaronson, or me as a 12th-grader: the story of to-thine-own-self-be-true-ing against the odds. And the odds are even stronger when you purposely seek them out, as Roth does: when you consciously make yourself a stranger in a strange land, no matter how appealing its social ethic. Because Roth’s story of religious tribulation takes place, almost entirely, in the anything-goes wastelands of San Francisco’s Mission District, where, as an Orthodox Jew, he—not the chick doing performance art with her own menstrual blood—is the freak. 

Read the rest >>

We also had a pretty intense email interview. I'm not sure if she'll use it for something else, or I might ask if it's ok just to put up here.

L Magazine, Michael Showalter, and Surviving Memoirs

If you're click-happy, there's a new interview with me in The L Magazine today. It's mostly about my memoir but  there's some good stuff about the 1/20 movie, Sammy Davis, Jr., and the perils of writing about yourself and your dating life before you're dead (and before you've quite stopped dating).

Have you ever written anything that you'd like to take back?
I always sort of wish I could rewrite the past. That’s why I write memoirs. It’s a whole process of saying something and then regretting it and getting embarrassed and then thinking, wow, I’m glad I got that out so I never have to think about it again. And then you do readings, and then it’s a whole new world of embarrassment.

This is all, I should say, in preparation for my reading tomorrow night in NYC. It's at 7:00 at Pianos, 158 Ludlow St., and here is the cast:

-MICHAEL SHOWALTER, comedian, actor, writer, director and author of the most recent Mr. Funny Pants (Grand Central, 2011). http://www.michaelshowalter.net/
-MATTHUE ROTH, author of the memoir Yom Kippur a Go-Go, the novel Losers, and the feature film 1/20 (currently in post-production). As a slam poet, he's filmed for HBO and MTV. He lives with his family in Brooklyn and keeps a secret diary at www.matthue.com 

-ALISON ESPACH, author of the most-recent, critically acclaimed debut novel The Adults (Scribner, February 2011). http://www.alisonespach.com/
-KOREN ZAILCKAS, author of the internationally best-selling and socially-charged memoir Smashed (Penguin, 2005) and its follow up Fury (Viking Adult, September 2010). http://korenzailckas.com/

-Hosted by Founder & Executive Director of Freerange Nonfiction MIRA PTACIN (www.miraptacin.com) 

See you there?

We Experiment on A.J. Jacobs

I got to interview A.J. Jacobs for MyJewishLearning. I was excited and nervous and trepidatious -- I liked The Year of Living Biblically a lot, although there were more than a few parts that made me wince, and I loved the hell out of his just-released The Guinea Pig Diaries.

But in his writing he comes across as smarmy and self-assured and, well, a bit of a smartass. And I'm not very good at thinking on my feet -- let alone, having to go up against superpowers like you'd suspect Jacobs to have. In his books, he is a comeback machine. He has a zingy one-liner response for everything, and his subjects quiver and crumble against him.

But it turns out that he's hugely nice and polite and good-humored and actually sort of docile. He's the kind of person who tells jokes that you'd find in joke books for kids and really laugh at them. When I started the interview, I actually thought he was from the Midwest. Maybe I'd just seen A Serious Man too recently, but that sort of homeliness and courtesy was unmistakable. Check out the full interview...

A.J. Jacobs is a bit of a gonzo journalist and a little bit of an undercover secret agent -- but, most of all, he is a living, walking experiment. In his first book, The Know-It-All, he read the entire Encyclopædia Britannica from beginning to end. In his follow-up, The Year of Living Biblically, he attempted to follow the Bible as literally as possible -- expunging all polyfibrous garments from his wardrobe, not shaving for a year, living inside a tent in his living room for a week (his wife, an enduring spectator and the eternally good-natured Teller to his Penn, was invited to join him inside but chose to sleep in their bedroom instead) and even stoning sinners in Central Park.

In Jacobs' new collection, The Guinea Pig Diaries, he embarks upon a new project every chapter, from outsourcing every aspect of his life to India (including emails, calls from his boss, and sending love letters to his wife) to practicing Radical Honesty, a method of living in which he tells everyone exactly what's on his mind, from his mother-in-law to an attractive editor at Rachel Ray magazine. He even sneaks into the Oscars, impersonating Australian actor Noah Taylor, and becomes a celebrity for a night.

Jacobs is less a guinea pig than a test tube, letting new theories pass through him with nearly no absorption. But he never misses an opportunity for profundity, and he's always ready to learn life lessons from any source, great or small. Sometimes, it feels like he's learning the same lessons every time --that he needs to stop multitasking, stop being shallow, and relearn the simple lessons of being a child. Although it's never explicitly stated, Jacobs' hero could be Robert Fulghum, the author of All I Really Need to Know I Learned in Kindergarten -- with a side dish of Kurt Vonnegut, perhaps.

The new book doesn't come close to the emotional honesty and rawness of Jacobs' attempt at in vitro fertilization in Biblically or his reconciliation with his father in Know-It-All, there are basic emotional truths in each chapter of Guinea Pig, like the let's-work-together-and-save-the-world moment at the end of a Stephen King book, or a really good rabbi's sermon. It's punchy, funny, constantly self-deprecating but unfailingly optimistic.

We were lucky enough to talk to Jacobs by phone from Denver, where he was preparing for a reading. After the swarthy, self-assured-but-inquisitive tone of his books, I wasn't sure what to expect -- either the snarkiest person alive or the gentlest. To my surprise, the voice that answered the phone was laid-back, chilled out, and not at all what I imagined from already having read about his innermost thoughts. Inadvertently, I blurted out:

MJL: Where are you from?

A.J. Jacobs: I am actually from New York City. I grew up in Manhattan.

Weird! You have such a...I don't know what to call it, a relaxed accent. It's not at all what I expected.

Well, I'm in the middle of my book tour in Denver. Maybe I've adapted a Colorado accent unknowingly!

This new collection kind of feels like a best-of. There's not really a point A that you're starting from, or a point B that you're aiming for, like you had in your first two books.

About half of the pieces come from Esquire, and half are new. One piece I did, the one about pretending to be Noah Taylor at the Academy Awards, I did a tiny version of it in Entertainment Weekly -- which was just a couple hundred words in a box. I sort of built it up into a full story in here.

How did you recreate the experience? Do you keep a journal?

I do keep a journal, and I did keep some notes. So I felt good. It felt like delving back into the glory that was being a celebrity. As a matter of fact, it felt good revisiting all these pieces.

Did you feel like you were digging up dirt on your own past?

Actually, no. Most of them were either very recent or they were completely new, so it wasn't like I had to do too much digging.

You say you always keep a little bit of each experiment over the rest of your life. As a Sabbath-observant person, I felt a little bit of myself shrivel up at that...like a lot of people I know, I hoped you were going to keep with it, or that we were somehow different from all your other experiments.

The Biblical experiment changed my life forever in so many profound ways. First of all, we joined a synagogue. We don't really go, but we're members, which is a pretty big step for me. Also, we're sending our kids to Hebrew day school there. I'm okay whether they become observant or non-observant, as long as they're mentsches. At first, I thought it would be nice to send them there. Now they know more Hebrew than I do.

One of the biggest ways it affected me was in blessings, where the Bible says to bless everything you eat. It changed my whole attitude toward gratitude. During my year, I was saying all these blessings of thanksgiving, and I kind of got carried away, as the Bible tells us to do. I was saying thanks for every little thing in my life. Over the course of our day, we tend to ignore all the things we have that go right. Instead, we focus on the three or four that go wrong, and this has kind of taught me not to overlook those things.

And the same for many of the experiments in the new book, they've changed me for good as well.

Did any of the new experiments activate something in you that you don't like?

Maybe the celebrity-for-a-night experiment. I was getting so many compliments, and people telling me how great I was, that my ego started to balloon out of control, even though I knew deep down that I wasn't a famous celebrity. I got a taste of how these celebrities become egotistical maniacs. Afterward, I remember waiting in line at a restaurant, thinking, "Don't these people know who I am?"

An Interview and a confession

Marjolein, of the wonderful Marjolein Book Blog, just interviewed me. She's both one of the most voracious readers on the interwebs, and one of the most devoted. I honestly think she's one of the thirty-six secret pillars holding up the world of young adult literature. She just read and reviewed Goldbergs, so she gets to a bit of Hava analysis:

If you could be a character from your books for one day, who would it be?
Without a doubt, Hava from Never Mind the Goldbergs. I'm an Orthodox Jew, and when I wrote the book and I was single, everyone thought that Hava was my ideal girlfriend. The truth was more like, Hava is my ideal for myself. She's weird and awkward and very cool, and everything that she does, she takes the time to think about. She believes in doing it. She's purposeful about its execution, and she makes it rock. She's like the person version of Sleater-Kinney, my favorite band. Even when they cover B-52's songs, they put, like, 110% of themselves into it.
MORE >

Interview: Matisyahu Brings the "Light"

Here's the moment I knew Matisyahu had stopped being a Jewish phenomenon and entered the realm of pop culture. My sister, who was living deep in the Bible Belt, told one of her non-Jewish friends that I'd become Orthodox. "Oh," he said. "Does that mean he looks like that Matisyahu dude?"

Portrait by Schneur Menaker


Matisyahu might not be the official face of Judaism in America, but he's a lead contender. The reggae-singing phenomenon, a baal teshuvah who became Orthodox in his twenties, might have the most recognizable profile in pop music due to his beard alone. After learning to be religiously observant through Chabad, Matisyahu expanded his learning to include the teachings and prayer styles of Breslov, Karlin, and other Hasidic groups in addition to the Chabad rebbes.

Matisyahu's third studio album, Light, comes out August 25 -- almost six months after its expected release, and three and a half years since his last album, the pop-infected, Bill Laswell-produced Youth, which sold over half a million units.

Since then, Matisyahu has gone back to the basics. He has a new songwriting cave (an old warehouse in Brooklyn's Greenpoint neighborhood), a new synagogue (a Karlin Hasidic synagogue, where the prayers are shouted at the top of your lungs), and, perhaps most radically, a new sound to his music. His new songs, both on last year's single Shattered and on Light, still have the reggae influence that dominated his earlier albums. Yet new album's tone is darker, more varied, and beat-driven. "One Day," the album's first single, has a dreamy, summertime quality that is equal parts Bob Marley playing acoustic and "Eye of the Tiger"-like '80s jams. "Master of the Field" is an electronics-heavy jam that brings his vocal beatboxing to the forefront.

MJL spoke with Matisyahu and learned out about his new band, the stories behind the Light songs that he isn't telling anyone else, and why Matisyahu just can't stop loving God.

MJL: A while ago, you told me how Israel right now is for Jews how Greenwich Village was to hippies in the '60s -- wild and innovative, the only place where Judaism's really alive and mutable and organic, whereas in the United States, Jews are sort of stagnant. Do you still feel that way?

Matisyahu: Anywhere in America where I happen to be -- Crown Heights, Willamsburg -- in any Jewish community, it seems like there's one type of Jew. There's pressure to fit in and dress a certain way, talk a certain way, and if you don't do that, it's almost like you're not Jewish. And then in other places, there are a lot of different types of Jews -- and, in those places, you lose the intensity of belief and of observance and of the lifestyle. And that's only among religious Jews. In America, you can be Jewish and elect not to have anything to do with Judaism.

In Israel, even sitting in the airport, you're among a hundred different kinds of Jews, and it's amazing. It's inspiring. Everyone's doing their own thing, but it's not just their own thing -- they have a whole community of people backing them up.

Then you come back to America, and you really feel that we're a small minority of people. We're trying to hold onto something that doesn't necessarily fit into our hands. In Israel, Judaism is alive. It's a real, tangible, living thing.

Is that where the titles come in? Your last E.P. was called Shattered, and it seemed like the very small prelude to something a lot bigger. And then the new album's going to be called Light.

Yeah, it all kind of figures together. There's a Kabbalistic idea of the first world being shattered, utterly destroyed, and the second world -- the world we're in right now -- being a tikkun, a fixing, of the first one. Are you an artist?

Do you mean --

I mean, like, a visual artist.

I draw a little, but I don't really know what I'm doing.

I know what you mean. That's where I am, too. (Laughs.) So when you look at something without light, it looks dead. It's two-dimensional, without any depth or substance. If there's no shadows and no light twisting off of surfaces, it's like it doesn't exist at all. Just like that, when a person looks at the world, it's like it's dead. Then, with light and a backdrop, everything becomes revealed, and their depth comes out.

That's what Shattered was about. Naming the E.P. "Shattered," it was about stopping running away.

I was running for the past few years, running nonstop. My career, my marriage, my kids -- but mostly my career. This past year I've spent mostly at home, going to minyan, working on my record, jamming in my studio.

The songs on Shattered, and the stuff that's been released from the new album so far, is all way different than anything you've done before -- it's more beat-driven and electronic. Why the change?

The foremost changes were all vocally. Musically, we've used elements of reggae, but it's not traditionally reggae. If you listen to my first single, "King without a Crown," it's not reggae -- the beat isn't a traditional reggae rhythm. It's not really a reggae song.

Your vocals, though, really are very reggae-influenced...

It's true. When I sing that song, a lot of my earlier songs, I'm using a Jamaican accent. When I was first developing my singing, I was only listening to reggae. When you listen to only one kind of music, that style penetrates you. A lot of the big reggae singers, the people who've been around for years, they take new techniques and integrate them into their singing. These days, I'm listening to a lot less reggae. I'm listening to a lot of different things.

Do you feel like you need to keep a certain level of reggae influence in your music? Are you feeling pressure to keep it or to move away from it, one way or the other?

In this record, I allowed myself to drop it. Reggae isn't the prevalent music style I'm listening to these days. Also, I've been taking voice lessons, developing my voice to go in different directions as well. I'll hold onto the reggae in some places -- others, I'll just let it go.

Musically, I allowed for all my interests to come together. I've been writing the music for Light in a different way than we've ever written before. [Guitarist and musical director] Aaron [Dugan] and I -- we wrote all the songs together, all very free-form. He'd play guitar, and I'd beatbox and sing. We'd go into the studio and start jamming for an hour and a half. We'd hit record, and then when we finished, we'd play it back and listen to it.

Then we had a bunch of guests on the album. Ooah from Glitch Mob did a bunch of electronic stuff. We had a producer from Jamaica, Stephen McGregor, and another, Motivate. People are like, "He's lost his reggae thing, he's not reggae anymore -- " It's ironic, [McGregor] is this 17-year-old kid who's producing Sean Paul, Trevor Hall, he's a singer-songwriter in the Marley mold, and another producer who's done Fishbone.

You write really candidly about God, praying, and your relationship with your religion. Does it feel different to write, or less confidential, when you know a million people will hear it? How do you get to the safety of trusting yourself?

It's entirely different. My band, my writing, everything. We changed the band around after Youth. There's a new bassist and a new keyboardist. Building the new band has been a two-to-three-year process.

And then, lyrically, my teacher, mentor, friend Ephraim Rosenstein -- he takes a Chabad ideology and compares it to Breslov ideology -- he asks what's important in each one -- and then he brings in other philosophies, contemporary philosophers like Nietzsche, and he takes wider themes from Rosh Hashanah and Yom Kippur. First we break down the themes into simple ideas. Then we bring in stories to illustrate these ideas.

That's kind of what Rebbe Nachman did. He says that the most important ideas can't be transmitted as abstract ideas, that they have to be transformed into stories.

Definitely. I did a project for the John Lennon Save Darfur project to end child slavery, and I'd been studying a lot of Breslov stories, and I looked for a way to link these together.

I came up with two children -- child soldiers in Africa, they've been forced to fight a war. They escape their army, and then they're lost in a forest, like in [Rebbe Nachman's] Story of the Seven Beggars. One song is called "We Will Walk" -- it's about continuing on, no matter what happens. "Two Child One Drop," from Shattered -- it's pretty clear, it's about killing someone, which Hasidic tradition compares to embarrassing someone. It's like putting a gun up to someone's head and making them do something.

Is it something that you expect people to pick up on and intuit when they listen to your music -- or do you think they're just going to go, wow, that's some intense violent imagery, and move on?

I don't know. A lot of it's not explicit in the songs, Africa or Rebbe Nachman -- maybe when they read this interview with you, they'll get it. But I think the ideas come through.

Rabbi Rosenstein and I came up with thirty categories of ideas, of stories -- and then we pared the concepts down to words. Then we went into my studio in Green Point, just Aaron [Dugan, Matisyahu's longtime guitarist] and I -- Aaron would play and I'd beatbox. We'd jam for an hour without stopping.

Then I'd listen to the sound. It was some really dark stuff we were coming up with. I'd take the music, write down some lyrics, and form the songs that way. We brought in other people -- I flew to Jamaica, where we brought in [legendary drum and bass production team] Sly and Robbie. We had the oud player from The Idan Raichel Project, Yehuda Solomon from Moshav singing Hebrew on top of me. The songs ended up in a totally different place from where it started.

Has all the new stuff you're doing transitioned into your live show?

A lot of what we've been doing is totally new. We've abandoned writing set lists in advance. We're abandoning expectations about what the show should be -- we have moments of in-between songs and improvs that become longer than the songs themselves. There's better dynamics. People drop out, we get quieter than we've ever been. The space and the music almost do the job for us. The lyrics are the smallest part.

Are you nervous about the reception of the album? It feels like a lot is riding on this new record -- it's really experimental, but it's also really personal.

In the end, when someone listens to the record, they won't hear that story I told you. I guess the worst reaction could be, "Aw man, this is a love story, Matisyahu isn't writing Jewish songs anymore."

Or everyone might love it, and decide you're not writing just-Jewish songs, but universal songs -- songs that hit everyone in the same way. There was one song about a boy dying in a desert, telling a girl to carry on without him. I was playing some of the songs for my wife's family, and my sister-in-law was like, "What girl is this about? It isn't about my sister." In a way, that's the best compliment I could get.

Punk Torah: Alive and On Fire

The new site Punk Torah is live today! A few weeks ago, Patrick A -- the lead singer of the band Can Can -- started doing Punk Rock Parsha, a weekly video podcast about the week's Torah portion from a punk perspective.

As the podcast built up steam, Patrick has also delivered rants about anti-Orthodox diatribes (in spite of the fact that he isn't Orthodox by a longshot), Shabbos poems, and Judaism in the year 5000.

In recent weeks, the spillover of new Punk Torahs has seemed to hint that it's building up into something...and, well, this is it. In the introduction, Patrick declares, "If you love G_d, Torah, and the Jewish people...but are really tired of the crap that comes along with it, then keep reading."

The mission statement continues: "We think of synagogues as the Jewish night club...a place where you go and relax for the first time all week. Take a load off, make a new friend, sing, drink, dance...whatever moves you! Somewhere along the way, the Jewish People lost sight of that."

The site has sections for both the weekly parsha and random other videos, and then there are sporadic other features -- including one on YIDCore, who are quite possibly the most talented Australian Jewish punk band to ever play through the entire "Fiddler on the Roof" soundtrack...and, uh, an interview with me. It covers Never Mind the Goldbergs, of course, but also delves into Muslim punks, Hasidic underground culture, and why Jews are always outsiders.

But, really, the most amazing thing there so far is a poem/rant from somebody named "Michael S." I don't want to quote it, because I'm mentioned and it might be namedropping, but it makes me believe so strongly in everything we're doing, so much that I can't not write it:

They talk about their mortgages.
We stand there nodding our heads, trying to interject and talk about the concert we went to the night before, the religious ecstasy of watching another human being bare their soul in front of other people.
They wear khakis and polo shirts.
I wear my tzizits, a t-shirt and jeans.
They like pastels.
I have tattoos.

...

So we temple shop. We go to services everywhere we can. We stand around with the other “adults” and wait for the opportunity to name drop some underground bands. We mention Matthue Roth or Y-Love, G_dcast, the religious orientation of Benjamin Grimm*, looking for a glimmer of recognition, a slight nod from another weirdo like us, hoping against hope that someone will hear us, someone will recognize the passwords to this secret club that we didn’t even know we belong to and show us the clubhouse we didn’t even know existed.

keep reading >

Mayim Bialik: From Blossom to Brachot

A few months back, my friend Lisa Klug introduced me to the illimitable joy that is Mayim Bialik. Descendant of the poet Chaim Nachman Bialik, neuroscientist, and former child star, she's going through a whole revolution now. With the birth of her second child and the emergence of her interest in Orthodox Judaism, she's wild and thoughtful and funny. (She's also doing a G-dcast for us, so stay tuned in the coming weeks for that.)

And, oh yeah, she starred in Blossom.

I was a child of the '80s in name only. I never watched Blossom when it first came out. I was aware of it only as - and, the few times that I did, it both intrigued me and turned me off: some too-cool kid who was two or three years older than me (at the time, a vast gap) who wore wild vintage-store outfits, used unnecessarily long vocabulary, and had a penchant for confessional D.I.Y. films about 2 decades before YouTube was even conceived of....It made me feel more than a little protective. This was my subculture they were stealing. She couldn't possibly be doing it right.

Little did I know, for its time - and even for ours - Blossom was completely transcendent. In the pilot episode, The Cosby Show's Phylicia Rashad, wearing a retro-'50s polka-dot dress, drew a map of the human ovaries on a sheet cake with a tube of icing in order to explain to 14-year-old Blossom Russo how her period worked. Subsequent episodes made pretty profound statements on puberty, body image, premarital sex and divorce and parental responsibility. The endings were always sugar-coated, but the TV show itself (which has just been released on DVD) was meaty and unafraid in ways that make current sitcoms like How I Met Your Mother and The Office feel positively sanitized.

As much of a travesty as grouping Blossom together with tepid '80s sitcoms such as Full House might be, mentioning the Mayim Bialik's name together with the name of the television show might be an even more audacious generalization.

In the decades since she stopped playing Blossom Russo, Bialik has not sat still. She's earned a Ph.D. in neuroscience and has undertaken cutting-edge studies at UCLA as one of the top researchers of Prader-Willi Syndrome in the field. (Read more about the disorder here, or sift through Bialik's blog to find out about her work.) She's also testing the waters of going back into acting, with recent appearances on Curb Your Enthusiasm and Bones. And she's also in the middle of another big revival: she's experimenting with being an observant Jew.

What first motivated you to start researching the causes of Prader-Willi Syndrome? Are you still?

I always had an interest in working with kids with special needs, and in the neuroscience department at UCLA, you generally meet a lot of professors and then drop into a project that suits you. There's been a lot of genetic research on Prader-Willi, and there's been a lot of behavioral research, but there isn't a lot of research combining the two..and that's what I thought I could bring to it.

I got my doctorate last year, so my research was my thesis. Since then, I've done some writing for organizations that raise money for Prader-Willi research. In the meantime, I've started acting again, and we just had our second child, so I've had my hands pretty full, taking care of him and doing auditions.

Have you been auditioning a lot?

Yes, actually! Far more than I thought I would be. I'm auditioning for all sorts of things. I'm actually filming an episode of Bones tomorrow. I've auditioned for comedy, drama, movies -- anything they send my way.

Is it mostly one way or the other -- dramatic roles, films, or ironic stuff? Are you being selective about which roles you take?

Not really. I don't think I can afford to be selective. I'm just seeing what's out there, and whatever I do get, like Bones, is great practice to get into the swing of things again.

Have you tried connecting your Prader-Willi research to non-Prader-Willi patients -- that is, once you've discovered the impulse that makes people with Prader-Willi insatiably hungry, can you theoretically control that impulse in people who don't have PWS?



It actually depends on the mechanism itself. There's a lot of reasons that people with Prader-Willi can't control their hunger. Regulating the hypothalamus is difficult, because it connects to the brain and there's a lot of sources in the brain that control every function. There's a theory that the hunger you can explore, there are several different sources for, and we'll never be sure exactly what causes it. You can try and narrow down a little more...but also, the reasons are different. So it's difficult to pinpoint it down to one thing, for sure.

I remember reading a few years ago - you know, the way rumors spread between Jews - that you were active at UCLA Hillel, and that you'd started getting more observant. Um, are you?

My mother was raised Orthodox, and my grandparents are immigrants from Eastern Europe. I was raised in a Reform household, but with a lot of remnants of Orthodoxy. We lit candles. We had two sets of dishes, but my mom never told me why. I thought it was breakfast dishes and dinner dishes. There was no emphasis on halacha and learning. Totally not to disparage my parents; it just wasn't their thing.

When I went to college, I didn't have a lot of friends. Blossom had ended two years before. I'd always gone away to Jewish camps for the summer, and so I kind of ended up at Hillel and I started learning with the rabbi, and it kind of took off from there.

I'm hesitant to label myself or call myself Orthodox because people will be like, "Celebrity Mayim Bialik says she does X, but I saw her doing Y" - I guess, to be safe, I would say I'm Conservative, but in reality, I'd say Conservadox. But my husband and I have definitely increased our observance over the years, and we're always trying to grow.

We kinda do the Big Three [Shabbos, keeping kosher, and family purity], but it's hard. I mean, it's hard for everyone to classify themselves, but it's a whole new level of hard when people are watching you. Like, I pretty much eat a vegan diet, but I eat eggs if they're in things. What I say is, I eat a mostly vegan diet, and that's kind of how it is with Judaism. We keep Shabbos, we keep kosher, and I don't know if people want to hear about the Mikveh, but, um, yeah.

And now that you're acting again, that whole "celebrity Mayim Bialik" factor is coming back into play. Is it weird to get back into the arena after you've been away so long? What sort of gigs are you looking for? What sort of gigs are you getting?

When I was younger, things came in and I got offered things a lot. Now it's my manager saying it's the girl who played Blossom, which has its own attractiveness, and its own stigma.

And then I have projects that I want to do. I just optioned the Rashi's Daughters books. I love that I can do something like that in the first place, and I'd love to get it made into a film. But I don't have the kind of star power to say, I'm ready to talk to Steven Spielberg next weekend....

Do you ever watch old episodes of Blossom? Would you ever show them to your kids, or is it kind of something you want to keep in the past?

No! I stopped watching in the middle of the first season, and I would kind of watch the last half and part of the second season. But I literally have never watched the last three seasons. So, needless to say, my kids haven't, either.

What was your life like during Blossom? Did you have much contact with the outside world?

Yeah. It was actually pretty normal - we would work for three weeks, then I would go to school on my week off. I had tutors on the rest of the set. We got there two hours early than everyone else - me, Joey, and Michael each had our own tutors, and our lessons started at 7:00 and lasted until everyone showed up at 9. I was on the show from when I was 14 years old until when I was 19. At a certain point, I was very recognizable-I'm a pretty normal person, I was always a pretty normal person. I wasn't motivated by fame or money. I just wanted to act.

Were you doing anything Jewish at the time?

Not so much. We filmed on Friday nights. The local Bureau of Jewish Education used to have programs for beyond-bar-mitzvah-age kids, which was helpful. I went on retreats like Shabbatons, and that actually really cemented my Jewish identity. When my parents weren't doing Jewish stuff anymore, I still had a place to pray and live Jewishly. But it wasn't until UCLA that I really fully realized my Jewish identity.

And that was where you started doing chazzanut and leading services, right?

I haven't done that for about 2 years. It's in conflict with some of what I've been learning, but it's also in line with a lot of what I do as a performer. It's a great honor to daven, and to daven on behalf of a community. My grandfather was a chazzan in San Diego and the Bronx, and I inherited his voice. It takes a lot of learning, and it takes a lot of kavanah [concentration], but it's complicated, as anyone in this line knows.

And there's a reason that, in traditional Jewish circles, women don't lead services. I've been pregnant twice in the past three years. Going to shul has been incredibly different after having one child, and then having, thank God, two children, it's been even more different, and Judaism kind of knows that.

How has your Jewish life changed with the birth of your sons? Are you taking them along?

At this point, my oldest son's not yet in preschool. Religiously, my husband and I are both still growing. We're not quite ready for day school yet - we don't feel like it's quite our niche - but a Conservative day school wouldn't meet our needs at this point. Kosher home, but you get into all sorts of conflicts about other things....You have to find the right place; it's very important to find the right place. At this point, he knows all the holidays, and we've started studying Torah, and he knows all the brachos, and he doesn't know the English alphabet but he knows the Hebrew alphabet.

I grew up speaking Yiddish, and I'm trying to do the same thing with my son. He has a large vocabulary - well, for a 3-year-old, at any rate.

Are you still working?

No, it's just me. All day. With both of them. That's how it is most of the time -- I'm filming tomorrow.

Is it true that you're related to Chaim Nachman Bialik?

Yes, I am. I'm from his brother's line; he was my great-great-grandfather's uncle. My grandfather met him when he came to America. My grandfather was young, and Chaim Nachman Bialik passed away young as well, so they didn't have a chance to know each other well. We do get in free to the Bialik Museum in Tel Aviv. We have some nice collections of books, and we carry that heritage.

But all the Bialiks have been extraordinary people. I'm very proud -- especially in Israel -- to carry his name.

What do you have planned next, after Bones? How far are you into Rashi's Daughters; do you have a screenwriter or anything lined up?

I optioned it. So I'm looking to have it written as a movie or a miniseries. I'm kind of a classic actress-performer: I like to be given a script, and then I try to make you laugh or cry. This is the first project that I found that I'm really inspired by, inspired to get involved in the production of. There's a good story there, a meaningful story. But what I'm interested in emphasizing is the beauty of Orthodoxy, and the dimension and depth of women's relationship with study. It's a wonderful story that shows a lot of facets of Judaism that I think want to be appreciated.

Other than that, I'm just auditioning and taking care of my kids.

Which can pretty much fill up your time, just that.

And I learn once a week. My mentor lives in New York -- we were paired up totally accidentally, and it's been amazing. Her name is Allison Josephs, and she runs a YouTube series about Jewish topics. She was a Blossom fan, and wanted to study with me, and I called an organization and they paired her with me. She couldn't believe it, that she found me after all that time. She's my Jewish instructor and my guru. We study melachos of Shabbos and tznius and stuff, but even when my son had a bris, I go to her for moral support.

What are your favorite things to learn?

I didn't grow up with a strong sense of halacha, and I have family who are religious Zionists, but I never really knew about halacha. I'm a nitty-gritty person. I love that our tradition encourages debate, and a lot of what I love to learn is practical -- how to kasher things for Pesach, what legally constitutes bishul. My husband calls it my Jewish book club. It's more than that, though. We read a Soloveitchik book. I read Rivka Slonim's book Bread and Fire, which I've gained so much from. We're making our way through our lives with whatever we come up with.

Jennifer Blowdryer: How to Write the Great American Novel on Food Stamps

On Jewcy, I interview Jennifer Blowdryer, who might be my favorite person in the world who ever made me inadvertently homeless. Two days before I was supposed to get to New York City and rent her (swoon) East Village apartment for two months -- a block from the Bowery Poetry Club, two from ABC No Rio, and right down the street from the most amazing graffiti in the country -- she told me that some Long Island girl in a bar had offered to pay her five times the going cost.

Somehow, with her writing and her sense of humor, I was okay with that. Eventually.

Okay enough to cover her new and hilarious short novel, The Laziest Secretary in the World, for Jewcy:

Jennifer Blowdryer revels in those truths about ourselves that we'd rather not hear. While that is ostensibly the job of every writer, few do it with such grace, aplomb, and lack of restraint. Part Emily Post and part Morton Downey, Jr., Blowdryer's subjects are punk-rock Artful Dodgers and Malcom MacLaren-worthy bastards, lovable and loathable in equal doses, people who take a free drink when they're given one and scam one when they're not.

The protagonist of her latest book, The Laziest Secretary in the World, is named Latoya (she's white). She's alternately pathetic and brilliant, a powerhouse at drinking, social analysis, and anything that involves the bottom-most echelon of pop culture. Latoya could write for McSweeney's but instead makes fun of tabloid celebrities. She daydreams of the limitless variety of frozen dinners, having an unlimited cash flow, and of being interviewed on a daytime talk show, answering difficult questions with, "Merv, even if I had a million dollars, I would still buy Butterfingers and M&Ms. I mean, what could possibly replace them?"

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My True, Honest Inner Feelings On Robert Smith of the Cure

There's a new interview with me on Cupcake Witch, a fascinating new young-adult lit blog, which is refreshingly dark and refreshingly not gushy about every manner of YA writing. So far they've covered the new Amanda Palmer album and Poppy Z. Brite's handmade journal collection (side-note: ooogle).

And, me. Marie talked to me about Losers, the underground magazines I used to make, and why I'm so attached to stealing titles of Cure songs for my chapters:

Cupcake Witch: I love how several of the chapters in Losers are named after Cure songs. Did you ever see that South Park episode where Robert Smith comes to save the world from Barbara Streisand and at the end Kyle shouts "Disintegration is the best album ever!"? Do you agree with that statement?

Matthue Roth: You won't believe how long I've waited for someone to ask this question. When I saw that episode -- probably the first time it aired -- I was totally incredulous. Disintegration? Really? Not that I don't like Disintegration, but it feels like the default Cure album, the one for people who've barely heard of the Cure. Pornography is so much better.

But, yes, I was out of my seat and standing on the couch the second that the mecha-dinosaur Robert Smith came on the screen. I think that's one of my life goals -- to get made into a Japanese monster movie on South Park.

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The Same Thing, Only Not

Here's the same exact interview I posted yesterday -- only, in Russian this time.

Мэтт: Да, безусловно - я считаю, что чудо здесь в безграничных средствах массовой информации . Возможность найти все, что угодно в любом виде. Опасность в Интернете, которая беспокоит родителей в том, что произойдет, если нажать на ошибочное Youtube видео и просмотреть порно? G-dcast - совершенная противоположность.

Thanks to Tanya, who is awesome -- and who started translating Losers into Russian. Now, what does Jupiter's name look like in Cyrillic??

20 (or 10, or 21) Questions

Brina, who runs the Young Adult New York website, has just posted one of the most intense interviews I've ever done. You'll see her format, and you'll be confused, and then it will all make sense -- she asks the author a question, and the author responds and then asks her a question, and it keeps going like that for twenty questions. So the interview's actually ten questions, I guess -- except that (a) both answering and asking reveal some surprising things about both of us, and (b) I manage to sneak an extra one in toward the end, as a precursor to my Sandman question.

Me: What are you working on now?

Matthue: I can’t get Jupiter out of my head, and even more the other characters [in Losers]. In one way Jupiter is about growing up with my best friend who just died, and then I wrote/am still writing this book about his death which is kind of about me and Anne Frank hanging out. … I don’t know if anyone will like it but me, but it’s my heart. I just took my heart out and stuck a bunch of knives in it and this is what I got.

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YA New York: 20 Questions with Matthue Roth

This was actually a pretty cool interview.

Me: Can you tell us a little bit about Losers, the book, not the people?

Matthue: Basically, my first book, Never Mind the Goldbergs, was my kind of idealized fantasy of the person that I’d like to be, if the person I’d like to be was a seventeen-year-old girl. … Jupiter is everything that I was at seventeen, although more so: He’s totally socially awkward, has relationships that exist entirely in his head, and he lives in a factory.

Question Two

Matthue: What did your bedroom look like growing up?

Me: I moved a lot, so I had a lot of different bedrooms, but one thing stayed the same throughout, which is that I plastered my walls with photographs of my friends; since I only had two or three friends at a time, the same people would often appear in the pictures.

Question Three

Me: You didn’t live in a factory growing up, but you did live in Philadelphia. What was your childhood like?

Matthue: I always wanted to live in a factory. I actually really wanted to move into the basement, which was a big area that had a few couches and a lot of pillows and some seventies furniture that no one had used for years. I thought the wall would be filled with books and the floors would be filled with gigantic Lego sculptures. I spent a lot of time alone as a kid.

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Chasidic beatboxing keeps Matisyahu moving

Matisyahu is in a delicate place right now.

Not emotionally (although in conversation he is raw and perceptive -- he always seems to know what you're thinking, and he's two steps ahead of the question you're about to ask) and not physically (on the night we speak, he's in Norfolk, Va., where soon he will play to a packed crowd of 1,500 in a refurbished 1920s theater). On Nov. 18 he'll be at the Club Nokia in Los Angeles.

Careerwise, however, he's straddling a chasm.

On one side is the possibility of being a one-hit wonder -- his debut single, "King Without a Crown," appeared on all three of his albums to date, and after a strong first few weeks on the Billboard charts, his most recent record, the major-label debut "Youth," fell quickly from sight.

On the other, Matisyahu holds a lucrative contract with Gary Gersh, who manages Beck and the Beastie Boys. His tour is progressing swiftly, new buzz for his upcoming CD is positive and strong, and his upcoming eight-night run in New York concerts over Chanukah is as eagerly anticipated as anything he's done.

But the most persuasive evidence for the longevity of the iconoclastic Chasidic Jew can be found in his new album, "Light," scheduled for release in February. It's a departure from straightforward reggae as well as an experiment in storytelling and pop music. It's also a more intricate statement about God than even his fans are accustomed to hearing.

Last month, the label released a four-song E.P., "Shattered," which finds Matisyahu backed by straightforward hip-hop beats, Postal Service-like indie-tronica and even spoken word (but the good kind of spoken word).

"Smash Lies," the first song on "Shattered," combines an oud, orchestral samples, a Timbaland hip-hop beat and the artist himself ducking in and out of harmonies, preaching and vocal percussion -- and, by that last part, I mean beatboxing, but also a new technique in this song that jumps from beatboxing into rapid spitfire vocals and back again. "Two Child One Drop" takes cues from dance hall queen M.I.A., with a wild, uneasy tape loop floating through the groove.

And "I Will Be Light" is a sad and playful acoustic song, driven by a chorus of oy yoi yoi's, but sounds more like an amiable barroom singalong than a perfectly harmonized chorus ... in other words, a new Matisyahu.

Reinvention is kind of becoming the theme of his life. Partially, the responsibility for this new sound falls upon his new songwriting partners, including an oud player, a hip-hop beatmaker and a teenage reggae prodigy.

Partly, however, it's Matisyahu who signaled this new direction.

"When I started out, I sang in a Jamaican accent," he says as matter-of-factly as if remarking that he sings at all. "But most of what I'm listening to these days isn't reggae. I've also been taking lessons, developing my voice."

What is he listening to these days? Mostly, Ephraim Rosenstein.

Rosenstein, whom he refers to as his "teacher/mentor/friend," is a Jerusalem-based therapist and educator. Together, they studied the Tanya -- the fundamental book of Lubavitch Chasidim, through which Matisyahu started becoming religious -- and studied its ideology together with the ideology of Rebbe Nachman of Breslov, another Chasidic teacher, as well as other philosophers.

"We would take themes like Rosh Hashanah, Yom Kippur, repentance, and then break down those themes as ideas, as single words," Matisyahu said. "And then we'd bring in stories."

Some of the stories were biblical. Others, like the proliferation of child slavery and the genocide in Darfur, were more current.

Gradually, the stories built into a cohesive narrative. Matisyahu tells the story like a novel, or maybe like a folktale: Two children in Africa, coerced into serving as soldiers, sneak away from their army and escape across the desert. For much of the story, they're lost in the desert -- just like the narrator of "The Tale of Seven Beggars," a Chasidic story originally told by Rebbe Nachman.

"Each idea became a chapter, and from those we would write songs," Matisyahu tells it. In his studio in Greenpoint, Brooklyn, his longtime guitarist Aaron Dugan would start playing and Matisyahu would jump in, beatboxing -- "We'd run for an hour without stopping," he said.

Often, when they would play back the music, he said, they'd both be struck by the darkness. From there, the duo brought in other collaborators. Matisyahu flew to Jamaica to record with Sly and Robbie, generally known as the top-shelf reggae rhythm section, as well as Stephen McGregor, a reggae producer who's still in his teens.

"People are like, 'He's lost his reggae thing; he's not reggae anymore' -- it's ironic, it's this 17-year-old kid who's producing Sean Paul and the Fugees."

His list of collaborators on "Light" also includes Ooah, a hip-hop producer and member of the Glitch Mob, as well as the oud player from Idan Raichel's band. Yehuda Solomon, lead singer of Los Angeles-based Moshav, was also brought in to add world-music-sounding Hebrew vocals over Matisyahu's English vocals.

If the songs on "Shattered" veer in directions that are surprising to the artist's existing fans, "Light" abandons the path entirely. The first track, "Master of the Field," was released as a free download on Matisyahu's Web site. It treads on ground both familiar and new, with classic Chasidic (and, yes, Lubavitch) metaphors -- the titular master is a reference to the Jewish month of Elul, when the king comes out to greet his subjects on their territory. Musically, it borrows from the confines of his previous work (reggae-tinted keyboards, infectious pop hooks, a beatboxed transitional bridge) but a little before the two-minute mark, the song explodes into a totally different vein. It's not pop music, it's not experimental, but it manages to retain its catchiness while paring down to little more than a drum-and-bass beatbox and a chanted chorus.

Matisyahu doesn't expect everyone to grasp the multilayered story on his album, or even to understand his new direction completely. "In the end, when someone listens to the record, they won't hear that story," he said. "When my sister-in-law first heard 'Two Child,' which is a song about a boy dying in the desert telling a girl to carry on, she was like, 'What girl is this about? It's not about my sister ...'" He laughs. Then, with a measure of sobriety, he adds: "Other people say, 'He isn't writing Jewish songs anymore.' They don't realize it's about the world. It's about everything."