Rav Shalom Sings the Blues

This is just a quick post, and later than I should've put it up: A few nights ago Rav Sholom Brodt spoke at our house. Here are my notes from what he said -- scanned, although I'm not sure the quality is good enough to read, either in terms of the scanning or my handwriting. If you're interested, totally go for it (click the images for higher quality) -- and if you like what you read, consider checking out the Shlomo Yeshiva, where he teaches.

 

Shlomo Says

this isn't mine, and i know the fonts are cringey, but it's what I needed to read today, I think. If you like it, check out shlomoyeshiva.org, cause that's where it comes from.

it's been hard being a single parent this week. i am so, so ready to be one of those workaholic parents who never sees his family and always mixes up everyone's names again. go corporate america!

A heartbreaking, deep question.

Reb Shlomo zt"l taught:
The spies had clear prophecy. They were all the greatest pupils of Moshe Rabbeinu. Why did they come back and say bad things about Israel? And also, Calev and Yehoshua, who gave them the strength to hold out? And there's so many, so many Torahs. Let me share with you one.

The first thing is that the truth is--yes, they [the spies] had clear prophecy. You know what they saw? They saw rivers of blood coming out of Yerushalayim, flooding the whole world. They saw the destruction of the First Temple and they saw the destruction of the Second Temple. They saw Auschwitz; they saw Dachau. They saw the Six-Day War, they saw the Yom Kippur War, and, you know, they said, "Why do we need it? Let's stay in the desert." So they were right. The only thing is, they made one mistake. They didn't realize that all this is only happening because of them. If they would come back and say good things, all the rivers of blood from Yerushalayim would be turned into rivers of joy.

You know how deep this is? Sometimes we see bad things in the world, we see terrible things in another human being …. but it's all your fault. It's all your fault. I mean, this is deeper than Yom Kippur--cuts right through you in a million ways.

But Yehoshua and Calev had holy eyes and where so pure they immediately saw the Gevaltige rivers of joy, so they said it’s a great Land. Every time we see only good in another person we are fixing the mistake of the spies, hastening the redemption; may it be quick in our days. Amen.

Patrick Aleph Rocks My Religion

For someone whose life is writing on the Internet, Patrick Aleph still has a lot of secrets.
Aside from running the alterna-Torah site PunkTorah, the "online minyan" OneShul, the collection The G-d Project, and a bunch of other sites, Aleph is an astoundingly prolific blogger and YouTube video-maker. As a convert, his perspective on Judaism -- and on Jews -- is that of both an insider and outsider, and his observations on Jewish life and belief are often reflective of that. The things he loves, he loves. And the things he finds disquieting or hard to swallow -- well, he doesn't have any hesitation about making note of that, either.


If you've never encountered Aleph before, or if there's too much of his stuff out in the universe for you to know where to start, here's a great place. He's just released -- for free -- an e-book collection of his writings, titled, appropriately,PunkTorah, named after both his punk do-it-yourself principles and his website. The two dozen or so essays touch on everything from the actual nuts-and-bolts of Jewish practice to the more aesthetic and eschatological wtf-nesses of belief (how weird is it that we believe in an intangible, invisible G-d who doesn't actively interact with humanity, anyway?). And he really isn't afraid to break boundaries or mess around with tradition: In one piece, Patrick talks about working with queer Jews, self-proclaimed Jews who've neither traditionally converted nor been born into the religion. And the next piece is titled "Everything I Needed To Know I Learned From Chabad."

Actually, his essays are almost all amazingly-titled. OK, let me just give you my five favorites:

* Indie Rock Is My Shacharit Siddur
* Alterna-frum
* Walgreens and Tempeh Reubens Brought Me Closer To God
* Star Wars and Andy Warhol: PunkTorah's Non-Jewish Influences
* Diary of An Angry Convert

Full disclosure: Patrick cites me in a few of the essays. But I didn't remember that until after I was almost finished writing this, and I still think it's a pretty damn great book. And it's free, so you aren't wasting any money -- or any trees, for that matter.

Half a Life, by Darin Strauss

In Torah times, when someone accidentally killed another person, the victim’s family was allowed to make a revenge killing. The inadvertent murderer’s only protection was to flee to a City of Refuge–one of six cities where the victim’s family was forbidden to take revenge upon them.

It’s a bizarre concept, but it’s kind of thrilling, in the same way that watching horror movies is thrilling: the inevitable chase, the will-he-get-there-in-time?-ness, the fact that you’re not really sure who to root for: the grieving family, or the poor sap whose fault it was.

Darrin Strauss’s new memoir Half a Life, which comes out this week from McSweeney’s, is a case study of this sort of event. At the age of 18, two weeks before graduation, Strauss was driving when he killed a girl from his school. The police called it an accident. But for the past 20 years, Strauss has been haunted by her memory, guilty for having survived, and tortured by the girl’s mother’s plea to him at her funeral: “You’re living for two people now.” (Strangely — and, as in real life, this is never resolved in the book — soon after they promise not to hold it against them, Strauss finds out that the girl’s parents are suing him for several million dollars.)

Through Half a Life, Strauss’s most painful memories are the ones he causes himself. He confesses the accident to women he dates. He constantly confronts her memory in his actions, in his writing, in major life events like going away to college. And he lets it get in the way of his marriage and his fatherhood: “How often do you think about it?” asks his wife, and Strauss is startled by his own answer: “A lot less than I used to think about it.”

These days, the Cities of Refuge no longer exist. But that feeling of guilt that the Torah acknowledged in creating them is no less real, and our basic human need to let this guilt transform us and give our life a new direction–whether it’s starting over again in a new city or transforming that sadness into a profound and moving book.

Punk Torah Prayerbook

On MyJewishLearning, I interview Patrick Aleph and Michael Sabani about the Punk Torah Siddur that they wrote designed, and released. My favorite part:

Some of the prayers — especially the bedtime shema — are surprisingly peaceful for, well, someone who shouts for a living. How’d you swing that?

Patrick: That’s fair. I’m in a band where I scream and roll around on the floor, but there’s a place for meditation in every person’s life. This is the best example I can give of this: I was at Jewlicious, and I was working in the kitchen with Sasha Edge and her father, who catered it — they’re screaming and there’s knives everywhere, and fire. But then when it was time for Shabbos, we ended up making motzi over a vegan cookie and drinking Kedem grape juice and some of the back-of-the-house volunteers had a great, awesome, totally spiritual and peaceful moment. If you’re a rambunctious person like myself, it’s even more important.

read the rest >

Passover with the Four Sons

If you haven't noticed, since G-dcast started, we've been playing around with the way we tell stories. For Chanukah, we did a sweeping story of the Maccabees. For Passover, we decided to zero in a little bit...and tell you a nice little family story. About arguing. Of course.

Holy Hot Pants

Yes, I have several Mormon friends, and yes, they do make fun of each other for wearing what the more playful adherents of their religion have dubbed holy underpants.

The link between ritual undergarments and religious purity didn't start with Joseph Smith. In this week's Torah portion, Tetzaveh, there's an extensive description of exactly what clothes -- material, color, and otherwise -- the High Priest should wear:

Exodus 28:2 And thou shalt make holy garments for Aaron thy brother, for splendour and for beauty. 3 And thou shalt speak unto all that are wise-hearted, whom I have filled with the spirit of wisdom, that they make Aaron's garments to sanctify him, that he may minister unto Me in the priest's office. 4 And these are the garments which they shall make: a breastplate, and an ephod, and a robe, and a tunic of chequer work, a mitre, and a girdle; and they shall make holy garments for Aaron thy brother, and his sons, that he may minister unto Me in the priest's office. 5 And they shall take the gold, and the blue, and the purple, and the scarlet, and the fine linen.

The Torah goes even further, and actually discusses what type of undergarments the High Priest should wear. Earlier this week, when I was reading the daily Torah portion, my mind was blown, and -- as per norma -- I ran to my wife, who grew up Hasidic. As per norma, she laughed at me. What kind of a Jew am I, not knowing about holy underpants?

(28:42) You shall also make for them linen pants to cover their nakedness; they shall extend from the hips to the thighs. They shall be worn by Aaron and his sons when the enter the Tent of Meeting or when they approach the altar to officiate in the sanctuary, so that they do not incur punishment and die. It shall be a law for all time for him and for his offspring to come.

"What kind of pants start at your hips and go to your thighs?" I said. "That sounds like hot pants."

"They're underwear," said my wife, totally calmly, as if this sort of confusion happens to us on a daily basis -- which, by a much looser definition, it might. We don't always talk about holy underwear, but we did have a conversation the other day about why our kid frequently wears underpants on her head.

I did some digging and checked around with the commentators. They all seemed to be in agreement: this was, indeed, the Tabernacle's modernized version of a fig leaf. Rashi notes that Moses is commanded by G*d to suit up Aaron and his sons in their ritual uniforms, which includes this; a bunch of other commentators say that, because of the placement of the verse in the flow of the Torah (this particular item of clothing is listed last, after the commandment is given), Moses was not required to dress them in these particular lederhoisen. Ohr HaTorah, another Torah commentator, adds, "Were not Aaron and his sons perfectly capable of putting on their own underwear?" It's as near verbatim as the translation lets me get.

So, there you go. Jews and hot pants -- we did it first.

And, while my G-dcast co-producers and I didn't peek beneath the holy vestments, we outlined basically everything else from the parsha in this week's episode. Just in case, you know, you ever get appointed High Priest and the invitation didn't include a dress code.

30 Days Since You Died

In Jewish practice, on the thirtieth day after a person dies, the mourners observe sheloshim -- a lessening in severity of the mourning practices. It's kind of weird how we have different prescribed levels for

Tonight and today is the sheloshim for Shula Swerdlov, a 3-year-old girl who was killed in a horrific hit-and-run in Jerusalem. The tragedy was immense. Not only because of the nature of the accident -- the driver of the school bus, reportedly a felon with 31 previous traffic accidents, ran her over in view of her 8-year-old brother, then immediately drove away -- but also that Shula's parents are Chabad emissaries, and constantly give up the beds in their relatively small apartment for thousands of guests on their way through Israel. Some were friends, or cousins, or just people they happen to meet. When my wife and I moved to Israel for yeshiva, we camped out nights in the Swerdlovs' office, checking our email each night, updating my blog and writing a novel because they didn't think twice about giving sketchy people like us a key to their place of business.

You can check out the comments section to see how many people were reeling from her death. But what you should really check out is the community's response:

* A massive toy drive, collecting Hanukkah toys for disadvantaged children -- in spite of the idea that most Chabadniks don't give gifts for Hanukkah. Check out the link for phone numbers, drop-off points, and other ways you can contribute.

* There's a custom that, when someone dies, we start writing a Torah in their memory. I'm not sure why exactly -- I've heard that it's a reference to when Moses wrote the Torah at the end of his life, or for the everlastingness of the Torah itself, how it's called a "Tree of Life" and all that. A Torah was started in Shula's memory, and you can help sponsor the writing by buying a letter in the Torah -- either a letter of your name, or a letter of a name of someone you want to honor.

* The song "Since You Died," by the Dismemberment Plan, has been in my head all day. Like few others, singer Travis Morrison conveys both the intimacy and the distance -- and the un-understandingness of it all -- that comes with thinking about a dead person.

Burying Books

Here's a cool and poignant little short film about going to a genizah, a sort of cemetery for books. A Torah scroll has been damaged in a flood, and the young rabbi of an elderly community packs up his congregation and takes them to the genizah section of their local cemetery. It's a little bit touching and a little funny.

The commentary is simple, but profound: "It doesn't happen a lot, that a Torah has to be buried," to which another child says: "It's good that it doesn't happen a lot!" Death, in general, is really hard to understand. The death of a Torah is sometimes even harder -- if only because we don't really know what to make of it in the first place. We know we're not supposed to touch a Torah or sit down while it's in the air or curse in front of it. But what is the physical object of a Torah? What does it mean?

And the truth is: we don't know. Like anything else death-related, theories and hopes are all we really have. That's why, when I hear rabbis with fluffily empowering sermons or young kids with no background analyzing stuff like this, I listen more closely: because they're probably closer to knowing what's actually going on than I ever will be.

Noah Was a Survivor

Of all the gigs I've ever had, this had to be the most extreme. And I wasn't even there.

To celebrate reading the story of Noah in the Torah, Amsterdam Jewish Salon had a cruise. And they showed the Noah G-dcast, which I {humbly} narrated.





You might think it's heretical to take a leisurely cruise in order to honor the sole survivor of a catastrophic event that, well, annihilated the rest of the world. I might disagree with you. I grew not far from the ocean. My parents carried on the ancient Jewish tradition of taking us to Atlantic City for weekends during the summer. When I lived on my own, I moved to San Francisco, and stopped at the ocean every week before Shabbos.

I love watching the ocean. And I'm scared to death of it. It's the most tangible part of God that we can get close to: it's bigger than any human eye can fathom, shapeless, and deadly. I think I've read somewhere that humans have explored less than 10% of the total mass of the ocean. If there's undeniable proof of the Flood, or any other mysteries of creation/the Big Bang/early Earth history, it's probably lurking somewhere down deep, protected by some fearsome sea creatures bigger than dinosaurs.

Or maybe there's nothing...and that just makes the mystery that much more mysterious.

Either way, the ocean is huge. It's big and it's bad. There's a reason that nearly every sea shanty ends in tragedy, the same as every life ends in death. Noah's not just the story of some dude and his boat. It's the story of the sole survivor of a global tragedy, and -- although my G-dcast implies that he wasn't the best person in the world -- tragedies transform people. The same way Holocaust survivors and military veterans have some unspoken piece of wisdom that the rest of us will never be able to understand, that's what Noah has. And that, much as God and the depths of the ocean itself, is un-understandable.

From Last to First

So...Simchas Torah. Lately, it's become famous for being the #2 Jewish drinking holiday, but my past few Simchas Torahs have all been pretty clean events -- festive and debaucherous in that wholesome way where we jump around with the Torah and sweat up our thrift-store suits until we've soo earned every penny of that $15 dry-cleaning visit.

And it's not just me, I don't think. People have been raving about G-dcast in a way that makes me blush like they're saying how good I look, and it's all positive and gung-ho in a way that appeals to 5-year-olds. And David's post about the new Moses movie probably will owe more to 300 than Charlton Heston...but making an action movie about the Torah is as close as Hollywood will probably ever come to a studying-books-can-be-cool movie as we'll get.

This year, I went to San Francisco. I'd somehow managed to convince my ex-boss, David Levithan (who wrote the awesome Boy Meets Boy, as well as the so-indie-its-jeans-hurt Nick and Norah's Infinite Playlist), to narrate for us. So we did V'Zot Habracha with a bang.

Then, of course -- because some good things don't have to come to an end -- we did our real conclusion episode, and did Bereshit again. (There was a whole huge concert, and Elana Jagoda performed her alterna-folk-dancey children's anthems, and Julie Seltzer talked about being a soferet, but mostly talked about her project baking a different challah for every parsha in the Torah, and we all just generally rocked out.)

And then the lights dimmed, and we rewound the Torah, and showed our final episode.



Anyway, some good things do come to an end -- and this was the end of the line for G-dcast. Or, at least, G-dcast as it exists now. We've got some wild stuff in the pipeline, and some even wilder stuff that might happen, but we're leaving you to jump into the Good Book on your own. (And it's definitely not the end of my involvement with Torah -- I'll probably have a new blog about how I got caught in a typhoon next week for Parshat Noah -- but for now, this is G-dcast signing out.

Crossposted on Jewschool

I Am My Beloved's...But I'm Not Only That

For the month of Elul, I've been trying to get myself into shape. One of the things that Rebbe Nachman (and basically everyone else) suggests doing in order to achieve this goal is learning Jewish laws. My father-in-law recently gave us this tiny, awesome Kitzur Shulchan Aruch, which is a handy guidebook to what Jewish stuff you're supposed to be doing at any given moment. It's much more of a Judaism for Dummies than the actual book.

So I've been reading up on my life as a Jew. Sometimes a line or two at a shot (the entries are mostly really short, which plays to our advantage) and sometimes -- like this morning, on the stalled 5 train -- an entire chapter. Part of what got me so excited was the talk of Psalm 27, which we read at the end of morning prayers all this month. (If you've ever seen a horror movie, you've probably heard it in some form; it's the one that starts "The Lord is my light and my salvation; who should I fear?") I know that our article says it's a slightly schizophrenic psalm, I still like it. I get a shiver every time I read "The only thing I ask for is to live in God's house all the days of my life." Not that I have any clue what God's house looks like, but it seems like it would be a good place to be. Just the idea of having a house to curl up into, metaphorical or otherwise, sounds like a pretty good deal. And like a pretty comforting thing, especially in the

(My other favorite line, "When evil men come close to eat my flesh, they stumble and fall," clearly plays to the action-adventure author side of my personality, but that's another blog entry.)

So the Kitzur, whose role usually shies away from the sort of non-how-to thing, goes out of its way to talk about the different acronyms for Elul. Usually, people like to say how Elul is the healing time after the catastrophes of Tisha B'Av, and the strain on our relationship with God that things like massive destruction tend to cause. They point out how the Hebrew letters alef, lamed, vov, lamed -- the four letters that spell "Elul" -- stand for "Ani L'dodi v'dodi li," or "I am my beloved's, and my beloved is for me."

But wait! There's more!

Apparently, Rabbi Isaac Luria, the Ari, was the first to play with acronyms. He first cites the verse in Exodus that talks about someone accidentally killing a man: if this happens, God says, "I will find you a place to which he can flee" (21:13). The words "I will find you" begin with aleph, lamed, vov, lamed.

Again with the morbidity, right? But it's actually a comforting verse at heart: even a murderer can find peace. Then he cites Deuteronomy 30:6: "God will open up your heart." This one doesn't just work the obvious (hearts! open! understanding! empathy! Rosh Hashanah!) but also alludes to the exact opposite of what happened to Pharaoh: Our hearts are becoming un-hardened.

Then the Ari proceeds to blow us all out of the water by explaining how each of these three verses covertly refers, respectively, to repentance, charity, and praying -- the three things that, according to the mahzor, dissipate a death sentence on Yom Kippur.

One more cool thing that the Kitzur points out about Psalm 27 and its first few words, "God is my light and my salvation." When the psalm says "salvation," it's referring to Yom Kippur, of course -- since that's the time when some souls get salvated (er, saved) and some don't. But the "my light" part is talking about Rosh Hashanah. It's a complicated holiday, neither 100% good (uh, a lot of us are about to die) nor 100% sad (it's the birthday of the world, and a lot of us are going to get good decrees)...but we do what we can. And that's where the light comes from. We're saying that God should reveal everything...and that God should make it all good.

G-d, Kids, and Movies

First of all: the important things in life.


It's pretty quiet here, for a change. Working furiously on the new book, now that the movie script is in, approved (mostly), and everyone seems more-or-less happy with it, or if they're not, they're not being unhappy in my direction. Which is a relief. Secretly, by the beginning I was thinking that 120 pages was nothing and that I could spit it out in a heartbeat, but by the fifth complete revision, as I was adding up each 120-page draft in my head -- that's something like 600 pages. Definitely longer than any novel I've ever written. Way longer than anything I've written in three freakin' months!

For a good portion of preproduction, they tried to keep their top casting choices secret from me. They didn't want the people getting in the way of my voices for them, the producer said. Before the last draft, I sneaked a look at the audition tapes, and I could see why. Suddenly, I wasn't writing for my main character, I was writing for this snarky, beautiful, a-little-too-candid young woman who was going to become my main character.

But: There's a new novel in the pots. I don't know what's going to happen, but it tastes great so far.

And, finally, there's a new G-dcast in the house! These are the final few episodes, and I feel like we've upped our ante with them. First up this week: Dahlia Lithwick, who edits for Slate and NPR and Newsweek. And you have to come back on Wednesday to see Mayim Bialik's take on Vayelech. Oops. I'm not sure if I'm allowed to say that.

Me. Live. Rapping.

Okay, I actually can't watch this. I'm a squirmer. Here's some live video footage of me doing my verse on Stereo Sinai's song "Hafachta Mitzpedi (Dance)," the first time I've ever done it in front of people. "It" meaning "performing the song live," and "it" also meaning "rapping."

Not sure whether this is totally awful or just plain gawkward. Somebody watch it and tell me. If you can't say something nice, you can totally just pat me on the back and say I was wearing a cute shirt. (Or talk about Miriam's sheitel instead, and then go watch Alan and Miriam performing the song Eleven Below from that night instead. Tell me it doesn't make you want to fall in love with life itself.)

Ahem. On to me.

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.

Steps to Tishrei

Today is the first day of Rosh Chodesh Elul, which is basically a whole month spent preparing for one day. We blow the shofar and start reciting selichot (well, unless you're Ashkenazic or something). At dawn and at nightfall, we recite Psalm 27, which is both weirdly hopeful ("The L*rd is my light and my salvation") and weirdly catastrophic ("Do not hide Your face ... do not thrust [me] aside ... do not forsake me, do not abandon me," which was actually quoted in a They Might Be Giants song. Well, a really gloomy TMBG song).

In this morning's Simchat Shlomo email, Sholom Brodt talks about how Yom Kippur is all about fixing our external behavior, the things we do to other people -- "both knowingly and unknowingly," as we say about a zillion times over in the High Holiday liturgy. Elul, on the other hand, is about fixing our unconscious, and making ourselves good on the inside, in our thoughts. It's like taking the potential goodness or badness of everything you can do, and making sure it's aimed in the right direction -- so that, once Rosh Hashanah rolls around, we're ready to make it actual.

One more thing: The month of Elul is symbolized by the letter yud and the left hand -- which sounds cool, although I've never really understood where all these things come from. (According to Rav Sholom, it's from the Sefer Yetzirah ... although that still doesn't explain it.) He writes: "The letter yud is the smallest letter and it is also a part of every letter -- as soon as you put the quill to the parchment, you have already written a yud. So the yud represents the innermost point--your innermost point of being a "yid'."

That part, I do get. Just by existing, we're continuing to create.

G-dcast: Babies and Hippies

Okay, I was uneasy about this one. Because you guys know me as the big tough punk of G-dcast, and this is SO SWEET AND HIPPY. But it's pretty damn praiseworthy, and Chanan makes it so beautiful that it's kind of inevitable how good this is. If I do say so myself. And it's possibly one of the most abstract G-dcasts we've done, for a just-as-abstract parsha, which led to some interesting discussions about animation, and about the Torah. And now that you're watching it, hopefully, it will lead to some more.

G-dcast: Spooky Moses

It's hard to top a beatbox harmonica Shema, but the first 3 seconds of Ekev really do it. Just the post-bris expression is what my 10-year-old cousin likes to anthropomorphize as an "OMG moment."

How to Hate the Gays

Last night I was working at our local co-op market. The crowd there is pretty diverse -- Hasidic Jews, Caribbean immigrants, Park Slope people with $50 t-shirts (ironic, baby, ironic!)...and anyone else in search of good, cheap food. Once a month, I wait in front of the store in a loud orange vest and carry people's groceries. Sometimes you get some good conversations. Other times, you can't believe the people you're talking to.

It was almost the end of my shift. An woman in her late 60s showed up (danger, my mind flashed, slow walker) asking for an escort to the subway station (another danger sign: it's 15 minutes away). I smiled and said sure. She was an old black woman with one of those hairdos that is frozen into place and pastel pink church clothes. It turned out that she lived a block or two away from me.

We made conversation for a few minutes, and I could tell she was gunning up to ask me something. (When you've got a beard and sidelocks and a t-shirt, it's only a matter of time until people ask, in one phrasing or another, what's up with you.) She prefaced it: "Now, don't feel you have to answer this..."

Oh, boy. This was going to be a good one.

She told me how she was a God-fearing, church-going woman, and she believed in every word of the Bible ("Old and New," she said). And she didn't think homosexuality was right. But what, she asked me, do I think about that man in the homosexual club?

"The gay club murders, you mean?" I said. "In Tel Aviv?"

She nodded. "I mean, I know those people have it comin'," she said. "But that thing that happened, it just seems...wrong."

This next part, I don't understand at all. I could have told her how some of the holiest people I know are gay; how the most devout Christian I've ever met was a gay man who believes that Jesus made him gay as one more way of accentuating how we'll never truly understand the mysteries of Creation, and how one of the most Godly books that's been written this generation, Wrestling with God and Men, is about the incomparable onus of being queer and religious, and was written by Rabbi Steve Greenberg, an Orthodox rabbi and a gay man. Or I could just tell her how I helped start the straight-gay alliance in my high school and how a group of tranny boys showed me that being a man was okay (or just showed her the book I wrote about it).

But I didn't.

Instead, I said, "Of course it's wrong -- it's just as wrong as opening fire on people because they're spending money on the Sabbath or wearing the wrong color of clothes." I told her I believed that God made everyone the way they are for a reason, and it's not up to any of us to try and decide what that reason is -- it's between them and God."

She went "Mm-hmm" -- that kind of conversational combination of amen and keep on talking that I learned about when I was doing fieldwork in college at black Baptist churches and haven't heard anywhere else. "It's like Sodom and Gomorrah," she said. "People there were doin' all kind of Lord knows what, and God took care of them. And I know that day's coming, but I ain't gonna be the one to tell 'em that. He told Abraham and his nephew to leave that city, and only after they left, God swept down the destruction."

I said, "Who knows what God's really thinking? God's got an agenda. He didn't put us down here to be the Angel of Death; He's got angels for that. All He told us was to love our neighbors."

He? Since when had I referred to God as He? And why was I agreeing with her?

At this point, my brain split up into a few parts. Part of me was freaked that she was asking me as a typical Orthodox Jew, and I was supposed to answer like some sort of spokesman or something. And then part of me saw it as a teaching opportunity, like I was undercover as a gay-people-supporter and I could subvert all her bigoted views and show her the One True Path.

And then there was a part of me that wasn't being subversive at all, but was instead trying to reconcile my own personal beliefs about homosexuality -- as a person -- with the beliefs of everyone around me. And, perhaps, with the beliefs that I am supposed to hold.

And I realized, I'm kind of answering her truthfully. How do I know what God believes about gay people? How does anyone? For all I know, maybe God really did give the queer gene to certain people in order to test their willpower. That sure as hell doesn't sound like the God I believe in -- but, then again, I really firmly believe that God is both more powerful and more clever than anything that we give God credit for.

So, yeah -- I didn't say any of that to her. And she didn't say much more to me -- just took her bags from my hands, nodded like she agreed with me, and started to descend to the subway.

"I think you're right," she said. She'd stopped on the third step down, turned around, and cocked her head, that universal gesture of going into Deep Thought mode. "The Bible doesn't say 'Abraham destroyed the city of Sodom,' it says that God did. I'm going to think about that."

With that, she disappeared into the belly of the subway system, leaving me stunned and thinking. Of all the lessons I could have gotten from her, this was what I least expected: using texual analysis to combat hate -- or, at least, to learn how to hate more lovingly.

She was absolutely right. Man, if she walked into the club in Tel Aviv, I bet she would've given those people a hug. And possibly taught them a thing or two about how to wear floral pastels.

And more illuminatingly, I think she hit upon the basic flaw of fundamentalists -- or, at least, fundamentalists like the Tel Aviv gay club murderer: They really never read what the Bible actually says.

Blogging the Bible

When user-testing the Tagged Tanakh, the Jewish Publication Society's attempt to user-navigate the Bible, my first reaction was, this is the mother of all blog -- and the logical next step in human technology. When I worked as a trend forecaster, we had a maxim that started, "If Hewlett-Packard only knew what Hewlett-Packard knows," which effectively meant that big corporations have no idea how to fathom the entirety of the knowledge that's already at their fingertips. If there was a way to do that to the Bible -- not just as a simple search engine, but as a real, organic, multi-reference work that ties together the entire body of human religious knowledge -- it could, without hyperbole, rock the socks off of academia.

The thing is, the Tagged Tanakh might do exactly that.

Imagine Facebook where all your friends are religious experts. Or, to make it a little more Stone Age, imagine that you could eavesdrop on Rashi, Radak, Onkelos, and the Gur Aryeh writing notes back and forth to each other. And that's just the barest level of the depths that the Tagged Tanakh can plumb.

JT Waldman, the Tanakh's creator, sat me down at his laptop and told me to start out easy. "Search for a word," he said. "Any word?" I asked, typing in "nose ring."

We only received one result, in Isaiah, which troubled both of us a little. "We're working on the search feature," he explained. Attempting the variation "nose-ring" with a hyphen got us what we expected -- Rebecca's gift upon meeting Isaac for the first time; the women of the Children of Israel donating their jewelry to create the Golden Calf. This didn't bother me as much as it should have. It was a minor glitch, which JT said would be fixed before the official launch; besides, Google has accustomed me to searching for variations more or less automatically, like "chazan" when your desired search doesn't turn up much for "hazzan."

But that was only the beginning. "Tag it," JT encouraged me. He showed me a few options: I could read commentary on the verses, write my own commentary, or tag the phrase -- that is, I could sort it by applying a label (such as "jewelry," "gold," or "punk-rock accouterments in the Torah") and grouped it with other similar instances in the Tanakh. I could use a tag that already existed, such as "ritual objects" (since nose-rings were thought to mark engaged women in early Sumerian societies), or make my own, like the aforementioned punk-rock tag.

I went with both. Then I went to a more frequently-visited section -- Exodus 9, one of those "Let My People Go" chapters. I clicked on the lemma view, which displayed notes and annotations by scholars, and came across a note by Elaine Adler Goodfriend (identified as a "scholar," the highest possible designation on the site). On the biblical passage "the hand of the Lord will strike your livestock," she'd written, "A letter from Ugarit refers to pestilence as the 'hand of god/s'." Not the absolute most insightful thing I've ever read, but still pretty insightful. (It led me to Googling "Ugarit," in any case.) Then I went back to the text itself, with all the phrases that had notes on them highlighted. It felt like I'd hit paydirt -- like one of those Internet mazes where you're confronted with a thousand different links, and you want to click on them all.

Right now, most of the annotations are made by scholars. As more people log on, they're going to fill up the Bible with more and more chatter -- my beloved "punk rock accouterments" category is going to be complemented by more "OMG Ashley Tisdale Has A Nose Ring Too" labels. Which could be as destructive as it is self-serving. If everyone and their bff are commenting on Genesis 24:22, who's going to care about what Rashi has to say about it?

But, even then -- my mind leaps to debate myself -- the people writing stupid comments would have to be reading the Torah in the first place, which is no small goal. And there are enough filters in place so it's possible to only display remarks from recognized Torah scholars, or to only display remarks by people who've never read the Torah before and are recording their first interactions with it. Remarkably, the same far-right Jewish communities who'd want to shield themselves from "liberal" commentaries, such as some of JPS's books, might be the biggest potential clients for this venture. Imagine clicking that you'd only want to read Orthodox commentaries on the Bible. Or that you'd only want Reform commentaries accessible. By giving the common reader the tools to filter and censor the commentaries themselves, Waldman and his cohorts are also fundamentally giving their readership the ability to break down those very same labels.

There are "summary" tags next to each biblical book, which are somewhat helpful when dealing with Leviticus or Deuteronomy, and immensely helpful when it comes to lesser-known prophets like Mihah and Habakkuk. Strangely, the existing commentators (such as Rashi, Gur Aryeh, and those folks) aren't yet included...but a variety of multimedia content, ranging in variety from curious (wacky parsha videos) to awesome (Google Maps!), is.

"Tagging" was originally the province of graffiti artists, who scaled buildings and burrowed into train tunnels in order to paint pictures and write verses on walls. (The phenomenon of tagging one's own handle or name was a relatively recent innovation.) I used to tag in Eastern Europe with an artist friend, and our sole rule was that the only buildings we tagged were ugly Communist cubes. Although our stencils would have looked amazing on Tyn Church, or the Orloj clock, our rationale was that they were already beautiful; we didn't want to ruin it with our art, even if it might be complementary.

I don't know how useful it will be to know about what random teenagers in the future think of Bible verses, but I know that I love writing about what I think of them. And I know I'm curious to see what my friends think. And that's why I can't wait for the Tagged Tanakh to come out for real.