Losers: More Bullies, More Books

Things you find out by Googling yourself -- or, rather, things you learn when you're trying to find your new book's listing on Amazon: there's a book by C.J. Bott (don't know him, but awesome name) called More Bullies in More Books that seems to be exactly that. A compendium that lists all books that have bullies in them, and the relationship between the bullies and the bullied.

Jupiter Jason Glazer and his parents left Russia seven years ago and now live in an empty warehouse outside Philadelphia. Now in junior high, Jupiter wants to avoid the insane bully Bates and find a way to fit in. For him, his first step is to lose his accent.

My reaction is split pretty evenly between (a) Rock!, (b) People are doing book reports on me!, and (c) How many errors can you fit into one sentence? Not in a nitpicky way -- it actually cuts pretty well to the point of the book.

But, ok, there are several facts in those three narrow sentences that...well, aren't facts. What are they? Whoever gets closest wins something cool. What, I haven't decided yet. Just email me or post it to my Facebook or something...and, no, saying that Bates isn't certifiably insane is not one of the inaccuracies. He is totally, completely, mentally and in all other ways insane.

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.

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Free Love and Communal Shabbos Dinners

When I lived in San Francisco, I didn't have much going on in the way of hospitality -- mainly because I had so much going on in the way of running to concerts and readings and bars and keeping myself sleep-deprived after hours.

My one respite from the constant influx of alcohol and art was to throw Friday night Shabbat dinners. I could spend pages telling you about it, but I actually already wrote a book about it, so I'll skip that part for now. At any rate, when I was out-cooked, around the time of the holidays, I used to go to the local rabbi's house for Rosh Hashana dinner and Passover seders and stuff.

Always, without exception, there was a formidable crowd -- a combination of local families stopping by, semi-detached 20somethings looking for a free and decent meal, and the odd traveler. One of those travelers, brought by a friend of his who owned a (fabulous) local bed and breakfast, Noe's Nest, was Robert Altman. "Oh, wow!" I gushed. "Like the dude who made all those movies!"

"I am not," he replied -- gallantly, and especially so, considering that, on a later occasion, he would (good-naturedly) rant that everyone mixed them up, and his web site was ranked higher on Google.

Robert, it turned out, was a cameraman in his own right -- and one of more than significant merits, having been the photo editor for Rolling Stone magazine for much of the Sixties. Through the meal, we sat next to each other, sticking out in both our career choices (him: photographer, me: professional poet) and attire (him: black mock turtleneck; me: probably something 20 years old and paisley) and not exactly fitting in with the rest of the crowd, although fitting in in the way that we were all of us mismatched, all of us more-or-less haphazardly tossed into the melting pot that is a Chabad House.

Through the meal, he kept joking that he wasn't really Jewish because he didn't keep kosher and this was his first Rosh Hashana meal in years. I kept telling him back: if he hasn't done any of that and he still remembers he's Jewish, he's doing better than most of us.

Flash forward the better part of a decade. I live in New York now, and walking down 35th Street on my way to work, I pass a bunch of familiar-looking black-and-white photos, iconic flashes of the '60s: they are familiar because they are the photographs of my childhood, but they're not only familiar because of that. They remind me of the first time I Googled Robert, really Googled him: a flood of images, some of them iconic, some of them just really damn good (check his portraiture of Tina Turner). That night, meeting him as just some random guy at an even randomer meal for the Jewish New Year, it seemed like a logical extension: just some well-dressed dude who had a knack for telling good stories and better jokes.

Back in San Francisco, we met up a bunch of times. I invited him to my poetry readings; he invited me to his parties -- including, for some reason, a huge exhibition inside an abandoned warehouse in SoMA where his sorts of people rarely if ever ventured and where my sort of people frolicked nonstop. They didn't expect to see some punk kid in a yarmulke and foot-long sidelocks, both more overtly Jewish and more overtly non-Jewish than they were (because most of them were Jews anyway)...but I think after a while I just became one more part of the landscape, one more odd person doing things his own way, just like the rest of them were.

In a side room, the photography on the wall shifted abruptly, and there were canvases scrawled with otherworldly abstractions -- some sort of Miro aliens with bodies made of different kinds of fabric. There was a guy who started talking to me, the artist of these paintings. Later, Robert told me he was the lead guitarist of one of the biggest bands of the '60s. He sold all his guitars and swore only to paint. Everyone said his painting was awful. Truthfully, though, I really liked it -- that is, until he tried to sell me one of them for $26,000. I told him I hadn't even owned $26,000 over the course of my life.

He threw his arm around my shoulders and gestured grandly to the painting. "Then you can look at them for free," he said. "This art, kid -- it's yours. For the next ten seconds, at least. Enjoy it while it lasts."

Robert Altman's series The Sixties is now showing at Macy's, 34th St. and Broadway in New York. He'll be signing books today from 5-6 p.m. -- I've got to pick up my kid from day care, but you should stop by and say hi for me.

Evil Alien Matthue

OK, I Romulanated myself. If you sat through the new Star Trek movie and thought, hey, I bet Matthue would do a better job than that dude in the trench coat, well, you've probably already seen this in your head. If you haven't, this is just plain weird.

Then again, I'm too much of a sucker for the original series to ever blow up Vulcan. Peace (and long life) out.

Me and the Maharal (Down By the Schoolyard)

Just got my copy of Curt Leviant's translation of The Golem and the Wondrous Deeds of the Maharal of Prague, the softcover edition, which has a quote from my review on the back.

I actually don't remember writing it at all -- which is kind of surprising, because I make it sound like exactly the kind of book I'd want to read. Which I already did, I mean -- but it still made my eyebrows shoot up.

"Leviant's translation of Rosenberg's work is both an academic triumph and a fun read....Rosenberg's book succeeds in offering a mix of suspense and Torah with a dash of humor. It's a weird, anachronistic romp through both the mysticism of the 16th century, the sensibilities of the 19th, and the timeless humor and mysticism of Judaism."
— Matthue Roth, World Jewish Digest

The only part that makes me cringe is the fact that I'll never be able to write "weird, anachronistic romp" about anything ever again. Because it is such a good phrase, and I would seriously use it any time I call my kids down to dinner.

Hasidic Poetry Slam

OK, as promised:

This past Saturday night was the first Hasidic poetry slam in Crown Heights, at least in the estimations of everyone there. It started out as the brainchild of Levi Welton, a kid in his early 20s (and, incidentally, a rabbi) who does live theater and a weekly comic about the haftarah. He was raised in the Bay Area -- his father is one of the Chabad rabbis there -- and, on his last visit back, he happened upon the Berkeley Slam. He came back to yeshiva in Crown Heights all fired up and bouncing, ready to do this.

And he did. He enlisted the aid of a bunch of us -- mainly, Mimulo, a flowershop and tea bar run by Hasidic hippies who were cool with opening shop at 10:30 on a Saturday night after Shabbat was out. And a bunch of us poets -- coincidentally, I'd learned to slam in Berkeley as well -- and Alona (who, for the evening, was known as Alona the Purple Prophetess), also a Bay Area alumna.

At first, I wasn't sure whether women would be there at all. I pushed the question nervously. Levi barked out a laugh. "If they weren't," he said, "we wouldn't have a show!"

It's true that, even in the most right-wing of circles, there's no halakhic reason why a woman can't get up and launch a poem into a crowd. But most of what Jews do, Orthodox and otherwise, has next to nothing to do with halakha -- it's about social mores. (For that reason, perhaps, the poetry reading that Mimaamakim threw last month was overwhelmingly, overwhelmingly male-centric.)

But this was pretty incredible. Beside Alona, one super-Orthodox girl read a few short, funny, wry poems about being frum in spite of what everyone else around her thinks. This one bad-guy yeshiva kid in jeans got up and read a poem he'd written on the way over -- it was honest and it was about love and being lonely and it was so simple and beautiful that, I feel like there's no way to say this without being cliche, but literally everyone in the room was pushed to the border of crying.

And then, of course, there was the Russian Hasid in one of those Boro Park business-suits that all the real super-religious women wear. She pulled out a piece of paper, mumbled an apology into it -- "I'm sorry, this is not how everyone else writes, but I am not like everyone else" -- and then, no lie, busted out a hip-hop poem about the spirituality of taking the morning subway.

Awesome beyond belief. In a way, it was a more real poetry experience than any I've ever had -- way back before avant garde poetry and university experiences were created, poetry was supposed to be the tool of the people. Think king's courts. Think Shakespeare. It was Lost and Star Wars and Buffy and Lindsey Lohan's relationship troubles all rolled together: it was drama and comedy and tragedy all together.

And, yes, even the fabulous Eliyahu Enriquez came in, and shot the video below.