"Circles" Live with Mista Cookie Jar

I was going to wait till Monday morning to post this, and get the maximum traffic or whatever, but me waiting that long is just not gonna happen.

Mista Cookie Jar just got YouTubetry of some live versions of new songs -- including "Circles," one of the songs I co-wrote for his Love Bubble album, which you can purchase right now for not a lot of money. But, relax. First, just enjoy the songs.

Here's "Magic World," which I didn't write but has CJ workin' it and kids going crazy.



And, now, "Circles."

For Every Phoenix Born, Another Tastes Dust

Rain in New York is never pretty, except when you're inside.

Last night they put Murphy to sleep. Murphy was my best friend's cat. His mother said it was like losing another part of Mike. One of the reasons I think cats are creepy is that they don't always recognize you -- or, at least, they don't always act like they do. After Mike died, every time I saw Murphy, he'd slink across the room like he was avoiding me. I wanted to tell him, it's ok, we're suffering together. He just wanted to suffer alone. Basically the same way I was with everyone else.

Mike's parents are going to have pawprints made and put them next to his grave. I said it sounded nice, in a Coptic Egyptian sort of way. I got off the phone and put on Velocity Girl, his favorite band, loud. Itta was cooking. She couldn't hear the volume. Yalta started to dance, so I did, too, but only because I didn't want her to stop.

Just found out that one of my closest friends had a baby. Two weeks ago. I don't blame them for it; I can totally understand the need to hibernate. But, especially with the wicked weather and the way the cold has been slowly making its play, I'm starting to remember just how easy it is to fall out of touch with people. Here's my resolution for the season: I will not forget the rest of the world. I won't.

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

Buying an Etrog in Brooklyn

What do you look for in an etrog? It was hard to top last year, but we had to try. Heshy Fried and I went on a fact-finding mission in the Crown Heights section of Brooklyn to investigate.

Here's what we discovered:

(By the way: The dude with the amazing etrog at the end is Yossi Keller, who might know more about etrogim than any other human being alive. He runs the etrog shop in the abandoned matzah bakery on Empire Blvd. and Albany Ave. in Crown Heights, and you should check him out.)

Sukkot on the Run

One thing I've always wondered about the holiday of Sukkot: If the makeshift tabernacles that we're commanded to erect are supposed to function as our houses, then why do we spend so much damn time in them?

Let's review. We're commanded to go into the sukkah any time we want to eat. When we sleep. When we hang out with our friends. You know -- all the stuff that, normally, would be done at home, we do in a sukkah. Basically, for one week of our lives, we run a 24-hour marathon between our normal lives and our little palm-covered huts.

However, here are the most frequent locations where those actions take place for me:

Eating: At my desk at work, and/or walking down the street.
Sleeping: Subway, riding home from work.
Hanging out: Gmail's little chat windows.

To be fair, I could definitely accomplish the last one while inside a sukkah. But the others? Not so house-intensive, for the rest of the year. Last year, I was so busy that, instead of trekking to have my lunch at the beautiful (but impractical) West Side Synagogue all the way on 9th Avenue, I just didn't eat.

This year, I'm going to try to do it different. In our prayers, Sukkot is called "zman simchatenu," which translates to "the time of our rejoicing (or, if you're feeling literal, "happy time"). In the times of the Temple, everyone traveled to Jerusalem to bring their harvest offerings.

It really was a vacation time -- or, at least, it was as close to a vacation as the Children of Israel got in those days. Even though there are five work-days crammed right in the middle of Sukkot between the first days and Shemini Atzeret, it's not supposed to be a return to our dreary business of working and running and not-eating-until-9-p.m. -- it's God demanding that, even when we return to our between-holidays lives, we bring a little bit of the holiday with us. And if I have to take a little bit longer to run out to the sukkah and get back, and put my mind in a different mental space just as I put my body in a different physical space...well, that's putting the "moed" in "hol hamoed," I guess.

(Note to bosses: I'm not actually going to take a two-hour lunch, I promise. Er...every day.)

Inglourious Basterds: What You Didn't See

So I've been reading the script (downloadable here) to the film Inglourious Basterds. And it's pretty over-the-top insane.

Not that you wouldn't expect that from a movie that's (a) by Quentin Tarantino, (b) about Jews, and (c) borderline sadophiliac in its embrace of violence. But there are some moments, excised from the final film, that tell the story as...well, as a much different story.

In this scene, Donny Donowitz, the "Bear Jew," has just bought himself a baseball bat. (Proprietor: "You gettin' your little brother a present before you ship out?" Donny: "No." Stony silence, as they both realize its significance.) Donny then pays a visit to a tiny little old Jewish lady in an apartment building who invites him in for tea:

Donny: Mrs. Himmelstein, do you have any loved ones over in Europe who you're concerned for?
Mrs. Himmelstein: What compels you, young man, to ask a stranger such a personal question?
Donny: Because I'm going to Europe. And I'm gonna make it right.
Mrs. Himmelstein: And just how do you intend to do that, Joshua?

He holds up his [baseball] bat.

Donny: With this.
Mrs. Himmelstein: And what exactly do you intend to do with that toy?
Donny: I'm gonna beat every Nazi I find to death with it....I'm going through the neighborhood. If you have any loved ones in Europe, whose safety you fear for, I'd like you to write their name on my bat.

I'd assume that part of the reason this scene was cut is because the scene that introduces the Basterds unit -- post-battle, where the soldiers are interrogating Nazi prisoners and collecting scalps -- flows with such brutal elegance. But also, the scenes that feature the Brookline Jewish community would probably take the movie away from being the squarely violent war film that Tarantino intended to make and cast it more as a Holocaust-era character piece.

In Jordana Horn's excellent interview with Tarantino, both acknowledge (correctly, I think) that Basterds wasn't a Holocaust film. But, when looking at Tarantino's original visions for the film -- some reports suggest that his original script, which clocked in at over 270 pages and 5 1/2 hours of shooting time -- the final product could have been any of several types of film.

(One final note: Ostensibly, Tarantino's original concept was to make the film entirely about Shoshana, the Jewish girl whose family was killed in front of her, in which she makes a list of Nazis responsible and extracts vengeance. That apparently turned into his last film, Kill Bill. I do wish Basterds was more like Kill Bill in its embrace of the hero -- nearly all the Jews die, and all the women die in particularly horrific circumstances -- but I understand how both women's deaths were called for by the storytelling ethic. Which doesn't make their portrayal any less anti-woman.)