You haven’t discovered Charming Hostess yet? Well, if you’re interested in the latest in the radical Jewish creative spirit unleashed, then you’ve been sleeping on the job.
There’s no way I could do them justice, so I’ll let them describe themselves:
Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body – complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. We live where diasporas collide, incorporating piyyutim and Pygmy counterpoint, doo-wop and niggunim, work songs and Torah chanting.
ChoHo’s leader is Jewlia Eisenberg, a San Francisco-based “composer, extended-technique vocalist, lay cantor” who has been exploring exciting musical terrain with a variety of collaborators. Their last CD, “Sarajevo Blues,” juxtaposed music and text from the Jewish, African, and Bosnian Diasporas to explore
(Genocide) and nationalism, freedom under siege, the nature of evil, and resisting war by any means necessary – themes that Jews think about, maybe even obsess over.
And if that’s not enough for you, just check out ChoHo’s current work-in-progress, “The Bowls Project:”
The Bowls Project is an immersive music performance that takes place in a dome. (It) is based on texts from incantation bowls, common amulets 1500 years ago in Babylon. Simple clay bowls were inscribed with a householder`s secrets and desires, then buried under the house. Incantation bowls speak of mysticism and sex; angels and demons;and the trials and joys of daily life. Especially (and unusually) audible are the voices of the era`s women–their work, hopes, and dreams.
These spiraled Aramaic inscriptions from the same time and place as the Talmud open up a larger discussion: of the connections between material and literary culture, between canonized and marginalized voices, between ritual power and popular practice, and of how music mediates these relationships.
Click the link below to “Yedidi,” my personal favorite from “The Bowls Project.” On the YouTube clip above Jewlia Eisenberg performs the classic Ladino lullaby “Durme, Durme” at the 2008 Krakow Jewish Culture Festival.



From yesterday’s Ha’artez

Underground Genesis
Published November 8, 2009 Art , Books , God , Judaism , Literature , Religion , Torah Commentary 1 CommentOK, I’ll weigh in: I really, really like the new R. Crumb new version of Genesis.
When it was announced that the legendary underground comic book artist was going to take a crack at the Book of Genesis, I’m sure that many expected it to be an exercise in post-modern Biblical irony. They needn’t have worried. Crumb has reimagined Genesis like nothing I’ve read/seen in a long, long time.
Some might quibble with his rendering of certain episodes (and I do), but I don’t think anyone can reasonably call this a novelty version. Crumb has definitely done his homework – and while he admits in his introduction that he does not regard the Bible as the word of God, he clearly has a healthy respect for its mythic power:
Though it seems like an unlikely project for him, Crumb’s earthy, hyper-realistic style actually serves the Biblical narrative quite well. Many will undoubtedly regard his graphic representation to be reductionist or even idolatrous (the most obvious example being God rendered as a stern, old bearded man). I personally experienced his effort as “visual midrash” that has intellectual and emotional impact in virtually every panel.
There have been a number of worthwhile reviews of the Crumb Genesis. If you are interested in reading up on the critical reaction, I highly recommend Biblical scholar Robert Alter’s recent piece in The New Republic.