With a bare midriff and gyrating hips, Sarah Aroeste performs jazz and rock blended into favorites from her Sephardic repertoire: songs like "Hija Mia" (The One I Want) and "Yo M'enamori" (Moon Trick).
There are people who don’t want to come to a traditional structure because they don’t like tradition,” Rabbi Hoffman says. Hence his abbreviated, participatory service in a decidedly non-synagogue site. “We cater,” he says, “to both a traditional and non-traditional crowd.”
A new book explores Bob Dylan’s Jewish inspiration and prophetic voice.
Bob Dylan showed up in Greenwich Village in 1960 dissembling tall tales of who he was, riding in as a mystic, mythic, out of the American West, one of Woody’s children, raised by Bessie Smith or Mother Goose, now you see him, now you don’t, born in a dustbowl or on the Burlington Northern, a never-ending kaleidoscope of biographical masquerade.
Twenty-nine years ago, Brooklynite Nate Sheff went on his first date with a girl named Mimi. He took her to The Bottom Line Cabaret, a hip, intimate and affordable new venue for live music on the corner of West Fourth Street, in the then-desolate West Village. Folk-rocker Eric Anderson was headlining. There was no drink minimum.
A few weeks ago, Sheff took his and Mimi's elder daughter Shana and her husband to the Bottom Line for a WFUV-FM listening party. Sheff spotted Bottom Line co-owner and Brooklyn native Allan Pepper at the door.
Vanessa Hidary, a performance artist best known for her work with Russell Simmons’ hip-hop Def Poetry Jam, tells the story of the man she met at a bar who remarked that she “doesn’t look Jewish.”
Hidary, aka the “Hebrew Mamita,” a fixture on New York’s on-the-edge cultural scene, shared her thoughts on the man’s shallow remarks during her performances before avant guard audiences.