Friday 18 September 2009

Evidence Of Things Not Seen: Judaism in the twenty-first century

It is entirely appropriate, I believe, for the Jewish High Holydays to take place in our autumn. A time of change and newness, September represents important phases and stages in our lives: new school terms, new University years, new jobs. So for the Jewish New Year to fall during this busy period works well in my opinion. It sits nicely alongside these more secular occasions.
However, this year, perhaps more than any other, I have found myself questioning the festivals of Rosh Hashanah and Yom Kippur. For the uninitiated, these two festivals are generally considered to be the most important in the Jewish calendar; the first being a celebration of the birthday of the world, of the creation story, and thus a New Year under the Hebrew timescale, the second being the culmination of ten days of internal soul-searching and repentance for all manner of yearly sins and wrongs, ending in Yom Kippur itself: a 25-hour long fast where Jews refrain from eating or drinking, or other earthly luxuries from sex to shaving and even wearing leather shoes. On Yom Kippur, Jews openly articulate their wrongdoing from the previous year and ask for forgiveness from God.
On many levels, this is so important. What could be more suitable, in an age of selfishness and arrogance, where materiality takes precedent over spirituality, than to cast our minds back through the vastness of the previous twelve months and not only admit our failings, but to understand why we did them. I am a reflective young man, and feel such a Judaic device is to be applauded for the most part. The problem I have is in the nature of the repentance. It seems to me to be a little strange to be asking for forgiveness from a being, an entity, whatever you want to call him, her or it, that we have little or no evidence for the existence of, beyond what we have been told are ocular examples in scripture.
Let me be clear, today's blog is not to shatter the illusion of divinity that governs most world religions. I simply do not know whether there is or is not a God. Being brutally honest, I am one of those who goes about ritual or ceremonial duties more out of hope than expectation, believing it still important to maintain the tradition (and remembering the genuine history that prompted them) rather than completely do away with it, regardless of what the net result will be in the long run. I am, however, 100% certain in my own mind that it is possible to be Jewish and still have major doubts. After all, self-doubt is a paragon virtue of modern Judaism, so I suppose I should fit right in. There is, friends, a generational problem here, however. If I had this conversation with my mother, for example, her unflinching support for everything she has been told and taught in her life would no doubt eventually evolve into an argument with me about my lesser faith, my lapsed ability to trust explicitly.
So where do I fit in amongst the denominations of my religion? Do I fit in at all? There are, sadly, an annoying few who would claim I have no place in it whatsoever, a cabal of near-medieval prelapsarians whose literal ideology I believe to be not only morally wrong but equally socially dangerous. There are some, be they Jews, Muslims, Christians, you name it, who hold steadfastly to everything that scripture and custom and influential leaders tells them. For the most part, this is fine. In many ways it is to be applauded. There is much, as an example, within the Jewish Torah that is relevant to modern-day life, offering important distinctions between right and wrong, imploring responsibility and charity, kindness and forgiveness, moral guides to what is at times an amoral world. But it also talks about stoning rebellious sons to death at the city gates, or that homosexuality is an abomination, and even sanctions a father's right to sell his youngest daughter into slavery. By any modern moral standard, all of these are just plain wrong. The vast majority of British Jews will treat such commandments in the same way they treat meat from a pig: with some distance. There remains a minority, the same minority who consider me to be as Jewish as Egyptian footballer Mido, who will still cling to this prose as, forgive the pun, gospel.
Judaism could be doing a better job of putting on a united front. At a time when the wrongdoings of the state of Israel (goodness me that is worth a blog on its own), for example, turn attentions towards Judaism more generally, I am concerned that many people who know little about the religion in this country will see a group of people divided, of denominations clashing and bickering, resolutely and consistently articulating their differences rather than their similarities, the shared traditions and cultural elements that have sustained Judaism for thousands of years.
All across the UK over the next couple of days, Jewish families will come together both in synagogues and at home to celebrate a New Year. They will dip apple pieces into honey to help represent what we all hope will be a sweet year to come. These are the sort-of rituals that I can base a life on. Not just because I enjoy the taste of apple dipped in honey, but because it is a simplistic gesture that means a whole lot more. It is about the hope of a good year, yes, but it's also a symbolic moment shared with loved ones, and as Judaism is a family-centric religion, placing an importance on the family unit and shared family experiences, it is entirely appropriate to spread that hope around those we love and care about. Similarly, in ten days time, Jews will again congregate together as the autumn light fades and the gates of repentance start to shut, in order to break their Yom Kippur fast together, proving that even at our most personal and reflective of moments we still supplement this with a familial element. Such traditions, which include Shabbat meals on Friday evenings, or the Passover Seder, with its own myriad customs and traditions, and so on, can help Judaism thrive, and not the 'more righteous than thou' faction that stains any modern, liberal spirituality.
We need to respect each other more. I want to go about my business without being concerned at what a fellow Jew thinks of what I do. Mine is a private Judaism, one that all to often sadly clashes with its public counterpart. In my opinion (and remember this is just my opinion, with no disrespect meant to any one of my many friends and family members who think differently), we could all be afforded a little bit more leeway and freedom from judgment to be as religious as we want, or do not want, to be. Ultimately, it is more important, surely, to try to be a good person than solely a good Jew and nothing else. Liberalism, acceptance, open-mindedness is key.
This Rosh Hashanah and Yom Kippur, I will put on my suit and go to synagogue with my family. Most of it will go through one ear and out the other, and even then my ears will probably still be ringing from the gig I'm going to tonight at Wembley, even though technically Rosh Hashanah begins at sundown this evening. I'll probably not enjoy the company of those around me that much (becoming no doubt incensed by the same whispering, gossiping and general looking around for other people that I will no doubt also partake in), save for my friend Jack, who I will no doubt sit with and quietly giggle with when the choir comes in flat, or sharp, or both. I know that the Rabbi will offer a sermon on how important it is for young people to come to shul every week (why?), and to stay in contact after their Barmitzvahs (surely if you are a 'man' post-Bar Mitzvah you can decide for yourself if you want to go to shul or not, free from pressure or judgment from others?), and how the majority of the congregation only turns up twice a year and that this is not good enough (according to who?). I know I will probably disagree with him, but equally that somewhere in the sermon he'll say something profound that will grab my attention for a moment or two.
I know that I will get very little from my synagogue attendance over the next couple of weeks, until the final service of Yom Kippur, known as Neilah. On Yom Kippur I attend Neilah without fail every year, usually with both my Dad and Grandpa. It is important to me and without doubt I feel at my most spiritual, most Jewish, most at one with my family, community, congregation, the works, during Neilah on Yom Kippur. Poetically, it is a fascinating service, full of stylised prose and poetry, of close choir harmonies, all juxtaposing perfectly against the gloom of the gather dusk, where the candles in the synagogue flicker against the darkening skies. It is atmospheric and, frankly, wonderful. It is the only time I properly think about what I've done over the previous year, something I am meant to do over the entirety of Yom Kippur but which eludes me until the final couple of hours, after the anguish at my inevitable defeat at the FA Premier League Monopoly board game to my friend Jonny during the afternoon has calmed down.
It is clear, I am sure, that I am a walking religious contradiction, unsure of my place within my religion, or even if I want a place, caught between my own personal values and customs, and the wider communal pressure that is hard sometimes to ignore. In just a couple of paragraphs I talked about going to Wembley instead of seeing in the first High Holyday festival this evening, but also about a spiritual connection to later services and my strong support for many of the familial elements of Judaism. Being a good person should, nevertheless, not have to be connected to religion at all. It can be if you want it to, of-course, and this should be lauded; but it does not have to, and as I get older I'm beginning to feel that more and more, without wanting at the same time to say I'm not Jewish. I am what I am.
Clearly this is a religion of differences, and that is fine, as long as we can embrace them, whilst maintaining the traditions and cultural customs upon which it can thrive, rather than descend into a ranting fiasco of discord and disillusion. Of-course I am also aware of the irony, of how my pleading for a more liberal, open-minded, less judgmental religion has clearly clashed against some of my obviously narrow-minded thoughts about the ultra-orthodox mentality.
So be it. On Eruv Yom Kippur, which is the evening beforehand, Jews ask for forgiveness not from God but from mankind. That's something we can probably work on. Certainly I know I need to.

Friday 4 September 2009

The Oasis Story, Part I: "Where were you while they were getting high?"

So, farewell then, Oasis. Britpop extraordinaires. Rock'n'roll luminaries. Siblings at war.
Since 1994 they have dominated the airwaves, selling over 50 million records, achieving numerous number 1 singles and albums, not to mention Brit awards, Ivor Novellos, Mercury Prizes and general critical acclaim.
I grew up listening to Oasis, to their swagger and arrogance, their commitment to escapism, the can-do above the cannot. For Be Here Now, I was there then. That album, much lambasted, affirmed my love for these Madchester madcaps. I adored Liam's croon, Noel's hooks, the soundbites, the live sights, the street fights. At their peak, Oasis defined the mood, nay the epoch, of an entire generation, and at their worst they still gave us something to talk about.
The critics, and there are plenty (and not all unwarranted), point to a formulaic policy of chord progressions and average lyrics, of the same Gibson Epiphone guitar making the same slide, the familiar beat, the traditional process of verse-chorus-verse-chorus. They are wrong. Just one listen to Standing On The Shoulder Of Giants will demonstrate Noel Gallagher's ability to mould and shape a song with more than just a guitar, bass, drums set-up. Here is an album of psychedelic charm and gothic acknowledgments, of slap-bass, gospel choirs, electric organs, flutes and synth. Musically, it is by far and away the most complex Oasis album, with syncopated rhythms and time-signatures, odd but appropriate key changes, and genuinely impressive instrumentation. People forget this album, this backwater of 2000's belated post-Bonehead, post-Guigsy comeback, but ultimately it is a fine piece of work that helps illustrate that Oasis were not just about four chords and an uplifting chorus.
Being a self-declared muso, a lover of many forms and genre, I will not be arguing that Oasis have stood above and beyond other artists over the past fifteen years. I will not suggest they were artistic revolutionaries (though politically and culturally they may have been). Nor are my affections held solely by Oasis. After all, I am sat here writing about the brilliance of Oasis while my Ipod is currently playing Everything Is Borrowed by The Streets (more on Mike Skinner's genius another time). Yet after the news last weekend of Noel's departure, of one final brotherly barrage, it is only appropriate to pause a moment and reflect on all that Oasis were and represented. So, in the words of Mike Skinner (and I'm sure you all enjoyed how I segwayed back into him): "Relax in your sitting position and listen; it's fitting."
During the early years of Oasis, from 1994-1997, they defined an era. Every decade since The Beatles has had one or two era-defining bands. Think The Beatles and The Stones in the 1960s, The Who perhaps for the 1970s, maybe Michael Jackson in the 1980s, and so on. Oasis were that band for the 1990s, capturing the mood of a UK hit by a recession (sounds familiar) and an uninspiring government who had clung to power for too long (sounds even more familiar). Unemployment was rife, crime high, and England weren't very good at football. Then Definitely Maybe came out, with its tales of living life "for the stars that shine", of just wanting to fly, living forever, feeling supersonic, of looking for some action when all that existed were cigarettes and alcohol. The guitars were turned up high, the reverb was left on, and five lads from a council estate in Burnage, Manchester, dreamed of escaping, of something better than what they had experience so far. Rock'n'Roll Star, the first track on the album, is less a statement of intent and more a call to arms. "Wake up England!", it rasped. "Let's get going."
Oasis encapsulated the mood of change, of increasing optimism that surrounded the birth of Tony Blair's New Labour. The summer of 1995 was like 1969. Knebworth. History. Right here, right now, they said. Years of Tory rule was about to end: the people would remove the chains of traditionalism and embrace a new liberal cultural of free markets, innovation, inspiration, aspiration. And whilst this sea-change in emotional, social and political opinion increased, Oasis released records with a zeal and vigour that matched the people's drive. If Noel and Liam can roll with it, so can we. If they have a masterplan then we can have one too.
This, of-course, is representative of the exterior Oasis, the chart-topping band of critical acclaim. Yet Noel Gallagher's songwriting has always contained subtleties that people today, in 2009, often dismiss. Back in the mid-1990s, Noel clearly knew his band were destined for, well, destiny, but often let his most prosaic offerings take a back-seat as b-sides and album tracks. Half The World Away, immortalised by the BBC comedy The Royle Family, strives for the same escapism of larger-than-life numbers like Rock'n'roll Star and Morning Glory, but in a far more reflective way, almost quietly noting that the madness surrounding the band and its individual members was transitory, whereas nobody could give Noel Gallagher the dreams that were his all along. It's a wonderful song, simple but so effective, still talking, almost desperately so, of something better ("I would like to leave this city/This old town don't smell too pretty/And I can feel the warning signs running around my mind"), but equally very personal: "You can't give me the dreams that are mine anyway." Similarly the arrogance of Oasis came later. 1994 b-side Going Nowhere longs for "a motorcar, maybe a Jaguar, maybe a plane or a day of fame" but ends with a negative refrain: "Here am I, going nowhere in the rain." Perhaps the adulation ruined Oasis. They were fine when there was something to strive for, but once that was achieved, one they were there then, the interest faded.
This is what makes Be Here Now so fascinating, not just as a piece of music in its own right, but where it sits in the lexicon of British culture. Released just two weeks before the death of Princess Diana in August 1997, to an hysteria last seen when Abbey Road was released, it sat perfectly as the epitomisation of new Britain. The Labour landslide was still being enjoyed, the weather was hot, the country basking in the warm and comforting glow of progress. This is why it is such a genius album title, almost as if Oasis knew that this was the highest, the biggest, they would ever be, arm-in-arm with a period of time on a societal level that could not possibly last. Be Here Now makes perfect sense and, crucially, tense: the Gallaghers were offering a final rallying-call - to join the party while it lasted, not because they were going to all of a sudden become incompetent and stop releasing great records, but because trends, by their very nature, are transitory, and deep down everyone knew this. If you weren't there then, and many were sadly not, it is likely that today you regard the passing of Oasis to be nothing more than the latest in a series of daily celebrity news stories, a fleeting by-line to a bygone era.
Be Here Now is full of imperfections and lyrical inconsistencies, from the confidence of It's Getting Better (Man!) and D'you Know What I Mean? to the heartfelt and tender insecurities of Don't Go Away (a genuinely moving track that should be on any Best Of compilation) and Stand By Me. Today it may not sit together well as a long-player, but take each track on its own for a moment, and it deserves to be listened to again. There are few better Oasis moments than seeing Liam spit out the words to My Big Mouth, as they have done live recently, a song that acts as a microcosm for the whole album: staggering arrogance mixed with genuine concern for the future - "Guess who's gonna take the blame for my big mouth, and my big name, I'll put on my shoes and walk you slowly down my hall of fame."
Without knowing it, the band became the first winner of The X Factor before Simon Cowell had even thought it up. People liked Oasis because of the aspirational attributes of the personnel and the music they played. They dared to dream, and through them so did many of us. It is why the Knebworth gigs were so triumphant, so epoch-defining, because they represented rags-to-riches in startling detail, like a real reality TV show. "This is history. Right here, right now. This is history," bellowed the band on that Hertfordshire stage.
So where were you while they were getting high, while they were providing the soundtrack to millions of people's hopes and dreams, loves and hates, highs and lows? It is easy to pick holes in Oasis, to criticise for criticism's sake, to jump on an increasingly popular bandwagon of counter-culturalism, reactionary attempts to play down what they signified and how good they were, almost as if we are embarrassed. Ultimately, folks, you simply cannot sell that many records if you are no good. Somewhere, beyond the in-fighting and the drugs, the press attention and the celebrity lifestyles, at the heart of it all, lies the music, and when you list the multitude of famous, radio-friendly songs you have to concede that these guys knew what they were doing.
"I think you're the same as me,
We see things they'll never see,
You and I are gonna live forever."
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Coming soon - The Oasis Story, Part II: "Outta Time."