The Shondes have been around for about a decade, and in the band’s early days, it was all too easy to label them based on their punk/riot grrrl background, their Jewish and queer identities, and their radical politics. The Shondes never abandoned any of those. But with their brand-new fifth album, Brighton, showcasing the band’s songwriting depth and pop sensibilities, pigeonholing the Shondes with such labels would sell short just how far they’ve come.

The opening number, “Everything Good,” is the Shondes’ version of a happy pop-rock song. The musical highlight of the whole album is this song’s breakdown, which combines Louisa Solomon’s beautiful but powerful vocals, a distinctive violin part, and crunchy guitar chords. It’s pretty and heavy, all wrapped up in one. It rocks, especially when performed live at the CD release show this past weekend. The title doesn’t lie: It’s everything good.

The next track, “True North,” is a testament to steadfast faith: 

“When we say ‘next year in Jerusalem’/We say ‘every day is revolution’/We raise the torch, we face true North…/Don’t tell me hope is naïve/It can anchor any strategy/I still believe, I still believe”

The song is about clinging to your ideals, as grounded in Jewish terms.

Solomon explained, “We wanted to write a simple pop song about being at a point in life where our ideals had taken a lot of blows, and yet, the act of imagining (a brighter future, justice, revolution, the mythical messianic ‘Jerusalem’ Jews evoke at Passover) itself could provide a kind of groundedness in conviction.”

The ideas here aren’t simple, though. Solomon noted that the Jerusalem reference is a nod to “an ancient Jewish tradition of imagining,” not the city’s present-day role as the capital of Israel. The Shondes have long been outspoken as “firm opponents of Israeli policy” who “renounce claims of Jewish birthright” in Israel, as Solomon put it.

The Shondes have alluded to Jewish topics throughout their career, but Brighton has the most overt Jewish references since their debut. “True North” is one of four songs—out of ten total on the album—with Jewish/religious content. “My Ghost” and “The House” both mention God in their choruses. The anthemic “Unstill Ones” refers to “what the sages meant” and quotes the Song of Songs. The most-Jewish-since-their-debut characterization is even more apparent if one includes “Jacob and Rachel” from Brighton’s “B-sides” collection.

Solomon was inspired to write “Jacob and Rachel” while planning her wedding. The chorus recalls how Jacob “wept when he saw Rachel’s face” and that he “worked seven years for her love.” Solomon was touched by the story of Jacob weeping for his bride. She explained, “Finding romantic precedent in the Bible is tough … and it inspired this song for me as I tried to write through the intensity of my connection with [my husband].”

The chorus also includes the line “So break a glass for all the past that never goes away.” Solomon used the Biblical story to discuss romance in a Jewish context and then built on it. She said, “I used the Jacob and Rachel entry point, trying to get at a connection that feels way beyond size and words—out-of-time in a distinctly Jewish way, just as the Jewish ritual we were planning at the time pulls us out of linear time and asks us to exist in the company of ancestors and unknown descendants via tradition.”

The Shondes’ overtly Jewish lyrics in particular offer thoughtful commentary from intelligent musicians. These are complex ideas told through rocking songs with pop hooks. Don’t just call them simple pop songs. That would sell the Shondes short as much as all the other labels by which their music doesn’t need to be defined.

Photo by Emily Millay Haddad / Circles of Fire Productions.

The post The Shondes Shine Bright on ‘Brighton’ appeared first on Jewcy.

There are certain TV theme songs that anyone in their 20s would recognize (and possibly start singing) from the first line: “This is a story all about how/my life got twist-turned upside down” or “Whatever happened to predictability/the milkman, paperboy, evening TV” or “When I wake up in the morning/and the alarm gives out a warning.”*

For me, the top lyrics on that list would be: “She was working in a bridal shop in Flushing, Queens/When her boyfriend kicked her out in one of those crushing scenes.”

Thus begins the story and adorable cartoon that kick off each episode of the ‘90s TV classic The Nanny.

Basically, Fran Fine (Fran Drescher) is a nice Jewish girl in her late-20s from Queens, who’s dying to get married, has big hair, a larger-than-life accent, brightly-colored suits with animal prints and giant shoulder pads, and the loudest, and let’s just say most distinctive laugh you’ve ever heard. Somehow, she accidentally gets hired as a nanny by handsome, posh British Broadway producer Maxwell Sheffield (Charles Shaughnessy).

Her qualifications, according to the theme song? “She had style, she had flair, she was there!” Not exactly a glowing recommendation, but it’s pretty true. Before taking care of the three Sheffield kids—Margaret (Nicholle Tom), Brighton (Benjamin Salisbury), and Grace (Madeline Zima)—she went to cosmetology school, was a foot model, worked in a bridal shop, and sold makeup door-to-door. In other words, Fran had no experience with kids. Yet, somehow, she managed to keep the kids alive for six seasons, and dispense stereotypically Jewish advice like “never pay retail”—Fran is obsessed with discount department store Loehmann’s—and “date doctors.”

Episodes of The Nanny often seem like one big Yiddish joke, especially when Fran’s relatives show up. Fran’s mother, Sylvia (Renee Taylor), is a binge-eater—especially when the food is free—while her grandmother, Yetta (Ann Morgan Guilbert), is senile, loves bingo, and generally has no idea what’s going on. Sylvia and Fran are always arguing, while Yetta is just comic relief. This conversation from a Season 3 episode in which the family goes to therapy sums up their relationship:

Therapist: So ladies, what brings you to therapy?

Fran: I came because my mother has an obsession with me getting married.

Sylvia: I came because my daughter has a delusion that I have an obsession.

Yetta: I came because they brought me and I don’t know how to get home.

The best thing about Fran, and probably the reason she became such a popular character, is that she’s so proud of who she is. The Nanny is a classic fish-out-of-water story. Fran couldn’t be more different from Mr. Sheffield, with his Upper East Side mansion, butler, and kids in private school. She definitely admired their lifestyle, and yet, there was no way she’d ever change. Fran never succumbed to a makeover, even if Fran’s hair got straighter as the years went on, and while her voice became “normal” for a few seconds after eating wasabi, she never expressed hang-ups about it.

While the kids love Fran the way she is almost immediately, and butler Niles is always mildly amused by her and soon becomes her good friend and partner-in-mischief, it takes Mr. Sheffield more time to warm up to her demeanor. Of course, they wouldn’t have hired someone as handsome as Charles Shaughnessy to play the boss if Fran wasn’t going to hook up with him, and finally, at the end of Season 3, Mr. Sheffield tells Miss Fine he loves her. Drama ensues, and they don’t become an official couple for another season, but eventually they start calling each other “Maxwell” and “Fran,” get married, and in the series finale, they have twins.

Not bad for a shop-girl from Queens—oh, and her mother was happy, too.

*Do I really need to tell you? The Fresh Prince of Bel Air, Full House, and Saved By The Bell.

Previously on Network Jews:

Noah Puckerman, the coolest Jew in school on Glee

Andy Botwin, the promiscuous playboy on Showtime’s Pot Comedy Weeds

Saul Berneson, the CIA Middle East division chief on Homeland

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