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A Hot Mess

Never mind the nice Jewish girls like Natalie Portman, the most compelling character in today’s pop culture is Amy Winehouse, a Jewish mother’s worst nightmare but still daddy’s little girl

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Amy Winehouse leaves Westminster Magistrates Court, west London, on March 17, 2009. Amy Winehouse leaves Westminster Magistrates Court, West London, on March 17, 2009.
Shaun Curry/AFP/Getty Images

But despite the obvious pride and care her father shows her and the affection she returns, Winehouse has not always been lyrically kind to him. On her first album, in “What Is It About Men,” she explains why: “Understand, once he was a family man/ So surely I would never, ever go through it firsthand/ Emulate all the shit my mother hated/ I can’t help but demonstrate my Freudian fate.” Instead, she seems to have been most controlled by—and therefore perhaps most influenced by—her grandmother, who hosted weekly Friday-night dinners at her London home for the family. In fact, it was Cynthia’s death in 2006 that has been blamed, at least in part, for Winehouse’s subsequent downward spiral. Winehouse had been a woman grounded by another woman, not by men.

Perhaps this offers a clue to why she changed course for her second album, moving from the adult contemporary jazz sounds of Frank to the sound of to the ’60s American girl groups. At first listen, it might seem highly incongruous to match Winehouse’s explicit lyrics with the melodies and harmonies of the Ronettes. On the track “Me and Mr. Jones (Fuckery),” (a reference to Nasir Jones, better known as the rapper Nas), she sings, “Nowadays you don’t mean dick to me.” In the background, the backup singers’ harmonies swell sweetly—“Dick to me,” they repeat after Winehouse. A few verses later, when she sings about Sammy Davis Jr., the backup is at it again, providing unintentional humor. “Best black Jew” rises up and lingers in the air as Winehouse continues.

The first song Phil Spector produced was “To Know Him Is To Love Him,” a ballad whose title was the epitaph on his father’s tombstone. Phil Spector earned his first No. 1 hit with this song, as part of the Teddy Bears. This would be the only time he performed one of his hits; after this point, he would be known only as a producer. The song, which was written as a son’s tribute to his father, becomes a slavishly romantic tune through lead singer Annette Kleinbard’s sweet, artless soprano. Spector backs her on the guitar and harmonizes with the third Bear, Marshall Lieb. This is exactly the kind of a song you’d expect from a man of Spector’s insecurities and neuroses, the kind of man who had been hounded by a domineering Jewish mother for most of his life. What would he want most of all? A woman absolutely devoted to him, one who would say things like, “Just to see that smile/ Makes my life worthwhile.”

It is safe to say that Winehouse could never be that woman, and in her hands the song, which she frequently performs in concert, sounds subtly but critically different. Instead of Kleinbard’s clear, high-pitched tone, Winehouse brings it down several octaves and adds a raspy tinge to her delivery, backed by a simple acoustic guitar. One gets the sense that as Winehouse sings, “Oh, I’ll be good to him/ I’ll bring joy to him,” she is aspiring to be her better self, the kind of woman who is devoted to her man without making demands (perhaps the Jewish mother who dotes on a husband and son, one that Spector wished he had and the type Winehouse wishes to be). This is not a song she could write on her own. Her father has conceded this point. “She’s never gonna write a song about, ‘You look lovely in the moonlight, my darling, give me a kiss,’ ” he told the Huffington Post in early 2010. “Every song Amy writes is like … [He sticks an imaginary knife into his substantial tum and circles around as though he is eviscerating his entrails.] In Yiddish, it’s ‘schlapping your kishkas [your insides] out.’ Amy’s a great one for schlapping her kishkas—because every song is, like, heartbreak … sorrow … depression.”

If Spector and Winehouse met in real life (say, perhaps, in prison), it is unlikely that they would find much physical and sexual attraction. Spector is the type of man that she would never end up with—slight, light, and sickly. (One-time band mate Kleinbard once recounted being on a double date in a car with Spector, whose heavy breathing coming from the back she imagined to be heavy petting—until Spector cried out: “I’ve got to get out of here. I’m having an asthma attack.”) In contrast, Winehouse is the one with overwhelming needs, which makes her incapable of meeting those of others. Her compositions tend to be about men who fail to measure up to her standards or, conversely, how she has wronged them. Winehouse does not put her lovers up on a pedestal and is unable to express the slavish devotion a true Spector song (and Spector himself) demands. Even as she sings him promises, it sounds like she already let him down.

This is precisely the type of man Winehouse sings about on her first album, Frank, which established her as an up and coming British singer (and for which she was nominated for the Mercury Prize, a prestigious award). On “Stronger Than Me” she explains her frustration with a weak man, the type who constantly needs to be bolstered: “You should be stronger than me/ You’ve been here seven years longer than me/ Don’t you know you’re supposed to be the man/ Not pale in comparison to who you think I am.” Her voice on this track is higher and more nasal than it is on “Back to Black,” sort of like the British answer to Fran Drescher. Imagine the nanny issuing this put down: “Feel like a lady/ And you my lady boy.” Accusing her guy of being so feminine that he could easily be mistaken for a transsexual takes shrewish, Jewish nagging to a whole new level.

And even when Winehouse tries on subservience it still comes off as awfully dominant. “I’m not gonna meet your mother anytime/ I just want to grip your body over mine,” she sings a few verses later. Though she describes vanilla, missionary-style sex, the very fact that she’s the one grabbing, placing her partner where she wants him negates her location. Even when she’s the bottom, she’s also the top.

This masculinity that she looks for in men but almost loathes in herself is manifest in her appearance—the bouffant hairstyle, the breasts (surgically enhanced) propped up to her collarbone, the Cleopatra-style eyeliner, the exceptionally tight vintage dresses. All of it represents an exaggerated form of femininity, which is the hallmark of drag. To dress up as Winehouse, a queen would not have to embellish at all. It would not be possible to make the hair any bigger or take the boobs any higher. Her look is prepackaged drag. If she accuses men of acting like women then she too is masquerading—a woman who dresses like a man who dresses like a woman.


So, if Winehouse is too dominant and aggressive—too manly, even—for Jewish men, even most non-Jewish men, who can handle her?

In real life, she’s gone for skinny white junkies who fob off her fame and wealth, but in songs she has teamed up with a beefier sort: African-American rappers. Jay-Z remixed Winehouse’s monster hit, “Rebab,” while Ghostface Killah sampled the beats, horns, chorus, and some of the verses on a track of the same name and seems to be in a constant dialogue with her with his rhymes. As Winehouse sings about being “trouble,” he raps in response, “Fight scenes, I take the good with the bad.” But why is he willing to overlook her shortcomings? Because she lives up to the Jewish sex goddess stereotype: “Cuz you give the best brains I ever had.” Winehouse’s ex-husband, Blake Fielder-Civil, made a similar assertion though not in rhyming verse: “She is even better at sex than she is at singing,” he told a British tabloid. Winehouse’s sexuality is powerful. Yet even Ghostface seems a bit wobbly by the song’s end. On the outro, the rapper repeats the phrase “Got to forgive the past but I never forget it,” as though the memory of his humiliation at the hands of a superior feminine force will somehow keep the pleasurable but ultimately traumatic cycle of infatuation, narcissistic self-fulfillment, and sexual abandonment from repeating itself yet again.

Dvora Meyers is a freelance writer based in Brooklyn. She dressed up as Amy Winehouse for Purim.

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Michaela says:

great writing

Rachel says:

On a scale of 1 to 10, I loved this a bajillion. Amy is the best.

M. Brukhes says:

This article is incoherent, pointless, typical Tablet drivel: Amy Winehouse hasn’t done anything of either note or notoriety in years, yet here she’s being offered up as an “alternative role model” for Jewish femininity, the fact of her Jewish origins offered as ostensibly self-evident “proof” of her music’s “Jewish” sensibility–a tribalist, essentializing substitution for critical thought if ever there was one. Her lineage is traced to Jacob’s daughter Dina, here “credited” as having slept with the non-Jewish Schechem, when in fact the original Biblical narrative makes clear that she was a victim of rape. If either Winehouse herself or Dvora Meyers’ self-serving and ridiculous assessment give any indication of Tablet’s stake in the future of Jewish culture, feminist or otherwise, then heaven help us all….

Jane Ravid says:

Correction: Mari Wilensky, Miss Florida,of 2005, was the first Jewish competitor in the Miss America Pageant after Bess Myerson.

Jonathan says:

Two of my fascinations here – rock music and the Bible. Great job on the music, Ronettes, big hair and all. On the Bible, not so good. As noted above, Dina was a victim of rape; that’s right in the text. Ms. Meyers, if you’re citing some of the midrashic tales about Dina, make that clear!

brynababy says:

What M. Brukhes wrote! Me too.

M. Brukhes says:

Thanks brynababy!!

Keith Bloomfield says:

Sensational article. I appreciate Ms. Winehouse more than ever.

When a Jewish writer struggles to find the Jewish content in Bob Dylan’s songs, you know it’s so he can bask in someone else’s glory. I guess the same thing is going on here but Amy’s not writing her own music so it’s even less relevant. That makes it seem really stupid.

The first time I heard her was in a big box book store. I heard the music playing overhead and said to the guy next to me, “This is great.” A little while later I went to the CD counter to buy it and he was there too buying the same record.

When I asked who it was I was surprised to find that the singer was someone named Amy Winehouse. That’s how Jewish she is.

I’m just amazed she’s not dead yet. Great musical sensibility but I wouldn’t sell her insurance, not even for a performance.

Dorothy Wachsstock says:

Democrats are losing Jewish donations, voters and Sen. Reid asked Obama to lie low with Israel until after the election.

Thus, Debbie W. Shultz has been appointed as the first Jewish person head of the DNC.

Get the point?

jay says:

You mean Natalie Portman, unmarried and pregnant by the non-Jewish co-star of her recent film, is the paradigm of the Good Jewish Girl? When did we define GJG down?

Geraldine says:

I thought the official version was that Dina was raped.

Flo says:

Since when does raping and sodomizing a pre-teen become credited to her being a “vixen?” (“I couldn’t help myself, she was wearing a slutty outfit, she was asking for it”). I’m so tired of reading picees from writers who think there’s something charming or daring about being dysfunctional or deliberately defiant of Jewish tradition. It is pathetically juvenile.
How about some real thinking?

Yonina says:

Just heard the news about Amy Winehouse, Baruch Dayan Haemet and reread the article. Such talent and such self abuse. So sad. Thank you for the article.

Banacek says:

Found this today, for obvious reasons.

A question: Why would you characterize the effect of the backing vocals on “Me & Mr. Jones” (“dick to me”; “best black Jew”) as “unintentional humor”? Why wouldn’t you assume that Winehouse and producer Salaam Remi, as grown adults of presumably normal intelligence, understood perfectly well that such harmonized phrases were funny and included them for precisely that reason?

Lindsay says:

This is a tragedy. I was waiting for so much more from this great young talent. I will miss her musical presence.
By the way, “hot mess” is SO done.

RIP, Amy Winehouse, In her short lifetime, Winehouse too often made headlines because of drug and alcohol abuse, eating disorders, destructive relationships and abortive performances. But it’s her small but powerful body of recorded music that will be her legacy.

Aaron S. says:

This article reveals how far removed liberal Jews are from Judaism. Natalie Portman is anything but a nice Jewish girl. She is a slut. She not only had a child out of wedlock – the father is not even Jew! She gave birth to a bastard. Some nice Jewish girl.

As for Amy Winehouse – some role model. She is a shtick of drek.

It would be nice to have writers with Jewish values writing about Jewish values. The writer of this article is so far removed from her Jewish roots that this article might as well have been written by Josef Geobbels. He also would have admired self-destructive Jewish behavior.

grik says:

Hey guess what. You don’t get to decide whether someone else is Jewish or not.

howard savage says:

I will miss you.

under the circumstances you may want to take the teaser for this story down. it came up as “jewish mother’s worst nightmare” which seems like poor taste since she has just died.

Bill Pearlman says:

Natalie Portman is the ONLY Jewish star in Hollywood who stands up for Israel. The ONLY one.

I second mbrukhes, particularly where Dina is concerned. Calling a rape victim a seducer feels like a nightmare of a throwback.

The fact remains that Amy Winehouse is dead way before her time. Spinning things to gloss over the harsh reality of her death is just another case of adding to the evil of the denial.

I repeat, I was not a fan of Amy Winehouse but am familiar with some of her work. The fact that at 27 she is now dead is terrible. Why did she continue with such self destructive behaviour ? (BTW some people will secretly not really care that she is dead because she was a Jew.) The fact is that no one, whether a friend, fan, partner, neighbour or Rabbi really empathised with her and got through to her. They could not see what was really going on. For all her public bravado inside she was in real turmoil. Her fame, money and talent were cloaked in denial. Her true self had become calcified. Here’s the truth. Amy was traumatised between the ages of three and half to eight. She repressed the memories from conscious awareness. Her coping mechanisms of alcohol, drugs, loose sex, tattoos etc. became progressively more toxic. The downward spiral led to the ultimate act of self denial. She was very “close” to her father. Little Amy was screaming for help but she didn’t get the help she needed. No human being is born with a death instinct. All children are born pure, innocent and free. Violence is not innate.

Prayers for Amy Winehouse.

Timmy Little says:

Since when is Natalie Portman, knocked up premarriage by coworker whose relationship she undermined, a nice Jewish girl?

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A Hot Mess

Never mind the nice Jewish girls like Natalie Portman, the most compelling character in today’s pop culture is Amy Winehouse, a Jewish mother’s worst nightmare but still daddy’s little girl

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