Saturday, July 11, 2009

A Story of Salvation from Forks and Maps

For a long time, I have wanted to blog about some of the Jewish teachings I like that I have come across in my studies: whether it be the studies I conduct on my own, or when I study with friends.

There is more truth in the world than I will ever know, but I would like to share the few and brief truths that I do learn.

I don't know how often I can show my findings here, but I'd like to do so whenever I have something worthwhile to share.




In Massekhet Sotah (מסכת סוטה) of the Babylonian Talmud (תלמוד בבלי) Page 21 Side A (כא:א), there is a story of a man traveling insecurely:

משל לאדם שהיה מהלך באישון לילה ואפילה ומתיירא מן הקוצים ומן הפחתים ומן הברקנים ומחיה רעה ומן הליסטין ואינו יודע באיזה דרך מהלך
A story of a person who was walking during the slumber hours of night and darkness, and he was afraid of thorns, of pits, of thistles, of nasty wildlife, and of thieves, and he didn't which way he was going:

נזדמנה לו אבוקה של אור ניצל מן הקוצים ומן הפחתים ומן הברקנים ועדיין מתיירא מחיה רעה ומן הליסטין ואינו יודע באיזה דרך מהלך
A ray of light appeared for him, and he was saved from the thorns, from the pits, and from the thistles; however, he was still afraid of nasty wildlife and of thieves, and he didn't know which way he was going!

כיון שעלה עמוד השחר ניצל מחיה רעה ומן הלסטין ועדיין אינו יודע באיזה דרך מהלך
When dawn came, he was saved from nasty wildlife and from thieves; however, he didn't know which way he was going!

הגיע לפרשת דרכים ניצל מכולם
He arrived at a parashat derakhim, and he was saved from everything!


The question that the medieval commentator Rashi (רש"י), the Talmud, my study partner Gabe Seed and I all had in common next was this: what does parashat derakhim mean?

Gabe's immediate thought was that parashat derakhim should be translated as "the splitting of the paths," or "crossroads," or "a fork in the road."

But, the root of the word parashat (פרש) can mean, aside from "separation" or "splitting," "explanation." So, I read this differently and said that parashat derakhim meant "an explanation of the paths" or "a map."

Rashi and the Talmud do not have a clear answer to the question, but they entertain multiple answers, each having to do with either observing or studying Torah: truth.

In short, the Talmud here teaches that we can find all sorts of benefits in nature to ease our worries about the physical world. But, when it comes down to finding direction in the world, we can only save ourselves by approaching the fork in the road, or by approaching the map. When we do not know where we are, our only answer is either a question or an answer.

Will we save ourselves by asking questions, or will we save ourselves by finding answers?

I say that we must do both.

Thursday, July 9, 2009

A Modern Jewish Review of Female Chauvanist Pigs: Women and the Rise of Raunch Culture

WARNING: This content may be unsuitable for children under the age of 12. This text contains adult content and refers to content with strong language.

A Modern Jewish Review of Female Chauvanist Pigs: Women and the Rise of Raunch Culture

A SECULAR READ

I found this book to be extremely important for understanding the moral issues surrounding the role that sexuality currently plays in American popular culture.

Ariel Levy makes a strong case for there being a problem of many American women giving in to expectations of male chauvanism and calling that giving in "empowerment." Levy ultimately brings the point home and shows that young girls are all too often confused and manipulated into conceding their sexual choices to the unrealistic and sexist expectations of male chauvanists. Levy examines both the hesitant girls who are pressured into being featured nude in Girls Gone Wild videos and the businesswoman in the TV and film industry who sell the images of women's bodies. Though these persons claim that offering these sexual conveniences to heterosexual males proves women's sexual liberation--because women are playing an active role in the creation of a sexual culture--Levy argues that women creating a sexual culture that portrays women as sexual objects is ultimately counterintuitive to the feminist goals of an egalitarian society. Levy proposes that, instead of creating a society in which men and women are equal, American women in the 21st century are just playing by the rules of (and attempting to enjoy) a sexist game designed by trashy sexual values.

THE JEWISH READER
Personally, as a moderate, observant Jew concerned with the clash between the demands of American sexual culture and Jewish ethics, I found the book to be a compelling re-evaluation of secular sexual values. My concerns as a Jew, with regard to American sexual culture, amount to three major things:
(1) non-marital sex (and other forms of non-marital sexual activity),
(2) fashions of dress (and their sexually provacative implications),
(3) and the equality of men and women (and those who may feel they do not classify as either men or women) in all parts of life.

The reason that these matter to me as an observant Jew, and not just as a human being, is that, historically, Judaism (unlike many religions) has seen sexuality as holy. Therefore, sexuality, the sacred expression of sensuality between God's creatures, is very personal and should be reserved as much as possible for only sanctified relationships. Judaism sees the benefits of immense sexual pleasure in holy relationships, but Judaism finds sexual pleasure gained through nonsacred relationships to be harmful to the sanctity of sexuality within a holy union.

I ABSTAIN
Hypothetically, sex only in the context of marriage might sound reasonable. But Levy writes that statistics show that abstinence-only education (teaching that sex must be preserved solely for marriage) does not work for most people. Levy argues instead that teens should be taught about birth control and the positive and negative effects of sexual activity. Since she is writing from a scientific and secular standpoint (and not a perspective of Jewish ethics), Levy acknowledges that consensual sex is a frequently pleasurable activity. Levy says though that, since statistics show that people do not naturally wait until marriage for sex, people who believe that sex should be preserved for marriage must recognize sexual activities that are not sex itself (i.e. masturbation, groping, etc.) as reasonable ways to hold off on sexual intercourse until marriage.

Since Judaism permits masturbation (and has traditionally interpreted the story of Onan in Genesis as a sin of coitus interruptus, sexual intercourse that began but did not end), Jews can listen to Levy's advice on masturbation. But is masturbation the only sexual pleasure that may be attained by Jews before marriage?

DO NOT TOUCH?
Many observant Jewish communities often observe Shemirat Negi'ah (refraining from touching a non-family-member of the opposite gender). From a very literal or traditional standpoint, this would imply that, when a Jewish male and female who observe Shemirat Negi'ah are dating, they will not hold hands, hug, kiss, or touch each other at all because they are not married. If they get married though, they can engage in regular sexual relations with each other (since they are still observing Shemirat Negi'ah with everybody else to whom they still aren't related).

However, it is important that modern observant Jews realize the excessively stringent and contradictory nature of Shemirat Negi'ah today. It would seem that the purpose of Shemirat Negi'ah is to avoid any form of touching between the sexes to be understood as sexual. But if the purpose of this traditional form of Shemirat Negi'ah is to avoid sexually arousing Jews, then the system does not work for Jewish homosexuals. Even if homosexuals were prohibited from touching non-family members of the same gender and unrelated heterosexuals of the opposite gender, then the only non-family members whom homosexuals would be able to touch would be homosexual non-family members of the opposite gender. As Judaism values Mar'at Ayin (how a situation appears to fellow Jews), the sight of an observant Jew who will only touch Jews of the opposite gender creates an awkward and uncomfortable social rift for homosexuals: a denigrating of homosexuals that is a violation of Kevod Ha-Beriyyot (honoring the dignity of one's fellow human beings). As Judaism welcomes people of all sexual orientations, Shemirat Negi'ah, in order to fulfill its intentions for a complete community that may include homosexuals (let alone bisexuals), would have to call for no touching whatsoever between any two Jews who are not related1.

A Jewish community where no two unrelated Jews may touch each other would mean no handshakes, no hugs, no arms gathered in dance, no pats on the back, and no social pleasantries or rituals that would involve any sort of physical contact! This would create for a dead community, and I do not believe that any society can expect to operate under these conditions.

Yet, it is comforting to know that the intellectually honest Orthodox Jewish world is re-evaluating Shemirat Negi'ah. Rabbi Avi Weiss, founder of the Open Orthodox rabbinical school, Yeshivat Chovevei Torah, is known as a "hugger." As a "hugger," Rabbi Weiss will hug men and women as a simple greeting of "Welcome." Also, when I visited Yeshivat Chovevei Torah on May 18 2009, Director of Student Services Ruthie Strosberg Simon greeted me with a handshake upon meeting me in person. Beyond Rabbi Weiss's school, I know many observant (and many Orthodox) Jews who will shake hands, hug or high-five Jews of the opposite sex. The honest Jewish world knows that hugs and handshakes are not sexual, and they know that these gestures are extremely comforting to the strangers and friends among us.

TISSUE!? I HARDLY KNOW YOU!
As honest re-evaluation breaks down the stringency of Shemirat Negi'ah, the observant Jewish world must proceed to re-evaluate the permissive and prohibitive limits of non-marital sexual activity, most significantly in observant Jews who are dating. While permitting sex or even permitting oral sex, would be too close (if not absolutely identical) to sexual activities that observant Jews must reserve for marriage, I do not believe that kissing, hugging or hand-holding must be off-limits to a pair of observant Jews in a committed non-marital relationship. I believe that groping and similar activities that may be called "foreplay" may serve as a reasonable limit of sexual activity between two observant Jews2. (On a technical and literal note though, these activities must be seen as premarital "peaks" or "limits", rather than premarital "foreplay" since "foreplay" would imply that the sexual arousal characteristic of foreplay is for the purposes of impending sexual intercourse.)

WHAT NOT TO WEAR (IN ACCORDANCE WITH JEWISH LAW)
Returning to Levy: though her book briefly discusses the effects and implications of fashion with regard to the remainder of American sexual philosophy, Levy makes very strong points in her intermittent comments on the sexual provokability of American fashion. Levy, aside from telling us her own thoughts, quotes a few ethnographic subjects (often teen girls or young adult women) who criticize modern fashions; for example, one girl refers to short skirts as "belts" since she feels that these skirts covered only about as much as belts would. Levy tells us of the problems feminism faces in the light of low-cut shirts, visible (and provacative) underwear (or lack thereof), low-riding jeans, and short skirts. The fact that feminists may be concerned that such clothes turn people into public sex products is not so different from the fact that observant Jews must be concerned that such clothes, when worn in public, are inclined to catch the sexual eyes of people outside of the kosher sexual relationship3.

The Jewish concern with dress, Tzeni'ut, demands that women wear skirts with lengths that differ from community to community, that men wear pants of lengths that differ from community to community, that both men and women wear shirts with sleeves of particular lengths that also differ from community to community--and all sorts of other demands that differ from community to community. Since the laws and traditions of Tzeni'ut are various and complicated, all I can recommend for the observant Jew is that he or she dress, when in public, in a way that comfortably does not reveal or invite examination of one's thighs, buttocks, genitalia, back, stomach, chest or shoulders. In line with Levy's vision of an egalitarian society, I believe that such "modest" dress helps guarantee a society in which people of all genders are respected for their internal character and judged less by their physique.

A FEW LAST WORDS
Ultimately, I believe that a society where heterosexual men do not expect heterosexual women to be sex objects (and vice versa) and where heterosexual women are not heterosexual men's sex objects (and vice versa) is a society wherein heterosexual men and women can be on equal footing: earning the same respect, enjoying the same social groups, learning the same intellectual truths, making the same money, and so on.

Similarly, just as Levy finds sexual debasement among homosexuals to be emulations of heterosexual debasement (most often of women), the creation of a truly egalitarian society among heterosexuals helps--and is necessitated by--a society wherein homosexual men or women do not expect the homosexual members of their fellow gender to be sex objects and will not be sex objects for each other.

Even though I saw her on The Colbert Report and she has been on NPR, I do not know whether or not Ariel Levy is the leading voice in feminism today. And even though you're reading this sentence, I do not believe that I am the leading voice in today's moderate, open, observant Judaism (and nobody has ever told me that I am). Yet, I believe that my Judaism is compatible with Levy's feminism in the end. I find that both Levy and I are interested in all of us building a society that preserves the integrity and exclusive intimacies of sexuality for the right times and places so that each of us can see one another as stronger people all the time.




NOTES:
1. While homosexual activity is often forbidden in traditional streams of Judaism, many traditional streams of Judaism do recognize homosexuality as a psychological inclination--..not just instances of sinful behavior. Whether or not a stream of Judaism has ruled against any homosexual behavior, nearly every stream of Judaism that believes homosexuality to be a psychological disposition calls for some form of dignified recognition of homosexuals in the Jewish community.

2. I believe that the sexual limits of a normative Jewish relationship is a limit that may be determined by the two dating Jews themselves or, if they feel uncomfortable designating a limit for themselves, by a Jewish authority whose advising they can comfortably seek. Some couples may be comfortable not kissing until the wedding, and some couples may be uncomfortable without groping before marriage.

3. The largest exception to my advice may be in beachwear. I have never seen a man choose trousers and a long-sleeved shirt as regular swimwear, and I've never seen a woman swim in a skirt and long-sleeved shirt. I believe that the permissibility of beachwear is a sub-category of Tzeni'ut that would require more knowledge on the subject that I can offer at the time of this writing.

Tuesday, March 31, 2009

Tolerating Rock Music and the Jews

I just realized that I had the following recently published at http://www.koach.org/koc_5769_nisan_culture.htm of the Koach E-Zine:
My three favorite songs from The Doobie Brothers are "Listen to the Music," "Black Water," and "Jesus Is Just Alright"—not for their lyrical content though. "Listen to the Music" is a simple message, "Black Water" has a lot of grammatical errors (like "I ain't got no worries/I ain't in no hurry"), and I don't strongly agree with the theological undertones of "Jesus Is Just Alright." But I love classic rock, and The Doobie Brothers always put on great concerts.

When I was in middle school and just getting into classic rock, pop, and other music genres, I loved the tunes of "Jesus Is Just Alright," ELP's "I Believe in Father Christmas," and Elton John's "Step Into Christmas." The music didn't pull me away from Judaism and I'm sure that 70s-rock fans who proudly observe Christmas get kicks hearing Christian songs by their favorite artists. These songs are a win-win situation: good music for everyone and great lyrics for those with Christian pride. However, these Christian songs from secular-rock musicians made me wonder why there were so few Jewish songs from secular-rock musicians.

The question of why there were so few Jewish songs from secular-rock musicians made me really wonder: why were there so few secular rock-musicians—or, for that matter, professional performers of secular music—who are outwardly Jewish? We live in a free country where Christians can sing songs with Christian overtones. So, why would Billy Joel, a self-proclaimed "Jewish boy from Long Island", sing of Christmas in "She's Right On Time" or "Christmas in Fallujah"? Why has Neil Diamond—having sung "Kol Nidrei" in The Jazz Singer and "Havah Nagilah" in Keeping Up With the Steins—despite his proud Jewish heritage, released two Christmas albums? Why would Randy Newman—who speaks passionately of anti-Semitism he's faced and the uniqueness of his being a Jew—even write "Christmas In Capetown," or declare in his autobiographical "Dixie Flyer," "Christ, [we] wanted to be gentiles too/Who wouldn't out there? Wouldn't you?" Are so few musicians outwardly Jewish because it's more comfortable to be a gentile?

It's never been challenging to be Christian in the United States, but the ethnocentrism that comes so automatically to people—the assumption that everyone around us would, or should, have our own cultural values—has made Judaism, and other minority religions, hard to practice in a country where most citizens attend a Christian church. In the music industry, Christian music has always been possible to promote, but many Jews in the industry have found themselves in the position of a late 70s Bob Dylan—flirting with Christianity—or the position of Steely Dan's Walter Becker and Donald Fagen—severely hanging onto religious apathy, agnosticism or atheism and hardly recognizing their Jewish roots.

Today, Bob Dylan rarely sings definitely of Christianity. He's even been spotted in synagogue lately on High Holidays, so we know that "The Times They Are A-Changin'." In fact, when The Barenaked Ladies, They Might Be Giants, The LeeVees and other artists release the occasional Hanukah pop song, when singer-songwriter Peter Himmelman and, now, Leonard Cohen claim to observe Shabbat and when one of the biggest hip-hop acts in New York is Chassidic reggae star Matisyahu, it sounds like today's American Jews hardly live in the country where Randy Newman was born.

While I'm a full-time student in New York City, I'm also a part-time musician. It's been especially inspiring for me to be in touch with pianist/singer-songwriter Brian Gelfand and to play on a demo disc with bandleader and solo artist Avi Fox-Rosen, both of whom work professionally for Jewish communities in the tri-state area. In December, I was invited to the second installment of the Uptown Salon, hosted by singer-songwriters Andrés Wilson and Asia Mei, both of whom are also involved in the New York Jewish community. The Salon, a forum for presenting and discussing arts—poetry, visual arts, music, and more—has attracted the likes of other musicians involved in their Jewish communities, such as multi-instrumentalist extraordinaire C.J. Glass, pianist/singer-songwriter Scott Stein and others. Between musicians I've met at the Salon and knowing of so many other openly Jewish musicians—like Lara Torgovnik, Naomi Less, Michelle Citrin, and others—I'm excited to be part of a growing world of proud Jewish artists right in my very own town.


American Jews have come a long way just so they can be themselves. I find nothing ironic about making secular music and being Jewish, and the United States is becoming increasingly tolerant and welcoming of minorities. Being Jewish is just alright by me; just listen to the music.

Jonah Rank, recording his 3rd and 4th solo albums now, is a junior at the Joint Program of Columbia University and the Jewish Theological Seminary and works as a Gabbai at JTS.

Saturday, August 30, 2008

The TRUE Truth About ABBA and JMJM

I want to clear up something very, very important.

Recently, I released a satirical song titled "Genetic Test" that was the hypothetical ABBA song that would have been included in Mamma Mia! and would have resolved the plot of the show by virtue of a genetic test discovering in fact who Sophie's father is. In promoting this song, I made the mistake of claiming that this song was rejected by ABBA from me in 1973 back when I was their primary songwriter. However, this is not true. In 1973, I was neither alive nor a primary songwriter for any Swedish pop groups. Furthermore, I fabricated a letter from the members of ABBA in which the band rejected "Genetic Test". This fabricated letter was also never written by ABBA; furthermore, it was never read by ABBA. Initially, these went by largely unnoticed; however, after my song appeared on YouTube in the form of a fan music video from a non-existent fan, backed by the story of a band named JMJM that, despite having real human beings performing on the recording of "Genetic Test", was a band solely assembled initially for the recording of "Genetic Test", these tidbits became noticed. Although I included mention of my later date of birth in many of my webpages (and, now, in the information on the song's YouTube video), the information, by being located in separate sites, might not have been obvious to new listeners.

Yet, as I mentioned, I have unfortunately gone about promoting this song improperly, and I will be changing the fashion in which I'll be advertising this song in the future. And despite the controversy that this song has caused, I do hope that this song will appear more appropriately, promoted in a different light, on an upcoming comedy album which I am in the midst of recording.

To all those aware of the TRUE story of my song "Genetic Test", I apologize for any confusion or hard feelings that my improper promotion of this song may have caused.

Tuesday, August 5, 2008

A Few Notes Regarding Mamma Mia! the film

NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!

In yet a further attempt to deny my allegations that Benny Andersson and Björn Ulvaeus have taken the credit for years of work I put into writing the songs for ABBA, it seems that the film of Mamma Mia! changed certain facts around to hide further that I gave them the perfect song for the musical.

First off, Bill Austin became Bill Andersson: as if nobody would catch the heavy hand of Benny Andersson in that move.

Secondly: the date of August 15th was conspiratorially moved to August 11th.

Actually, that was the most that they had changed; though I didn't notice the first time that I saw the show that in fact Donna had a last name, as carved into the guitar with the initials D.S....

Don't give into the lies. The truth is clearly out, no matter what Benny and Björn say.

Monday, July 7, 2008

Untold stories: JMJM & ABBA

NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!

As we are eleven days away from the very sobering release of the film version of Mamma Mia!, it is hard for me to restrain myself from revealing the truth and telling the little-known story behind why Mamma Mia! has such little plot.

It all started in early 1970, when Mike Klein and I had begun to write songs for our local friends Benny Andersson and Björn Ulvaeus who were working on an album called Lycka, for which they wanted some original songs. At the time both Benny and Björn were going through a lull period of their songwriting careers, and they called upon Mike and me to write them a few songs that would fit their style. Mike and I each wrote a few songs and presented them to Benny and Björn, who fell in love with our songs. At the time it had not crossed either of our minds of that Mike and I should claim the copyrights to these songs, so we told Benny and Björn just to take these songs and consider them their own.

As neither Mike nor I were employed at the time, we just kept on writing more and more songs: all in a style that appealed to Benny and Björn specifically. As the songs piled up and we kept on giving them and their copyrights away to Benny and Björn, Mike and I had a realization: if we wanted to make it big in Sweden, we needed to be in a pop band with two female singers and two male singers whose first names’ first letters could form an acronym, and we needed more songs in English.

Acting upon our impulses, Mike and I hired Michal Mechlovitz and Jessie Winkler to sing our songs while Mike and I played guitar and piano respectively while singing very quietly in the background. In a burst of excitement, I knew I had to tell Benny and Björn the news of the potential success Mike and I were about to attain with Sweden’s biggest pop band with songs in English: JMJM! I wrote Benny and Björn a very lengthy and detailed letter explaining our theoretical formula for success. However, I did not hear back from either Benny or Björn for some time.

By the end of 1970, I knew that things would never be the same again between Benny and Björn, and Mike and me. I realized this one day when listening to a song of Benny and Björn’s on the radio, and I heard two female singers in the background. “Drat!” I thought. “They stole my idea of having two female singers in addition to two male singers!” However, I was contented that they had not stolen the ideas of having an acronym for a band name or having very many songs in English. Both of those were still trademarks of JMJM.

However, by 1973, I began to hear of Anni-Frid, Benny, Björn, and Agnetha being referred to as “ABBA”, and I noticed that more and more of the songs that they were singing were not only very familiar, but they also were in English. I knew that I should have stopped sending Benny and Björn the songs Mike and I were writing in English, but it was already too late. By September that year, Mike and I had already written and sent Benny and Björn every song that they were to record (and would claim to have written) over the next 34 years.

On the seventh day of October of 1973, I received a letter from Björn rejecting the final song I had sent him and Benny. This song was called “Genetic Test”, and it was the story of a young girl who wants her father to give her away at her wedding, but she needs a genetic test in order to find out who exactly her father is. (Although it is still unclear to me as to why this song was rejected, Björn’s letter regarding “The Missing Abba Song” has actually been reproduced in the last blog post on this website.)

Decades went by, ABBA nearly broke up, and neither Mike nor I had heard a word from Björn or Benny since the rejection letter from 1973. The first piece of news to come out that would interest me for a long time was the creation of Mamma Mia!, a musical with ABBA songs narrating a story about a young girl who, though she wants her father to give her away at her wedding, does not know who her father is. This query certainly could have been resolved with a genetic test, but as ABBA had rejected their one opportunity to include my song about a genetic test (namely, “Genetic Test”), there was no chance that the musical would have been able to resolve thusly the question of who the girl’s father was. For approximately a decade, I have remained silent and not offered my solution or the true story: that Mamma Mia! could have had a better resolution to the conflict in the story.

Yesterday, Michal, Jessie, Mike, and I reunited after a long hiatus of inactivity. The four of us recorded “Genetic Test” with newer technology than we did so many years ago (but we certainly gave it a bit of an older sound yesterday just for the fans!).

If you thought that there could have been so much more to the story of Mamma Mia!, then you are not alone. This international hit has been misunderstood and misrepresented throughout the world. However, the world need not wait any longer. The world can now appreciate JMJM’s gem: the missing ABBA song, “Genetic Test.”

Historical Proof of ABBA's Rejection of "Genetic Test"

NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!

My dear fans and friends:

Below is the authentic handwritten letter (reproduced here in the exact font most similar to Björn's very own handwriting) written to me several years ago from when ABBA collectively rejected "Genetic Test" (after having accepted so many of the other songs I had written them)!

Please do realize that had the band accepted this one song, Mamma Mia! would have had so much of a better and more sensible plot!



7 October 1973

Dear Jonah,

Say you forgive my errors in English in this letter. Writing from one Swede to another, there really should be no reason that you and I speak of business in English rather than Swedish, but I also do not know why we bother singing in English to begin with. Anyway, no time for crying about the Anglo-Saxon hegemonic state of the music business. Let's get started with my letter to the rock and roll band—namely yours, JMJM*.

Thank you for the music—for giving it to me. Benny "and the Jets" Andersson (that's what we call Benny nowadays) and I really like the melody for this song: not too many notes and not too musical either. And like you did before for our other songs, you arranged the song's ending such that it fades out. (I know Benny "and the Jets" Andersson didn't mind it, but I am offended when you write us up-tempo songs in Major keys that end with cadences rather than fade-outs; I can't stop myself from crying out loud whenever we go into the studio and try to record that "Boomerang" song you wrote us as I am so uncomfortable with the ending.)

Unfortunately, there is something different or in a way unique about this song. It's nothing special; in fact, it's a bit of a bore. And the song is funny but has no sense within the lyrics—that is to say, the lyrics make no sense. I really tried to make it out. I wish I understood. But, perhaps this could be none other than the final song in an incoherent musical about a young girl who needs to find out who her father is exactly. But that would be silly, for anybody could be that guy! Neither Benny "and the Jets" Andersson nor I have any use for a song of this type. If all history goes well, there never should be a need for such a song.

But, don't go wasting your emotion. I am not mad at you at all. Neither you nor I'm too blame when all is said and done. This "Genetic Test" song is neither a product of your adept craftsmanship as a songwriter nor our sincerest plagiarism as performers. It's time to forget this song, and I forgive you immediately for the best. This song you have sent me shall be known throughout Sweden and the hegemonic Euro-American world of pop music as "The Missing ABBA Song" if ever asked about.

Hasta manana,
Björn Ulvaeus

On behalf of myself, Benny "Hans Christian" Andersson**, Agnetha Fältskog and Anni-Frid Lyngstad

*Do send my best to Michal, Jessie, and Mike. I do also hope you change your names to form an acronym that will be found more euphonic and easier on the tongues and ears to the rest of the English-speaking world.

**Since beginning this letter, we have changed his nickname back to the old one.