Podcasts about Sholem Aleichem

In this episode of the Project Narrative Podcast, Jim Phelan and Eyal Segal discuss Sholem Aleichem's short story, “Baranovich Station.” Eyal Segal is an independent scholar based in Tel Aviv. He has published articles on narrative closure, beginnings and endings, temporal experimentation in narrative, narration in the modernist novel, the poetics of Kafka, and on… Continue reading Episode 39: Jim Phelan & Eyal Segal — Sholem Aleichem's “Baranovich Station”

Shalom means ‘peace,' ‘hello' and ‘goodbye' – it's one of the most popular words in Hebrew, and the first one everybody learns. But there are other words, all derived from the root sh.l.m, that are very active in our language. Let's meet the family! Hear the All-Hebrew Episode on Patreon   New Words and Expressions: Shalom – Peace, hello, goodbye – שלום Shalom rav lachem ve-erev tov – Hello and good evening to you – שלום רב וערב טוב Shalem – Whole – שלם Ma shlom Tomer? – How is Tomer? – מה שלום תומר Shlomi, shlomcha, shlomech, shlomo, shloma, shlomenu, shlomchem, shlomam Ma shlomenu ha-yom? – How are we doing today? – מה שלומנו היום Shalom aleichem – Peace be upon you – שלום עליכם Shalom aleichem malachei ha-shalom – Peace be upon you, ministering angels – שלום עליכם, מלאכי השלום Salam alaykum – Peace be upon you (Arabic) – ٱلسَّلَامُ عَلَيْكُمْ – סלאם עליכום Shulem aleichem – Shalom aleichem in Yiddish – שלום עליכם “Sholem shloem le'olam, b-rogez b-rogez af pa'am” – A Pinky Swear in Hebrew (literal translation: Peace, peace forever, quarrel quarrel never) – שולם שולם לעולם, ברוגז ברוגז אף פעם  Drishat shalom – Regards – דרישת שלום, ד”ש Timsor dash ba-bayit – Say hi at home – תמסור ד”ש בבית “Tni li lehashlim et ha-chaser” – Let me complete the loss – תני לי להשלים את החסר Lehashlim et ha-proyeket – To complete the project – להשלים את הפרוייקט “Lehashlim im ha-shaon” – To make peace with the clock – להשלים עם השעון Lehashlim mashehu – To complete something – להשלים משהו Lehashlim im mishehu – To make peace with someone – להשלים עם מישהו Le'af echad ein or mushlam – No one has perfect skin – לאף אחד אין אור מושלם Mushlam – Perfect – מושלם Yom mushlam – A perfect day – יום מושלם   Playlist and Clips: Ha-dag Nachash – Shalom, Salam, Peace (lyrics)  TV12 Yonit Levy – News Idan Yaniv & The Kinderlach – Shalom aleychem (lyrics) Sholem Aleichem (writer) Wikipedia about Sholem Aleichem Rinat & Guy – Sholem, b'rogez (lyrics) Lahakat Ha-nahal & Yardena Arazi – Drishat Shalom (lyrics) Eyal Golan – Neshika Ahat Mimech (lyrics) Kobi Aflalo – Yam Ha-rachamim (lyrics) Ashley Waxman – Or mushlam (perfect skin)   Ep. no. 61 about acronyms HEB

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

From the acclaimed author of American Comics comes a sweeping and entertaining narrative that details the rise and enduring grip of horror in American literature, and, ultimately, culture—from the taut, terrifying stories of Edgar Allan Poe to the grisly, lingering films of Jordan Peele America is held captive by horror stories. They flicker on the screen of a darkened movie theater and are shared around the campfire. They blare out in tabloid true-crime headlines, and in the worried voices of local news anchors. They are consumed, virally, on the phones in our pockets. Like the victims in any slasher movie worth its salt, we can't escape the thrall of scary stories. In American Scary: A History of Horror, from Salem to Stephen King and Beyond (Algonquin Books, 2024), noted cultural historian and Columbia professor Jeremy Dauber takes the reader to the startling origins of horror in the United States. Dauber draws a captivating through line that ties historical influences ranging from the Salem witch trials and enslaved-person narratives directly to the body of work we more closely associate with horror today: the weird tales of H. P. Lovecraft, the lingering fiction of Shirley Jackson, the disquieting films of Alfred Hitchcock, the up-all-night stories of Stephen King, and the gripping critiques of Jordan Peele. With the dexterous weave of insight and style that have made him one of America's leading historians of popular culture, Dauber makes the haunting case that horror reveals the true depths of the American mind. Jeremy Dauber is a professor of Jewish Literature and American Studies at Columbia University. His books include Jewish Comedy and The Worlds of Sholem Aleichem, both finalists for the National Jewish Book Award, American Comics: A History, and Mel Brooks: Disobedient Jew. He lives in New York City. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Leitura bíblica do dia: Provérbios 30:7-9 Plano de leitura anual: Amós 7-9, Apocalipse 8 Já fez seu devocional hoje? Aproveite e marque um amigo para fazer junto com você! Confira: No filme Um Violinista no Telhado (1071), o personagem Tevye fala com Deus sobre as suas finanças: “Tu fizeste muitos pobres. Sei que não é vergonha ser pobre, mas também não é uma grande honra! Então, seria terrível demais se eu tivesse uma pequena fortuna? Teria estragado algum plano eterno, se eu fosse um homem rico?”. Séculos antes do escritor Sholem Aleichem colocar essas palavras sinceras na boca de Tevye, Agur fez uma oração igualmente honesta, pedindo a Deus para não lhe dar nem pobreza nem riqueza, apenas o necessário (Provérbios 30:8). Agur sabia que ter “demais” poderia deixá-lo orgulhoso e torná-lo ateu, negando o caráter de Deus. Além disso, Agur pediu a Deus para não o deixar ficar pobre demais porque isso poderia fazê-lo desonrar o nome de Deus se ele viesse a roubar (v.9). Reconheceu Deus como seu único provedor, e pediu-lhe “apenas o que for necessário” para suprir as necessidades diárias. A oração dele revelou sua busca por Deus e o contentamento que é encontrado apenas nele. Que tenhamos a mesma atitude de Agur, reconhecendo Deus como o provedor de tudo o que temos. E à medida que buscamos a administração financeira que honre o nome do Senhor, vivamos com satisfação diante dele — Aquele que não apenas concede o básico, mas mais do que o necessário. Por: Marvin Williams

TVC 660.5: From December 2014: Legendary actor Theodore Bikel talks to Ed about the release of Theodore Bikel: In the Shoes of Sholem Aleichem, a documentary that not only combines Theo's own storytelling with a broader exploration of author and playwright Sholem Aleichem, but in many ways served as Theo's legacy. Theodore Bikel died in July 2015, but calendar year 2024 marks the centennial of his birth. To learn more about the Theodore Bikel Legacy Project, go to AimeeGinsburgBikel.com/legacy-project Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 660.4: From December 2014: Emmy Award-winning, Tony Award-nominated, and Academy Award-nominated actor Theodore Bikel talks to Ed about the release of Theodore Bikel: In the Shoes of Sholem Aleichem, a documentary that combines Theo's own storytelling with a broader exploration of Sholem Aleichem, a pioneer of modern Jewish literature whose stories about Teyve the Dairyman provided the basis for the Broadway play Fiddler on the Roof. Theodore Bikel died in July 2015, but calendar year 2024 marks the centennial of his birth. To learn more about the Theodore Bikel Legacy Project, go to AimeeGinsburgBikel.com/legacy-project Learn more about your ad choices. Visit podcastchoices.com/adchoices

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888-1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit's life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists' and queer circles in Weimar Berlin and in 1930s Paris. Szalit's fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner's The Renaissance of Jewish Culture in Weimar Germany, Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State UP, 2024) brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

"Fiddler on the Roof" is a Musical based on "Tevye and his Daughters and other tales by Sholem Aleichem".

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Here is the only story from the collection based directly on an original tale by Sholem Aleichem himself. From "Tales of The Wise Fools of Chelm," available on Amazon.com in paperback and Kindle. https://amzn.to/3VpWj7y

Daniel & Harry recently had the opportunity to be guests on You're Missing Out to discuss the 1939 Yiddish film Tevye, starring Maurice Schwartz. Enjoy!"He's as accustomed to the whip as I am to poverty."You might know Sholem Aleichem's celebrated comedic hero of Yiddish literature, Tevye (or Tevya) from the musical Fiddler on the Roof. But decades earlier, titan of the Yiddish theatre scene Maurice Schwartz got a camera and a cast together and brought Aleichem's stories to the silver screen for the first time with Tevye.We teamed up with Daniel Zana & Harry Ottensoser from Jews on Film to discuss the significance of this, the first non-English film ever inducted into the National Film Registry. We look at how it reflects the culture of the Jewish diaspora of both Aleichem and Schwartz's era, the brief but impactful Yiddish Cinema movement, and of course...tradition!Follow You're Missing Out on TwitterListen to You're Missing OutConnect with Jews on Film online:Instagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

"He's as accustomed to the whip as I am to poverty." You might know Sholem Aleichem's celebrated comedic hero of Yiddish literature, Tevye (or Tevya) from the musical Fiddler on the Roof. But decades earlier, titan of the Yiddish theatre scene Maurice Schwartz got a camera and a cast together and brought Aleichem's stories to the silver screen for the first time with Tevye. We teamed up with Daniel Zana & Harry Ottensoser from Jews on Film to discuss the significance of this, the first non-English film ever inducted into the National Film Registry. We look at how it reflects the culture of the Jewish diaspora of both Aleichem and Schwartz's era, the brief but impactful Yiddish Cinema movement, and of course...tradition! Today's episode is brought to you by Audible. Try out Audible for free using our unique link here.Hosts:Michael NataleTwitterLetterboxd Tom LorenzoTwitterLetterboxd Jews on FilmPodcastInstagramTwitterYouTubeTikTok Producer:Kyle LamparTwitter Follow the Show:TwitterInstagramWebsite Music by Mike Natale

Curt Leviant, professor, novelist, and translator, speaks with "The Shmooze" about his life translating the work of Sholem Aleichem and Chaim Grade, and he shares some stories about his encounters with Nobel laureates. Episode 352 May 16, 2023 Amherst, MA

Sholem Aleichem and I find ourselves, this early Friday afternoon, in New England towns in a neighboring states. It's a beautiful, sunny, brisk, spring day. I can hear the birds chirping over the podcast.Our towns are the graveyards of the American Jewish life. With plenty of Chabad “emissaries” who came to officiate at the funerals and make a few bucks off the dead. The vultures circling on the horizon, the scavengers looking for leftovers of the once proud, mighty communities.We discuss topics no one is interested in. We start with the complicated and tragic relationship between the cousins, Rabbi Schneur Zalman Schneerson and Menachem Mendel Schneerson. In the second part of the podcast, we veer into the current state of Lubavitch, again a subject no one is interested in. There are either people who are caught in the pulsating dreaming of the unrequited love, or people who leave it all behind and never look back. These groups have no in between. So, we are once more on a virtual deserted island. As if the island we are actually surviving on is not deserted enough.You can rest assured, the life relentlessly goes on!Chabad, a Trojan Horse of modernity?The background:* Zalman Schneerson - The rescue of Bertha, Malka and Bella Teitelbaum.* Zalman Schneerson - Chapter 1 - Paris at War.* A Letter from Zalman Mendelivich Schneerson to Meir Yankelevich Dizengoff.* Post No. 1 - Boris Markovich Schneerson - Family of the Repker Rov - Introduction.* Sound No. 10 - Bad Blood of the Chabad Rebbe.Update: The Postscript on Zalman Schneerson and Barry Gourary. Get full access to mentalblog at mentalblog.substack.com/subscribe

“In an age in which the media broadcast countless pieces of foolishness, the educated man is defined not by what he knows, but by what he doesn't know.” - Nicolas Gomez Davila. Get full access to mentalblog at mentalblog.substack.com/subscribe

In the movie Fiddler on the Roof, the character Tevye talks honestly with God about His economics: “You made many, many poor people. I realize, of course, that it’s no shame to be poor. But it’s no great honor either! So, what would have been so terrible if I had a small fortune! . . . Would it have spoiled some vast, eternal plan—if I were a wealthy man?” Many centuries before author Sholem Aleichem placed these honest words on Tevye’s tongue, Agur lifted an equally honest but somewhat different prayer to God in the book of Proverbs. Agur asked God to give him neither poverty nor wealth—just his “daily bread” (Proverbs 30:8). He knew that having “too much” could make him proud and transform him into a practical atheist—denying the character of God. In addition, he asked God to not let him “become poor” because it might cause him to dishonor His name by stealing from others (v. 9). Agur recognized God as his sole provider, and he asked Him for “just enough” to satisfy his daily needs. His prayer revealed a pursuit of God and the contentment that’s found in Him alone. May we have Agur’s attitude, recognizing God as the provider of all we have. And as we pursue financial stewardship that honors His name, let’s live in contentment before Him—the One who not only provides “just enough,” but more than enough.

This is a companion podcast to these posts: * Post No. 6 - Boruch Sholem and Gesia Schneerson - Kaddish and Adagio.* Шнеерсоны в России - Schneersons in Russia. Get full access to mentalblog at mentalblog.substack.com/subscribe

narrated by Edward Serotta The actor Steve Furst reads an excerpt from Sholem Aleichem's autobiography, From the Fair. This most famous of all Yiddish writers describes what it was like arriving in Kyiv in the late 1880s. As he says about the big city, “If you're afraid of wolves, don't go into the forest.

narrated by Steve Furst The actor Steve Furst reads an excerpt from Sholem Aleichem's autobiography, From the Fair. This most famous of all Yiddish writers describes what it was like arriving in Kyiv in the late 1880s. As he says about the big city, “If you're afraid of wolves, don't go into the forest.”

This is a quick take as a way of introduction for a broader podcast with Sholem Aleichem. We hope to record this longer podcast tomorrow. But this will set up some themes for the conversation.Jewish Encyclopedia - Apostle (regarding Sound No. 12 – מיהו יהודי and the Jerusalem Council).Investigative reporting is absent from the Hareidy press. But still strong in the NYT. Specifically, the author of the articles about Satmar NYT: Brian M. Rosenthal. Brian won the 2020 Pulitzer Prize for his investigations of the NY Taxi industry. Nothing of this caliber exist in the Jewish or Hareidy press. They are afraid to look in the mirror. While their communities are rotten and corrupt, they pretend to take a high moral ground in relationship to others. Get full access to mentalblog at mentalblog.substack.com/subscribe

Yiddish author and playwright Sholem Aleichem; the man whose stories formed the basis for 1964 musical Fiddler on the Roof once proposed that “life is a dream for the wise but a game for the fool”. So, is modern technology and more specifically “Gamification” making fools of all of us? Adrian Hon - CEO of Six to Start and author of You've Been Played: How Corporations, Governments, and Schools Use Games to Control Us All joined Jonathan on the show to discuss.

The original production of Fiddler on the Roof won nine Tony awards, held the record for the longest-running Broadway musical, and was adapted into a hit movie. But the musical itself was an adaptation of Sholem Aleichem's Tevye Stories. Aleichem aimed to create a high literature for Yiddish-speaking readers, but his influence spread much further, to a new country, a new language, and a new medium. Harvard Professor Saul Noam Zaritt discusses the stories behind the musical. Saul Noam Zaritt is an Assistant Professor of Yiddish Studies at Harvard University. He is a founding editor of In geveb, an open-access digital journal of Yiddish studies. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The original production of Fiddler on the Roof won nine Tony awards, held the record for the longest-running Broadway musical, and was adapted into a hit movie. But the musical itself was an adaptation of Sholem Aleichem's Tevye Stories. Aleichem aimed to create a high literature for Yiddish-speaking readers, but his influence spread much further, to a new country, a new language, and a new medium. Harvard Professor Saul Noam Zaritt discusses the stories behind the musical. Saul Noam Zaritt is an Assistant Professor of Yiddish Studies at Harvard University. He is a founding editor of In geveb, an open-access digital journal of Yiddish studies. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The original production of Fiddler on the Roof won nine Tony awards, held the record for the longest-running Broadway musical, and was adapted into a hit movie. But the musical itself was an adaptation of Sholem Aleichem's Tevye Stories. Aleichem aimed to create a high literature for Yiddish-speaking readers, but his influence spread much further, to a new country, a new language, and a new medium. Harvard Professor Saul Noam Zaritt discusses the stories behind the musical. Saul Noam Zaritt is an Assistant Professor of Yiddish Studies at Harvard University. He is a founding editor of In geveb, an open-access digital journal of Yiddish studies. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

The original production of Fiddler on the Roof won nine Tony awards, held the record for the longest-running Broadway musical, and was adapted into a hit movie. But the musical itself was an adaptation of Sholem Aleichem's Tevye Stories. Aleichem aimed to create a high literature for Yiddish-speaking readers, but his influence spread much further, to a new country, a new language, and a new medium. Harvard Professor Saul Noam Zaritt discusses the stories behind the musical. Saul Noam Zaritt is an Assistant Professor of Yiddish Studies at Harvard University. He is a founding editor of In geveb, an open-access digital journal of Yiddish studies. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

On the subject of Tablet: Wendy Lower's ‘The Ravine' looks at a photograph that many refuse to face.UPDATE: There have been plenty of pogroms that were not Ukrainian, one just needs to look at Anton Denikin. There were Polish pogroms, Red Army pogroms, White Army pogroms. They all seemed united on one subject. Get full access to mentalblog at mentalblog.substack.com/subscribe

“Soup after the meal”This was part of a longer podcast, cut & paste here... On the subject of Sound No. 1 - Sholem Aleichem: The Will to Power of Barry Gourary and Sound No. 6 - Sholem Aleichem: The Eclipse of the Schneerson Family. As Sholem Aleichem said in the podcast: “soup after the meal”.Footnotes:* The case was in 1985, before the crash of 1987.* NYT Article: December 18, 1985, Section B, Page 1.* I understand the attachment to books, but how can you say it belongs to hassidim when running from Warsaw and Russia, the books were saved but not the hassidim? See Bryan Mark Rigg.* I think it was wrong and greedy for Barry Gourary to take the books, but what followed was a family fight that sliced the culture at its ugliest point. As do all family fights.* You mean to say Chabad paid $400,000 to repurchase the books (will someone ever open the hagode?), plus attorney fees, plus at least over $1mil settlement to Barry? While Barry S. made $186,000 from the sales, probably swallowed by his legal expenses? If cooler heads prevailed, this could have been settled for a fraction. Of course, the Rebbe had no cooler heads around, only people who had a vested interest to inflame.I have the photo of Rebbezin Chana after the beating. I published it on the old mentalblog, it's so horrible, I would rather not post it again. But I probably should, to “complete the picture”.The Gourary family were the only relatives who cared for the martyred Horensteins. There is not even a single kindergarten in Zimbabwe named after Mendel and Sheina Horenstein. Not named after Hatche Feigin or other kedoshim. Intentionally forgotten along with Shoa and its victims, Gulag and its victims and general Chabad history in mother Russia. God forbid, to distract from the cult of personality.* Birth: 10 Feb 1923. Rostov-on-Don, Rostov Oblast, Russia* Death: 14 Mar 2005 (aged 82), Bergen County, NJדידן נוזך? Get full access to mentalblog at mentalblog.substack.com/subscribe

Great storytelling runs deep in the Jewish DNA, from Sholem Aleichem to Philip Roth and Nora Ephron, and that spirit is alive in the tales we selected for today's show from an event we planned called Jew-ish (with a hyphen): True stories of love, latkes, and l'chaim. KATZ, Marilyn Ogus (per Mourka) • A Few Small Stones / EDELSON, Lynn • Brisket / MASELLO, David • The Woman in the Audience / BTL: LEVIN, Ann • The Blank Page

This is a new mentalblog, please forward to your friends who might be interested in our conversations.Speaking of PR, we are pressing to understand and unearth the two subjects the PR driven Ramash administration tried and still trying to obfuscate the most, the culture of Chabad in Russia and the Holocaust. Both subjects do not fit neatly in the propaganda.The reason we are writing about Mark Borisovich Schneerson, the memories of Margolia Schneerson or the NKVD Martyrs, is because we want to understand the Chabad culture in Russia and the CCCP, especially the mishpoche Schneerson.In this podcast, we are looking at the dark mystery of the disappearance of this royal family.For sure the Shoa and Gulag dealt a mortal blow but more importantly the secularization of Russian Jews started well before the revolution, at least a century before or even earlier. Due to the financial status, exposure to the educated aristocracy, the maskilim and the natural or even hereditary inclination for knowledge, the Schneersons themselves were much more assimilated than an average poshuter yid.Another aspect is the fact that both Zionism and Communism, that attracted many if not most young Jews in Russia at the time, were both hyper messianic. The messianic language and thinking comes to the Schneerson family naturally. The messianic hope and the heartbreaking belief in change and progress is our ruinous gift to the world, and it came knocking on the door of the Schneerson family.P.S. Another aspect rarely mentioned out loud. People who still stayed religious or “traditional” in Russia, the majority come from the lower social class, the rural, the uneducated, peasant strata of the Russian Jewry. This group of the Samarkand Front survivors formed the foundation and the culture of the new Chabad after the war.Photo of Mendel Repker, father of Zalman and Yehudis Schneerson. Get full access to mentalblog at mentalblog.substack.com/subscribe

Note No. 1: I (Tzemach) haven't been inside this world for a long time. When I listen back to the podcast, I discover that I mixed or misspoke some names, perhaps even facts. Some characters I no longer remember. It should not distract from the conversation.In regard to our friends S. Taub and the Jacobson brothers (called them Simpson, a slip), they enter the obvious vacuum of the spiritual leadership. Confirmation bias business is the best there is, turbocharged with the emotional and financial booster of selling the divine. But without any touch of the real power or corporate legitimacy they remain, as I said, the standup clowns. YY Jacobson maybe literally.I am curious to know who are the mentioned “Russian Hasidim” who kept surveilling Barry Gourary's house, I must have known them.There is more to say…Correction No. 1: Regrading the disdain for the Chabad military terms. I didn't speak to Berl Lipsker, I spoke to Avrohom Lipsker.Update No.1: The name of the man who authored Subbota is Lazer Nannes.Nitpicking No. 1:1. Merkas Le'inyonei Chinuch was in charge of “shlichus” under the Rebbe from the get go, the first shluchim to Morocco were sent already in 1951.2. That included those summer shlichus for bachurim (aka “merkas shlichus”).3. Tzach was governed by a Vaad (still is). Raskin was the first chairman of the vaad. Butman replaced him. Tzach does have a “territory”, it manages — NY state. With a small carve out for Sahloh (the Hecht's organization). The rest of the shichus in the world is under Merkas, at least technically (meaning that Israel might have its own hard-to-understand structure). 4. The Hechts do have a bunch of organizations they run: Camp Emunah, Hadar Hatorah, Machon Chanah (until recently, I think it is now split into two), the shlichus in Park Slope and a few other places. Release time is still active too.5. ALL the achei tmimim yeshovos in the out-of-town communities had nothing to do with Rashag. It was all under the auspices of Merkaz Le'inyonei Chinuch, starting in 1941-42 (the organization was founded when the Rebbe arrived here in 1941 and the Rebbe was put in charge of it from day one). The schools under Merkas also include Beth Rivkah.Nitpicking No. 2: Chanzin was not elected alone, he was originally elected as one of three: Chanzin, Marlow, Osdoba. After the Rebbe told Chanzin to stay in Petach Tikva, there was a run-off election between Altein and Heller, in which Heller was elected.Nitpicking No. 3: Mendel Futerfas is literally single-handedly responsible from turning Chabad of Israel from the focus on avoda to the focus on the hiskashrus to the Rebbe (maybe this explains why Rebbe picked him?) . Get full access to mentalblog at mentalblog.substack.com/subscribe

Update 1: The name of the author of the book about Rayatz in Warsaw is not Briggs, it is Bryan Mark Rigg.Chatcha Feign was not killed in Warsaw, he and Yehuda Eber were burnt alive in the same Riga shul as Itche der Masmid and many other Jews. On yud kislev, 5742. Needs confirmation.The Rebbe's grandmother Rochel Yanovski was murdered by the nazis in Nikolayev. She was at that point blind and alone (everyone else was either arrested or dead). The last one arrested was her son-in-law Shmuel (arrested in the summer of 1941, and interrogated about the sukkah he had built in the courtyard… while the German tanks rolled toward Nilkolayev).Update 2: Kedoshim should be memorialized, Chatcha Feign, Yehuda Eber and many, many others. But also Admiral Wilhelm Canaris and Major Ernst Bloch who saved the Rayatz, Rashag and their families.Update 3: What kind of man it takes in the thousands of hours of his speeches not to say a one word about his murderered grandmother? Asking honestly? And not like every minute of his sichos counted, 95% of his 4 hour sichos were slogans that he repeated in the loop for years, I heard that myself. But no time to mention the martyrs, even his own family?Update 4: See companion post Hitler Lives and the Holocaust omission in America. Get full access to mentalblog at mentalblog.substack.com/subscribe

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Dr. Sheva Zucker presents her new bilingual audio album The Golden Peacock: The Voice of the Yiddish Writer, which she edited and produced. It was originally published in 2001 in an all-Yiddish CD format. In 2021, it was released as a revised bilingual edition, making it available either as MP3 files or as two audio CDs. The set now includes the voices of twelve Yiddish writers and a 138-page book that contains the work of each writer in Yiddish with parallel text in English, a biography of each writer in English and Yiddish as well as notes in English about each selection. Hear the voices of Celia Dropkin, Yankev Glatshteyn, Rokhl Korn, Aron Glanz-Leyeles, H. Leivick, Kadya Molodowsky, Itzik Manger, Avrom Sutzkever, Sholem-Aleichem, Beyle Schaechter-Gottesman, Yekhiel Shraibman and Elie Wiesel. English is read by Sheva Zucker and Trudie Kessler, Professor Emeritus of Voice and Acting at The Theatre School/DePaul University, Chicago. Sheva Zucker served as the executive director of the League for Yiddish and editor-in-chief of its publication Afn Shvel from 2005-2020. She is the author of the textbooks Yiddish: An Introduction to the Language, Literature & Culture, Vols. I & II, and has taught Yiddish language and literature for over two decades in the Uriel Weinreich Summer Program in Yiddish Language, Literature and Culture. The interviewer, Lillian ("Leah") Shporer-Leavitt, is a frequent cohost of The Yiddish Voice and an experienced Yiddish translator and teacher. She has taught Yiddish for many years at various institutions in the Boston area, including Workers Circle and Gann Academy. Music: Sidor Belarsky: Babi Yar (text by Shike Driz, music by Rive Boyarska) Intro instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air date: May 25, 2022

Ramash governed as if Rayatz never died. He called Rayatz the Nosi of our generation and deferred all the brochos to him (azkir al hazion), literally bringing all the correspondence to the grave. One might have thought that Ramash was Rayatz's secretary, shleping all the brown paper bags to the grave, where he was channeling his father-in-law.If Raytz never died (as the Ramash himself will do in the future), then the “will to power” is null and void. Barry's claim on the ownership of the books from his grandfathers' library would be stealing from a person who is very much alive, as mentioned in this Sound No. 1.  But could the Will itself be stolen?Update:The Counterclaims of Barry S. Gourary.This post is public so feel free to share it.Consider becoming a free or paid subscriber. Get full access to mentalblog at mentalblog.substack.com/subscribe

This is a special Encore episode of Broadway Nation. I am reprising it not only because I think this is one the best episodes ever of this podcast, but also because it could not be more timely since it relates to a number of things happening on Broadway and in the world this week. First and foremost, April 14th, the day this episode is being released marks the 62nd Anniversary of the Broadway opening of Bye Bye Birdie. This is a show that I don't think gets nearly the respect it deserves, both in regard to its writing, and for the several important roles it played in Broadway history. As you will hear, this “Best Musical” Tony Award winner was not only the first show to bring rock music to Broadway, It also marked the debuts of a remarkable young creative team that would revitalize Broadway in the 1960s and beyond.  Also, this episode's in-depth look at the final decade of the Golden Age, at least as I define it, includes some discussion of Funny Girl. And, of course, the much talked about, and highly anticipated new revival of that show will open on Broadway on April 24th. In the final section I focus on Fiddler On The Roof – which unfortunately also has a direct connection to current events.   As most regular listeners will know, this podcast is spinoff of in the history of the Broadway musical course that I teach at the University of Washington School of Drama. A few weeks ago, as Russia began its invasion of Ukraine, my students had just completed an assignment to watch the film version of Fiddler On The Roof. The next day I showed them a map of “The Pale of Settlement”. From 1791 to 1917 was the only section of Imperial Russia in which Jews were allowed to live, and it included all of modern day Belarus, Lithuania, and Moldova, parts of Poland, and much of Ukraine. In fact, Sholem Aleichem, (the creator of the Tevye stories on which the musical is based) was born in a town about 8 miles south of Kiev, and the fictional town of Anatevka was based, in part, on a town called Boyarka that is about 14 miles south of Kiev. And, as you will remember, “Perchik”, the young revolutionary student who marries “Hodel” is from Kiev, and after the wedding he returns there to join what is called “the first Russian revolution”, during which he is arrested and sent to a work camp in Siberia. The final images in the film of Tevye and his family being forced to leave Anatevka closely paralleled the photos and video that my students had been seeing of Ukrainian refuges being forced to flee their homes. Of equal impact was the moment in which Tevye tells the Russian constable, "I have some advice for you. Get off my land! This is still my home, my land. Get off my land!" It never ceases to amaze me how much ongoing resonance these silly Broadway musicals continue to have. Learn more about your ad choices. Visit megaphone.fm/adchoices

The guys learn a little bit more about Jewish culture with this one. Diving into the life of Yiddish writer Sholem Aleichem. --- Send in a voice message: https://anchor.fm/threedudespod/message

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Friends of the Garden Meeting in Athens Georgia Register Here   Historical Events 1779 Birth of the physician, botanist, and American statesman, Joel Roberts Poinsett. In the 1820s, President John Quincy Adams appointed Joel to serve as a US ambassador in Mexico. Joel was introduced to a beautiful plant that the Aztecs called the cuetlaxochitl ("qwet-la-SHO-chee-til”), but today it's better known as the Poinsettia (books about this topic). Like most euphorbias, the Poinsettia has a white sap that the Aztecs used to treat wounds and skin issues, which is how it got the common name "Skin Flower."  In 1825, when Joel Poinsett sent clippings back home to South Carolina, botanists had new common names for the plant: "the Mexican Fire Plant" or "the Painted Leaf." The botanist Karl Wilenow ("Vill-ah-no") named the Poinsettia the Euphorbia pulcherrima. Pulcherrima means "very beautiful." By 1836, English newspapers were reporting on the Poinsettia in great detail: Poinsettia Pulcherrima.. are of the most brilliant rosy-crimson color, the splendor of which is quite dazzling.  Few, if any of the most highly valued beauties of our gardens, can vie with this. Every year, we celebrate National Poinsettia Day on December 12th, the day Joel Poinsett died.   1859 Birth of Solomon Naumovich Rabinovich, better known under his pen name Sholem Aleichem ("Sholl-em A-LEK-em") (books about this person), Yiddish author and playwright. The musical Fiddler on the Roof (1964), was based on his stories. Sholom Aleichem wrote, It's as my mother says: If you want to learn how to grow cabbages, ask the gardener, not the goat.   1905 Birth of Geoffrey Grigson ("Jeffrey") (books about this person), British poet, and naturalist. Before publishing his own poems, Geoffrey edited a poetry magazine called New Verse. He once wrote: We do not feel, as Humphry Repton, the landscape gardener, felt in his epitaph, that our dust is going to turn into roses.  Dust we believe simply to be dust.   1905 Birth of Alice O'Connor, Russian-American writer, and philosopher. Her pen name was Ayn Rand ("Eye-n Rand") (books about this person). She developed a philosophy called Objectivism. Her work The Fountainhead brought fame, but her 1957 novel Atlas Shrugged is considered her magnum opus. Ayn supported laissez-faire capitalism, and when she died in 1982, a 6-foot-tall dollar-sign floral arrangement was placed by her casket.   1887 On this day, Charles E. Bessey (books about this person), an American botanist and University of Nebraska botany professor. He helped pass the Hatch Act. The Act provides $15,000 for state land-grant colleges and universities in every state to establish experiment stations.  Named for Congressman William Hatch, the experiment stations were the forerunner to state Cooperative Extension Services. Today, Hatch Act funding accounts for roughly ten percent of total funds for each experiment station. Nearly all Master Gardener programs in America offer training through a state land-grant university and its Cooperative Extension Service. Charles is remembered as America's greatest developer of botany education. His motto was, Science with Practice. Charles enjoyed plant science, but he never intended to become a botanist. He wanted to be a civil engineer and surveyor. But he agreed to pursue botany at the urging of his professors, and when he told the President of his school about his decision, he commented,   Well, Bessey, I am glad of it, but you'll never be rich.   Grow That Garden Library™ Book Recommendation By Any Other Name by Simon Morley This book came out late in 2021, and the subtitle is A Cultural History of the Rose. Simon Morley is a British artist and art historian. He's now Assistant Professor of Fine Art at Dankook University, Republic of Korea. He is also a keen rose gardener. I've watched a number of interviews with Simon. He does a wonderful job of helping us understand the significance of the rose in our world - socially, politically, and religiously - and how we celebrate the rose in our writing and art. Originating in the middle east and Asia, roses were associated with Venus or Aphrodite, the goddess of love in ancient times. This early association with love is why roses are the flower of Valentine's day. In Western society, roses were bred in the early 1800s in France and then in the late 1800s in England. Both countries have a long and royal history with the rose. Today, the rose is the national flower for many countries, including America, Iran, Bulgaria, Ecuador, Iraq, Maldives, Romania, Slovakia, and England. Simon Morley's quest for a deeper understanding of the rose lead him to appreciate the duality in the meaning and symbolism of the rose. The rose offers incredible beauty and fragrance, but the prickles or thorns mean the rose can bring pain. This complexity of pleasure and pain gives the rose enhanced significance throughout history. This book is 304 pages of an examination and a celebration of the rose. You can get a copy of By Any Other Name by Simon Morley and support the show using the Amazon link in today's show notes for $21.   Botanic Spark 1942 Birth of John Winslow Irving (books about this person), American-Canadian novelist and screenwriter. John wrote The World According to Garp (1978). Since then, he has continued to write best-sellers like The Cider House Rules (1985), A Prayer for Owen Meany (1989), and A Widow for One Year (1998). Here's an excerpt from A Prayer For Owen Meany: And if she wore cocktail dresses when she labored in her rose garden, they were cocktail dresses that she no longer intended to wear to cocktail parties. Even in her rose garden, she did not want to be seen underdressed.  If the dresses got too dirty from gardening, she threw them out.  When my mother suggested to her that she might have them cleaned, my grandmother said,  ‘What? And have those people at the cleaners wonder what I was doing in a dress to make it that dirty?'  From my grandmother, I learned that logic is relative.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.