Podcasts about Yiddish

Rhett is joined by multi-instrumentalist, folklorist, and genre-defying artist Jordan Wax to discuss his emotionally rich new album, The Heart Deciphers. With roots in Missouri and a home in rural New Mexico, Jordan brings a rare blend of intergenerational storytelling, Jewish diasporic heritage, and indie rock sensibility to his work. The two explore the complexities of honoring tradition while making art that feels alive in the present moment. Jordan opens up about the deeply personal nature of his latest songs, sung partly in Yiddish, and the surprising universality of intimate, hyper-niche creative expression. He also shares what it's like to build music from micro-communities, how he wrestles with internal doubts, and why the best antidote to creative paralysis is showing up for your art—even when it's hard. Listen Now: Available on Apple Podcasts, Spotify, Stitcher, and all major platforms. Stream The Heart Deciphers wherever you listen to musicLearn more at jordanwax.com Follow Rhett @rhettmiller Wheels Off is hosted and produced by Rhett Miller. Executive producer Kirsten Cluthe. Editing by Matt Dwyer. Music by Old 97's. Episode artwork by Mark Dowd. Show logo by Tim Skirven.  Revisit previous episodes of Wheels Off with guests Rosanne Cash, Rob Thomas, Jeff Tweedy, The Milk Carton Kids, and more. If you like what you hear, please leave us a rating or review Learn more about your ad choices. Visit megaphone.fm/adchoices

Nous sommes le 30 août 1980. C'est ce jour-là, qu'Annette Wieviorka rend sa première visite au Centre de Documentation Juive Contemporaine, à Paris. Cette visite a lieu juste après son retour de New York où la jeune femme a suivi un stage accéléré de yiddish. Lors de cette première visite au CDJC, Annette Wieviorka remplit une fiche de lecture sur laquelle elle indique être « professeur d'histoire ». Elle y précise aussi le sujet de ses recherches : « Wolf Wieviorka, écrivain et journaliste yiddish (Girardow 1896-Auschwiz janvier 1945) ». Cette première visite au Centre de Documentation Juive Contemporaine est un moment fondateur qui marque le début d'un lien intime avec cette institution et avec la mémoire de la Shoah. Une mémoire sur laquelle, pendant plus de quarante années, jusqu'à aujourd'hui, Annette Wieviorka ne va cesser de s'interroger. Un travail centré sur l'expérience et la documentation des victimes. Une réflexion constante sur la mémoire et sa transmission à travers le temps, les lieux et les sources. Revenons sur l'itinéraire d'une historienne, celui d'Annette Wieviorka… Avec les Lumières de Annette Wieviorka.« Itinérances » ; A.Michel. Sujets traités : Annette Wieviorka, Shoah, yiddish, juifs, mémoire, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Highlights: On Lag B'Omer by Miriam Libenson ז״ל from our archive from the 1990's. A report from Israel by Yiddish radio presenter Avremi Zaks, host of the Kan Yiddish כאן יידיש radio show in Israel. We reached Avremi in Jerusalem via Zoom on May 8, 2025. Music: Tova Ben-Zvi: Lag B'Oimer Tova Ben-Zvi: Arum dem Fayer Intro instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air date: May 14, 2025

Welcome to our daily Bitachon series. We continue with lessons from the Haggadah shel Pesach , even though we are in middle of Sefirat HaOmer- because as we said, we are going from Pesach until Shavuot . Shavuot is when we start our bikurim with our basket in our hands. We're coming to be full of hakarat hatov and thanks to Hashem. Today's pasuk starts with the wordsוירעו אותנ / Vayareu Otanu haMitzrim / The Egyptians did bad and evil to us. The obvious question is, We're coming to say thank you, so why is this part of the thank you? Why does the fact that the Egyptians started enslaving us deserve a thank you? This is a very important point in our hakarat hatov - We don't just thank Hashem for saving us. If that were the case, says the Bet HaLevi in Shemot 15:1, then who needs the salvation? Without the problem, I don't need the salvation. I'm back to status quo, which was that I didn't need the problem. It's like walking into a dentist and he says, "Ooh, you have a cavity-I'll fill it. You walk out of the dentist's office, back where you started from- with the regular tooth.Therefore, says the Bet HaLevi , when the Jewish people said Shira , hashirah ne'emra gam al hashibud hakadum / This song was also for the subjugation that happened beforehand, kemo hageulah, just like it was for the redemption . W ithout the subjugation, there would not have been a place for the geulah , and the geulah brought them something. That's what David HaMelech says in Tehillim Otcha ki anitani. I thank You that You pained me (some interpret that You answered me ) The Bet HaLevi says, initani is lashon inui . " I thank You that You pained me, vatehi li lishuah , and You saved me." It's like giving a thank You for the pain beforehand , because through that came the yeshua and a kiddush Shem Shamayim . But there's a slightly different explanation, which is not just that the the difficulty enabled God to save me and therefore, a kiddush Hashem came, There's another aspect- that we actually appreciate the suffering because we know that we benefited and gained from the suffering. There was a purpose to the fact that the Egyptians subjugated us. There's a story told, whether it's true or not is not important, the lesson is a powerful one:In the days of old, there was a feudal system where there were the basic landowners called feudal lords , and everyone under them was a required to pay a tax. The Jews could not own land, so they were always under these feudal lords , called a poretz in Yiddish. If you were lucky, you got a nice poretz , and if you were unlucky, you had a vicious one. One Jew had a nice friendly poretz whom he paid his rent to. The poretz once left to go overseas and had his friend take over. This friend was very ruthless. If the Jew was ever late or didn't pay the exact amount, he would whip him. Over the course of time, he got what about 40 whippings. After some time passed the original feudal lord came back. The Jew reunited with this friendly feudal lord, shared his experience and showed him his back with all the whip marks. " I can't believe it." He exclaimed. "That's what he did to you!?I'm going to take care of it." And since he was the ultimate boss of the town, he made this substitute feudal lord pay a certain amount ( let's say a silver talent) for every time he whipped him. The Jew came home with 40 silver talents and showed his wife. She said "Unbelievable, look what we have. Look at look what you got!" But the man was not happy. " I wish he would have hit me 60 times !" He said. Of course, that's a joke, true or not. The point is, in retrospect, he realized that every whipping gave him something. He appreciated the whippings and he actually was very happy for those 40 whips. So he didn't just say thank you that he got out of the problem. He actually appreciated the problem because that brought him whatever benefits he got out of it. There's another story, which is reportedly true. It's brought down in sefarim that it happened with the Chida. A man was having a lot of difficulties, a lot of tzarot , a lot of problems, so he traveled to the Chida to get a bracha . As he was sitting outside the Chida's office waiting after a long trip, he fell asleep. In his dream, he saw that they were judging him in Bet Din shel Maalah /the heavenly court. There was a huge scale. They were bringing all of his mitzvot on one side, and they put all the Averot on the other side. In his case, the Averot /sins outweighed the mitzvot . It looked like he was in trouble. He asked them to look around for some more Mitzvot, but that was it. They were all emptied out. It didn't look good, but then one of his defending angels said, "What about the yissurim/suffering ?" They said, " You're right. We forgot about the yissurim. Let's throw the yissurim on." All his suffering was then thrown onto the positive side. And slowly it tilted, until it was just about equal. They were running out of yissurim . The scale was exactly equal. The man didn't know what to do. In his dream, he screamed, " More yissurim, more suffering, more suffering!" He woke up from his dream and was back to reality. He realized, " Why am I coming here? To complain about my suffering? This suffering is exactly what I need." That's our message here. Easier said than done. In the story of Yetziat Mitzrayim , this is a lesson for us in retrospect, when we're all able to look back somehow, and appreciate and actually have hakarat hatov for vayareu otanu haMitzrim .

Excerpt of the 05 May 1949 Kraft Music Hall, starring Al Jolson with Dennis Day. In this edited segment, Dennis Day shows his talent for dialect, and even a little Yiddish, as he paired with Al Jolson in a comdey routine, capped off with a duet of "By The Light Of The Silvery Moon." Al Jolson finished the segment with a rarely heard tribute to Mother's Day, "Remember Mother's Day." The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

NBN host Hollay Ghadery speaks with award-winning author Gary Barwin about his book, Scandal at the Alphorn Factory: New and Selected Short Fiction, 2024-1984 (Assembly Press, 2024) couples brand new and uncollected stories with selections of the most playful and ambitious of Barwin's previous collections, including Cruelty to Fabulous Animals, Big Red Baby, Doctor Weep and Other Strange Teeth, and I, Dr. Greenblatt, Orthodontist, 251–1457. Known as a “whiz-bang storyteller” who can deliver magical, dream-like sequences and truisms about the human condition in the same paragraph, Barwin's trademark brilliance, wit, and originality are on display in this can't-miss collection of short fiction. About Gary Barwin: GARY BARWIN is a writer, musician and multimedia artist and the author of 34 books including Scandal at the Alphorn Factory: New and Selected Short Fiction 2024-1984 and, with Lillian Allen and Gregory Betts, Muttertongue: what is a word in utter space. His national bestselling novel Yiddish for Pirates which won the Leacock Medal and the Canadian Jewish Literary Award, was a finalist for the Governor General's Award and the Giller Prize and was longlisted for Canada Reads. His last novel, Nothing the Same, Everything Haunted won the Canadian Jewish Literary Award and was the Hamilton Reads choice for 2023-2024. His last poetry collection, The Most Charming Creatures also won the Canadian Jewish Literary Award. His most recent novel, The Comedian's Book of the Dead will be published by Book*Hug in 2026. His art and media works have been exhibited and presented internationally. Be:longings, a $200,000 permanent public art sculpture created with Simon Frank and Tor Lukasik-Foss was installed in Churchill Park (Hamilton). His poetry installation, The Ambitious Sky was projected on a five-storey wall in Hamilton in February 2025, an interactive multimedia poetry exhibition Located in the Ink (created with Elee Kraljii Gardiner) was exhibited at Massy Arts (Vancouver) in Fall 2024, and Bird Fiction, and an interactive multimedia work (with Sarah Imrisek) was presented at Nuit Blanche 2024 (Toronto) and, in an expanded Hamilton-specific version will be featured in Hamilton Arts Week in June 2025. Recordings of his work are available at https://garybarwin.bandcamp.com He lives in Hamilton. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian writer living in Ontario on Anishinaabe land. Fuse, her memoir of mixed-race identity mental health, was released by Guernica Editions and won a 2023 Canadian Bookclub Award. Her poetry collection, Rebellion Box was released by Radiant Press in 2023, and her short fiction collection, Widow Fantasies, with Gordon Hill Press in fall 2024. Hollay is a host on The New Books Network and co-host on HOWL on CIUT 89.5 FM. She is a book publicist, the Regional Chair of the League of Canadian Poets as well as the Poet Laureate of Scugog Township. www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

[Note: Stay tuned at the end to hear the band play Blue Skies!] It has been said that Irving Berlin didn't write American music ... he was American music. Indeed, the scope and length of his career, and his vast body of work in a variety of musical contexts give credence to this argument. One of the very few songwriters of his generation who wrote his own lyrics as well as the music, it is staggering to realize that English wasn't even his native language. Many of his witty, urbane lyrics belie the fact that he grew up speaking Yiddish, primarily. Jazz musicians have embraced his strong melodies and interesting harmonic twists for generations. The fact that he really never studied harmony and could only play on the black keys of the piano make his output even more astounding!

Send us a textWelcome back for Part 2 of my discussion with 3G Collective: John Reed, Shany Dagan, and Jana Krumholtz!Three grandchildren of Holocaust survivors are using their talents as dancers, actors, and choreographers to tell their families' stories through powerful artistic performances.• John describes his journey from watching his sister dance to becoming a professional dancer and choreographer• John shares his experience working on "Amid Falling Walls," an off-Broadway show featuring Yiddish songs written in concentration camps and ghettos• Shany discusses her transition from Israeli contemporary dance to American theater and aerial circus arts• Shany explains her dance memoir featuring her grandparents' Holocaust survival stories performed simultaneously on stage• Jana talks about her commercial dance career highlights including performing on SNL and Lip Sync Battle• The artists explain how they formed the 3G Collective after discovering their connected histories• Each artist describes their individual shows exploring third-generation Holocaust trauma and resilience• They discuss why third-generation stories provide unique perspectives on Holocaust history and intergenerational trauma• The collective emphasizes that their art demonstrates Jewish resilience - "they didn't win, we're still here"Follow the 3G Collective on Instagram at @thirdgenproject for information about their upcoming performance at Arts On Site on August 7th.TopDogToursTopDogTours is your walking tour company. Available in New York, Philly, Boston, & Toronto!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

This week's learning is sponsored by Sara Averick & Jose Rosenfeld in loving memory of Sara's beloved Aunt Rose, Rachel bat Chaim Nisan haLevi v'Nechama. "She was a Yiddish scholar who adored all her nieces and nephews. She was a beacon of light, laughter and joy." Rava bar Ada said in the name of Rabbi Yitzchak that a non-kohen is only liable for eating bikkurim once they have been brought into the azara, since until that point, they are still considered chulin. , not sacred. Rav Sheshet ruled that placing the bikkurim in front of the altar is critical, but reading the mikra bikkurim is not. The Gemara brings a braita of Rabbi Yishmael trying to prove that Rav Sheshet holds by his opinion. However, this suggestion is rejected. In the braita, Rabbi Yishmael derives the source for not eating maaser sheni after the destruction of the Temple. First, he tries to prove it from bechor, a firstborn animal, But after he rejects this suggestion, he proves it from a heikesh, a juxtaposition, from a verse in the Torah. The Gemara raises some questions against some of the content in the braita. Why couldn't they derive the law about maaser sheni from bechor and bikkurim together? Secondly, why was it so clear that the meat of a bechor could not be eaten after the Temple was destroyed, if, for example, the animal had already been offered as a sacrifice before the destruction? The first and second Mishna in the chapter both mention lashes for eating maaser sheni. To explain why the repetition, Rabbi Yosi bar Chanina establishes the second Mishna in a case of an impure person eating it in Jerusalem or the produce itself was impure and the person ate it in Jerusalem, whereas the first Mishna related to one receiving lashes for eating it outside Jerusalem (in a pure state). What is the source for receiving lashes for impurity of either the maaser sheni or the person eating it? From where is it derived that maaser sheni can be redeemed in Jerusalem if it is impure? From where is it derived that if a person bringing maaser sheni to Jerusalem is one step outside the walls of Jerusalem, one can still redeem it? What if the person is carrying it on their back and their body is in Jerusalem but the produce is not yet in Jerusalem?  

This week's learning is sponsored by Sara Averick & Jose Rosenfeld in loving memory of Sara's beloved Aunt Rose, Rachel bat Chaim Nisan haLevi v'Nechama. "She was a Yiddish scholar who adored all her nieces and nephews. She was a beacon of light, laughter and joy." Rava bar Ada said in the name of Rabbi Yitzchak that a non-kohen is only liable for eating bikkurim once they have been brought into the azara, since until that point, they are still considered chulin. , not sacred. Rav Sheshet ruled that placing the bikkurim in front of the altar is critical, but reading the mikra bikkurim is not. The Gemara brings a braita of Rabbi Yishmael trying to prove that Rav Sheshet holds by his opinion. However, this suggestion is rejected. In the braita, Rabbi Yishmael derives the source for not eating maaser sheni after the destruction of the Temple. First, he tries to prove it from bechor, a firstborn animal, But after he rejects this suggestion, he proves it from a heikesh, a juxtaposition, from a verse in the Torah. The Gemara raises some questions against some of the content in the braita. Why couldn't they derive the law about maaser sheni from bechor and bikkurim together? Secondly, why was it so clear that the meat of a bechor could not be eaten after the Temple was destroyed, if, for example, the animal had already been offered as a sacrifice before the destruction? The first and second Mishna in the chapter both mention lashes for eating maaser sheni. To explain why the repetition, Rabbi Yosi bar Chanina establishes the second Mishna in a case of an impure person eating it in Jerusalem or the produce itself was impure and the person ate it in Jerusalem, whereas the first Mishna related to one receiving lashes for eating it outside Jerusalem (in a pure state). What is the source for receiving lashes for impurity of either the maaser sheni or the person eating it? From where is it derived that maaser sheni can be redeemed in Jerusalem if it is impure? From where is it derived that if a person bringing maaser sheni to Jerusalem is one step outside the walls of Jerusalem, one can still redeem it? What if the person is carrying it on their back and their body is in Jerusalem but the produce is not yet in Jerusalem?  

This week on "The Shmooze," writer, translator, and literary scholar David Stromberg. In a wide-ranging conversation, David talks about his recently released translation of "Isaac Bashevis Singer: Writings on Yiddish and Yiddishkayt: A Spiritual Reappraisal, 1946–1955" (White Goat Press) and sheds light on Bashevis's lesser-known nonfiction, which he has translated and edited for this collection of Singer's writings. Episode 390 April 23, 2025 Amherst, MA

Tova Friedman was just six years old when she walked out of Auschwitz.  Now, 80 years later, Tova is devoted to speaking about her experiences as a child survivor of the Holocaust and being vocal about the threat of antisemitism. She knows how easily a society can transition from burning books to burning people, and she is determined to ensure that never happens again. Tova speaks to audiences worldwide–in person and on the social media platform TikTok, where she has amassed over half a million followers. Listen to Tova's harrowing, miraculous testimony of survival, as part of a live recording at the Weizmann National Museum of American Jewish History in Philadelphia, in partnership with AJC Philadelphia/Southern New Jersey.  Lisa Marlowe, director of the Holocaust Awareness Museum and Education Center (HAMEC), joined us to discuss the museum's mission to bring Holocaust survivors to schools, the importance of teaching history through eyewitness accounts, and the significance of preserving stories of righteous individuals like her Danish great-grandmother, who saved thousands of Jews during WWII. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC. Photo credit: Christopher Brown Resources: -About Tova Friedman and TovaTok -Holocaust Awareness Museum and Education Center (HAMEC) -AJC Philadelphia/Southern New Jersey Listen – AJC Podcasts: -The Forgotten Exodus: Untold stories of Jews who left or were driven from Arab nations and Iran -People of the Pod Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of Interview with Tova Friedman and Lise Marlowe: Manya Brachear Pashman:  Yom HaShoah, Israel's Holocaust Remembrance Day, begins on the evening of April 23. To mark this remembrance, our broadcast this week features our recent live event at the Weitzman National Museum of American Jewish History in Philadelphia. There I had a conversation with Lise Marlowe, of the Holocaust Awareness Museum and Education Center in suburban Philadelphia and author and Holocaust survivor Tova Friedman.  __ Thank you to all of you for being here today to participate in a live recording of People of the Pod, American Jewish Committee's weekly podcast about global affairs through a Jewish lens. I'm your host, Manya Brachear Pashman. Down here on this end is Lise Marlowe, our partner and organizer of this wonderful event. She is the program and Outreach Director of the Holocaust awareness Museum and Education Center, otherwise known as HAMC in Elkins Park, Pennsylvania, which is just outside here in Philadelphia. She is also a long time teacher who has come up with some quite innovative ways to teach Holocaust history to middle school students. But before we begin and get to all of that, I do want to turn to Lisa for a few minutes. If you could just tell us a little bit about HAMC. What is it? Because we are in a different museum venue now.  Lise Marlowe:   Thank you Manya, and thank you everyone for being here today. So HAMC is America's first Holocaust Museum, which started in 1961 by Holocaust survivor named Jacob Riz, who lost 83 family members to the Nazis. Our Museum's mission is to bring Holocaust survivors to schools and organizations. We believe it's important to give students the opportunity to learn history through an eyewitness. When we host a school program, we tell students that they are the last generation to meet a survivor, and once they hear a survivor's story, it becomes their story to tell. It also becomes their responsibility to speak up and stand up to the Holocaust deniers of the world and to say, I know you're lying because I met a survivor. It's not easy for our survivors to tell their story, but they want to honor the family they lost. And to make sure students know what happened so history hopefully doesn't repeat itself.  Hearing about the rise of antisemitism, seeing hate towards other groups, can bring trauma to our survivors, but our survivors teach students that there are things we can do to stand up to hate. We can remember that words matter, kindness matters, that we can support and help each other when bad things happen. The Holocaust did not begin with concentration camps. It began with words.  Our museum brings hundreds of programs all over the world, so please reach out to us at HAMC.org. Because we believe education is stronger than hate. We find that students are inspired by the messages our survivors tell them, which is to not hate others. Even though they lost everything. Their families, their property, their identity, their childhood, they teach students that hate can only destroy yourself. Manya Brachear Pashman:   Thank you so much, Lise. I met some of Lise's former students who are here in the audience today. You have some really remarkable ways of teaching Holocaust history so that it sticks. I would like to get into that a little bit later. And you also have your own family story to share, and we'll learn more about that later, as she is one of our two guests on today's podcast.  You see, there are three pieces to our podcast today, including the traditional format of a conversation with our guests, which will come later, and then your opportunity to ask questions. But to really comprehend what we discuss, you must first hear the powerful story that our guest of honor, the woman next to me, Tova Friedman, one of the youngest people to emerge from Auschwitz, the Nazi's concentration camp and extermination camp in occupied Poland. You must hear her story first.  Tova has worked tirelessly to share her story in every format possible, to reach the widest audience. In addition to telling her story in person, at venues such as this, she worked with a journalist to produce an accurate and comprehensive memoir, and next month, a young adult version of that memoir will be released.  She's worked with her grandson, Aaron, a student at Washington University, to share portions of her story on Tiktok on a channel called TovaTok, that has about 522,000 followers, and she is here today to reach our podcast listeners. And you. After her presentation, Tova will have a seat once again, and we'll continue the conversation. But right now, it is my honor to turn the mic over to Tova Friedman:. Tova Friedman:   Thank you. I have no notes and I can't sit because I'm a walker. You know, I think better when I walk. I think better on my feet. Let me tell you, a few months ago, I was in Poland. I was invited as a speaker to the 80th commemoration of Auschwitz liberation.  Five years ago, I was there also–75th. And there were 120 Holocaust survivors there with their families and their friends from Auschwitz. This time there were 17 [survivors], and we'll have no more commemoration. We're done. People, the lucky people, are dying from old age. You know, they're, or they're Florida, or they're gone, okay, they're not available.  So what's scary is that many young people will not meet a survivor, and they will be told in colleges and high schools, probably it never happened. It's an exaggeration. You know, the Jews. They want everybody to be sorry for them. That will happen. And that's been happening here and there to my grandchildren.  Right now, I've got eight grandchildren, but two are in colleges, and one is in Cornell. And I got the saddest phone call on Earth. To me it's sad. He got a beautiful Jewish star when we went to Israel. He called me to ask me if he should wear it inside, hidden, or if he should wear it outside. That's so symbolic.  And I said to him, do you want to be a visible Jew, or do you want to be a hidden Jew? Do what you want. I will not criticize you. I know that life is changed from when I went to college. America is different, and I'm just so upset and unhappy that you, at age 18-19, have to go through that. One of my grandkids had to leave the dormitory because of the absolute terrible antisemitism. She is in McGill in Canada, and she has to live by herself in an apartment because even her Jewish friends stopped talking to her. So what kind of a world are we living in? Extraordinarily scary, as far as I'm concerned. That's why I talk. You can hear my voice. I talk as much as I can for a number of reasons. First, I talk in order for those people who were murdered, million and a half children, some of the faces I still remember, and a total 6 million Jews, they cannot be forgotten. They cannot be forgotten.  This is such a wonderful place here that I hear you have classes and you have survivors talking to kids. You take them to schools. I think it's fabulous, but you got to do it fast, because there's just not many of us going to be here for a long time. So one thing is memory.  The other reason I speak is a warning. I really feel that this world is again turning against us. We have been scapegoats all through history. Books have been written. Why? Why this? Why that? Why this? Why that? I can't figure out why. They're jealous, we feel with the chosen people. Oh, my God, it goes on and on. But why us? It started 2000 years ago.  So I'm here to remember, so that all those people didn't just die and became ashes. But we're living in a world where we have to be aware. We have to be aware. You heard statistics that were scary. You know, I didn't even know some of the statistics. That Jews are stopping to use their Jewish last name when they make reservations somewhere? In America.? You know, I remember when I walked out from Auschwitz with my mother. My mother survived, and I'll take you back and just give me a certain amount of time. What happened? She said to me, remember I was exactly six and a half years old. And I do, I remember. And one of the reasons I remember is because my mother was a big talker. Talker just like I am. I inherited it from her. She would tell me everything. We were in all kinds of conditions. And I'd say, Mom, what is that? She says, Yeah, that's the smoke, people are being burned. She didn't say, you know, Oh, it's nothing. Don't worry about it. No, no, no, no. She talked and she talked as long as I was with her, until we were separated. That's why my memory is so sharp, and I always tell the younger generation: stop texting and start talking. Texting, you won't remember anything. It doesn't go into your brain. When somebody talks to you, you will never forget. When your mom or dad says things to you, you will remember them. If they text it to you, it lasts a few minutes and it's gone. So that's why I remember so much.  My mother lost 150 people. She was the only survivor of Auschwitz. The only survivor, brothers, sisters, nieces, nephews, all gone, and she died very young. She died at 45. Her war never ended. Her Auschwitz, she brought with her to America because she just couldn't get over it. My father lost about all his brothers and sisters except two, and he was able to handle life a little bit better, but she wasn't.  In my town, there were hundreds of Jewish children at the end of the war. There were five left. Five. I'm the youngest. That's why I'm still here talking. Two have died, and one is in her 90s, and she doesn't talk much anymore. So I feel like I'm representing an entire town that's gone, just gone. A town that had synagogues and they had football and they had a very vibrant town. Where my mother was a young woman. She was studying. My father was an actor, a singer, and a tailor, so he should have some money, but they were all functioning. It's all gone.  When I went to visit, because I took my grandchildren so they can see, there was no sign the Jews even were there. It's like we disappeared. My memory of the war starts when I was four, not so much before. My parents lived in a very modern town. And because they left the shtetl, my mother wasn't interested in all the religious and the sheitles, and you know, the wigs people used to wear, which, by the way, my daughter now is wearing a wig, which is sort of strange, right?  And they went to live a modern life. As soon as Kristallnacht came, he knew right away that this is not a place for him. And what do you do when you're scared? You go home, you go to your parents. So my mother and father, I was one year old, went back to their parents' home. What did they find there? That they were already in a ghetto.  Now, I remember the ghetto at the age of four, there were lots and lots of people in a tiny apartment, no running water, no bathrooms, no food, no room. So I was under the table. All my memories were under the table. And I knew things that were going on. How did I know? Because I heard it.  You know, a kid at four, four and a half, people make mistakes. The children don't know. Children know everything. They may not be able to verbalize it, but they know. And I knew what was the issue. I knew that they killed children and that I have to be under the table. I knew that. I knew that my grandparents are going to die soon. I heard it. I heard my father talking. I heard my mother talking. I heard the other people talking in the apartment in Yiddish. I still remember the words, oh, they name it. They're taking the elderly. They're taking this.  Well, one day they came in, they took my grandmother, and they shot her, right outside our window, you know, took her outside. You know what's amazing when I think about this? Because I've tried to get some perspective. I've always tried to figure out, how did that happen? Why?  How is it possible? Hitler was brilliant, and if he wasn't brilliant, he had brilliant people helping him. Idiots could not have done what he did. They were educated people. He had therapists. He had a nutritionist. And you know what they said, break up the family, and you will break up people. People die when their family is killed, they die sometimes physically, sometimes emotionally. Listen, I'm a grandmother. I have eight grandchildren. I know what it means to be a grandmother in my role, and I'm sure many of you feel the same way. So they took away the elderly.  One day, my father comes in, and he says to my mother, I just put them on the truck. I know what he meant. I was exactly four and a half because I was standing by a table. I could tell my size. The table went up to my chin, and I knew that there were because the day before these people in their 20s and 30s, they were the strong guys. They dug graves for their own parents. We, the Jews, dug graves for our children and our parents.  You know when the Nuremberg Trials came, some of the guys said, we didn't do anything. We never killed any…you know why? Because they used us to kill our own people. So that time, my father told my mother what was going on. He was sitting, his tears were coming down. And I could picture it, because, by the way, whatever I tell you, multiply by hundreds. This was a template, you know, like you have a template on a computer, you just fill in the name and everything is the same. You can fill in all kinds. You apply for a job. There is a special way. That's what happened. The Germans when they came to a town, they didn't have to think what happened. They had the piece of paper, kill the elderly, kill the children, as soon as possible. So I knew. I knew exactly what was going on. I knew that my grandparents were gone, my father's parents, my mother's mother was killed. Her my grandpa died before the war from some disease. He was very lucky. So here we are. One day. I had this uncle, James. He was a German Jew. He spoke a perfect German.  So he thought, look at our minds. He thought, he speaks German. He's going to volunteer. He didn't have working papers, and he was scared to die. His wife, my aunt, she had working papers. So he went to the Gestapo, and he said, I'll be your translator. I speak a perfect German. I was born in German. And they shot him on the spot.  So I remember he used to come and visit us. I sat on his lap one day. My father said, you won't go to see Uncle James anymore. He's not coming back. I didn't say anything. I know he was dead. I didn't know how he was dead. So the reason I'm telling you all the different things is because this happened in every other ghetto.  We were living 16,000 Jews in 250 apartments, and we couldn't go in, and we couldn't get out, except certain people who had privileges. They had working papers, they had special papers. They could go out. That's how the smuggling started. Also, certain people could go out, bring some food, because we were starving. We were starving to such a point. You know why? Because the nutritionist, the PhD, the best nutritionist in Germany, told Hitler how much to feed us in order to die. You want them to die in two months? Give them that much bread. You want them to die in two weeks? Give them that. My town, which was called Tomaszow Mazowiecki, has no Jews anymore. I just wanted to mention the name because my family was there for 200 years, because the Poles in the beginning were very good to the Jews.  They wanted the Jews because we were good business people. Every time the Jews were there, the place thrived. There were close to 100 tailor shops in town, all Jewish. So how could you go wrong? They brought business from everywhere. But now, of course, there isn't anybody. And slowly,  all those people were sent to Treblinka. There were left about 50-60, people, my parents, I among them. There were very few kids left. And we were the cleanup squad. Not only did my father had to dig the graves, I don't think my mother did. My father, dig the graves, but afterwards you have to clean up. You can't leave a town so dirty because they wanted to leave no witnesses. Hitler had an order all the way from Berlin, no witnesses. That's another reason he killed the children. Kids can grow up and be a witness like me, and that was very dangerous for him. Because, you know, it's interesting from the psychological point of view, no matter what atrocities he and his people did, in the back of their mind, they were afraid of the consequences. They were afraid of consequences. That's why you leave no witnesses.  But at that time, my father buried people and he said Kaddish. I didn't know what Kaddish was. I didn't know what being Jewish was. I don't remember any Jewish holidays. I knew that being Jewish means death, but I wasn't sure what that meant, Juden. What is this Juden business? But look at four and a half. I wasn't going to think about it. Anyhow, they moved the camp. We cleaned it up. We came to the next camp, and the next camp was the labor camp. Only work. We worked for more, not me, my parents did, and I want to tell you something about that.  Slowly they did the same exact thing they did in every other camp. People were taken away. The moment you were sick, the moment you were tired, straight into some camp. One day, I heard, I heard– my mother told me, I didn't hear anything. She said they're taking the children, whoever, whatever, there were very few children left, maybe 20-30–we've got to hide you. And she hid me in like a crawl space, like they had these tiles or something. I don't know it was tile, something. And she put me in there, and she followed me, just the two of us, my father didn't get in there. And she put me on her lap, I remember. And she put her hands on my mouth. I shouldn't scream.  I remember it was so tight that for weeks I had blue marks right here. And from the little window, I see where all my friends that I was playing with outside, because my parents were gone a whole day, I was outside with the other kids, put on trucks, but I knew where they were going. They were going to the place where the big graves were dug for them.  So anyhow, when my mother said, we have to hide, we were there for maybe an hour or two. After it was all done, the kids were gone. We went up downstairs in a little room. She said, from now on, you can no longer be on the street. Okay, so I couldn't go out. I stayed in the dark room for a few weeks. It's another story, but one day I remember, and she came every day from work, she gave me food, and I slept with my parents. Because they were in the room with me.  One day, she said, Oh, you don't have to go to the room anymore. I was delighted. I said, I don't have to? No, you can go outside. I haven't been outside for weeks, and I saw she was sort of packing, moving things. We had so few things. I said, What are you doing? She says, We're packing. We're going to Auschwitz. Again, they had, you know, cleaned up the ghetto.  The place was called Starachowice. It was a Polish place. Had a town next to it even, and people who lived around, the non Jews, knew what was going on. They all knew, because there was always a town nearby. There was also a town near Auschwitz. Auschwitz, people lived a normal life there. So anyhow, I knew. I said, Auschwitz. We're going to Auschwitz, okay? I didn't care. I was so happy that I was outside.  Within a very short time, we started walking. The train was waiting. My parents were separated. That's the first time. We were always together. My father was crying, and I remember I was little, so my mother picked me up, because I don't know if anybody of you either have been either to Auschwitz or to New York City. They have the cattle car by the museum, right outside, right. You saw the cattle car and it's that high, very hard to get on it. So she had to pick me up. She put me in and my father said, Be a good girl. I said, Yeah, I'll be a good girl. And he went to another cattle car. I was with my mother, and then a 36 hour drive began, no food, no no food and no drink, very hot, because they were all women. 150 women, and no bathrooms.  And I remember, I said, Mom, I have to go. I have to go. She didn't answer me. And then I said to myself, Oh, I know everybody's going where they're standing. I think that that was a dividing line between being human and being inhuman. We're all dressed like normal kids. I had braids, you know, when we walked out, we were all covered with feces, because everybody was going everywhere. And many people had died, and I am outside standing watching all this going on, and my mother says to me, Get undressed.  And I said, why? It was about July, August. It was summertime. Why? She said to me, they want to check if we're healthy. So I, very obedient, by the way, very, very. My mother taught me rules, and I'll tell you about the rules. So I took off my clothes, and she said, don't look at the eyes of the dogs. Don't look at anybody's eyes, because these the Germans came with their dogs. And When I was by myself, in the in the labor camp, she also taught me, because I was alone, never have eye contact. She said, eye contact will make you recognize and when you see a dog stand still, which is counterintuitive.  I was frightened, terrified of the dogs more than of the Germans, but she said, the dogs will think that you're running away, and they are trained to kill when somebody's trying to run away. So in other words, she always trained me how to be self sufficient, how to recognize danger and what to do with it. So eye contact is pure danger, and running is pure danger. So I learned very, very easily how to do that. So when I'm there, I'm standing very still, the dogs are passing by. And then I say, what's the smell, it stinks here. I said, it stinks. She pointed to the crematorium. They were taking the burning bodies from the gas chamber, and it was all black, and you could smell it. And you know what? She didn't have to say anymore. I knew it. So I remember saying, Mom, how do I look? How do I look? And she said, Oh, you look good. I said, Am I healthy? She said, Yeah, you're very healthy. I said, what about you? Oh, I'm healthy too. She said. And somehow we made it.  I tried to find out. I wrote a book together with a researcher. He tried to research. He lives in England. What happened that day? Every child under the age of 12 or 13 was taken straight to the crematorium. We're useless. Old people, pregnant people, sick people. What is old, 50 and over, because you can't work. Even in Auschwitz, you had to work. Even when you waited for your death, there was some job they gave you. So that you had to be healthy, at least. Anyhow, I don't really know. I was told that we arrived on a Sunday, and Sunday they were the Germans were Christians, so they didn't want to open another crematorium. They had four going. They didn't want the fifth. That's somehow how I and my mother survived. My whole transport, not just me. We were all, you know, a bunch of people. We went to another room. They shaved my head. I remember that very well, because they picked me up and I was, I was quite small, so they picked me up, put me on a bench, and the woman did my hair. And she herself, and I couldn't find my mother, and they gave me some clothes, because they've taken my clothes by the train. And then she found me, and then she took my hand, and we followed a whole bunch of people into Auschwitz proper. This was outside of Auschwitz before you were like, ready, and so you went inside. We got a middle bed, and then she started teaching me again.  She said, you know, there'll be a lot of people here sleeping. More women, so when you're asleep, you can't move around so much, because then everybody else has to move. Okay. And I said, What about if I have to go to the bathroom? She says, No, you can't. That was a terrible thing for me as a child. I had to hold it, because they had it twice a day to the bathroom. And then she said, Look, you're going to get a cup. I didn't get it yet. We were going to be getting a cup, a tin cup, a spoon and a bowl. If tyou lose it, and if somebody steals it, you'll go hungry and you'll die.  She said, they don't look at you. You take out the bowl. Somebody gives you something to eat. Nobody touched it, by the way. I was so aware of it. I just want to go a little fast forward, because I need your questions. I need to know what you want to know. And then one of the things I told you is bathroom for kids. It was hard for me to hold it. Well one day, we were all on line, and I really had to go. So I went in front of the line, and I was in such a hurry that I fell. The way the bathrooms were, I don't know if anybody's been to Auschwitz. The slabs of the boards. It was big, gigantic holes. The holes were like, maybe this size. My grandkids, who are, one of them is 6”2, got the privilege, because of me, to try out those bathrooms.  He sat on it and he said, Grandma, I don't know how you didn't of course, you fell in. He said, It's too big for me. I fell inside. And of course, they got me out and they hosed me down, but I must have picked up some kind of a bug. There were rats there, there were feces up to here. And I got very sick, but I knew that sickness meant death, so I was very careful not to tell anybody, but that somebody saw me, and they said, this child, this child is ill.  And they were so scared of illness, because illness meant death immediately. Because every morning they came, they picked up the dead, the sick, on one of those three wheel things. Wheelbarrow, wheelbarrow, to the crematorium. So I was afraid to be one of them. And then somebody said she's sick. She's going to infect all of us.  They picked me up. I don't remember much about that, because I was really ill, and they took me to one of those places, a hospital, without doctors. When I woke up, I must have had fever, they told me no more. You can't go back to your mother. And that's when they took me to the children's place. For the first time, I saw so many children, I never knew they even existed, and they tattooed me. I remember. They said, Oh, your name is such and such. No, it's 27,633. And the woman said, Say it. Say it. I couldn't say it. I don't know what numbers were. Never went to school, but she was so kind. She taught me. She said it again. She said, just say the words, say the words. And I did it, and I learned.  And she gave me a rag with cold water. She said, press it hard. Don't rub. It'll swell. I was there just about towards the end of the war. But one day, I got a package and it said, Happy sixth birthday. I'm six. I didn't know it. I said, Oh, my mother must be somewhere, and she's alive, because she gave me a package. It was a piece of bread, but I was going to save it until I'm dead. I imagine there's a little girl I'm going to be dying, dying, dying, like everybody is dying, but I won't, because I'll take that piece of bread and I'll eat it. I didn't know anything about bread getting stale. I know nothing about bread, so I remember keeping it here, just like that, because it was on a piece of string. In the middle of the night, rats came, ate up everything, tore my clothing, but they didn't touch me. Miracle. There were a number of miracles that, I should have been dead.  All I can tell you is, within a few weeks, something weird was going on at Auschwitz. I did not know. Terrible noise, terrible shooting. Dogs were barking, and the person who was in charge of us, it was always a kapo, an adult woman, was gone. The door was open, but we didn't dare open the door. We heard the dogs outside, and shooting. We were frightened and we were hungry. There wasn't even the little bit that we got every day, even that wasn't there.  And all of a sudden, the door opens, and my mother–I didn't know it was my mother–a woman comes in full of rags. She looks terrible. She looks around. Nobody's saying a word. She looks around, she looks around, she comes over to me, and she looks at me, and she bends down like on her knees a little bit. She says my name, and she says, You don't know me. I'm your mother. I thought to myself, my mother, she doesn't look like my mother. I only saw my mother six, seven months earlier, but she didn't look anything like it.  She just looked just, I can't even describe it. But she convinced me and listen to what she said. She looked at me. She said, You look like you can survive. Look at me. Her feet were swollen, and she said, listen, we're going to try to hide. We will either survive together or die together. What do you think? I said, I want to be with you. I don't care what. She takes my hand and we snuck, we didn't even have to sneak out because the door was open, but the other kids refused to leave. We were all so frightened, but somehow we got out.  She's walking. She's walking. Outside the dogs are barking. It's terrible. We're walking very close to the barracks, and she comes to a house, door. She walks. She must have had a plan. I didn't know that. And it's a hospital without doctors. All these people are screaming and crying and she goes from bed to bed. She touches everybody. I don't ask a question. And I'm wondering, why is she doing that?  She found a corpse that she liked. It was a corpse of a young woman, maybe twenty, now I look back at it to me, she was an adult, in the 20s, nice, nice looking woman who must have just died because she was warm. So she could manipulate her body. I remember my mother took off my shoes, picked me up, and she said, Listen, don't breathe. I'm going to cover you up. No matter what you hear–because she knew I couldn't see anything–what you hear don't get uncovered. Try to breathe into the ground.  She takes my face, she puts it towards the floor, and she manipulates my body, and she puts me very close to the corpse, and then she covers it up, and outside, you only see the head of the woman who died, and her hands, and her hands are holding like the blanket, so you can't see. All of a sudden, I can hear screaming and yelling. I don't move. I obey orders. And I can hear steps. I remember the steps, and somebody stopped, and I say to myself, Oh, I'm going to stop breathing. I stopped breathing. I was afraid that the blanket would move. Well, I just couldn't anymore.  The person walked away, and then screaming and yelling went on, I didn't move. And all of a sudden I smelled smoke, and I said, How can I not get uncovered? In the beginning, I still breathed very shallow, but I couldn't. And I said, I'll have to get uncovered to get air. And then all of a sudden, my mother pulls the blanket off me and says in Yiddish, they're gone. The Germans are gone. And she must have hidden with another corpse. And when I sit up in the bed, all these people have been hiding with other corpses. And in order to get out, they were pushing the corpses off the beds, so the corpses were flying everywhere, you know, while the people who were hidden under the corpses. So she says to me, come. I couldn't find my shoes, so I walked without and she takes my hand, and we were all walking. It was January 25, 1945. Germans have all gone. Taken with them, 50,000 people. Other people were just dying everywhere, and the Russians had not come yet. The Russians came two days later.  So we had two days inside the camp, without anybody, without the Germans. And we waited until they came, but there was electrified still. We couldn't get out. There was electricity everywhere. So we waited till the Russians came. And while we were standing by the barbed wires, I saw all these soldiers jump off trucks, and they were doing something with electricity. Then they could open the doors. And it was January 27 the liberation of Auschwitz, where children, whoever was left, was left. But many were in the process of dying, and you couldn't stop it.  Hundreds and hundreds of people died while the Russians were there, because you couldn't stop whatever they had, you know. And I remember, the Russians said, show us your number. Some kids were standing there. There's a picture of it, and I'm standing in front showing my number. And I'm talking for all the kids who didn't make it to that day. So thank you for listening.  Did I take too much time? I'm sorry.  Manya Brachear Pashman:   I don't think you can take too much time sharing that story. I know that there's so much more to share.  So many miracles, Tova. Tova Friedman:   Yes. Manya Brachear Pashman:  You have spent most of your adult life sharing your story to advance Holocaust education, and I'm curious what was the catalyst for that? Did someone ask you to share your story? Tova Friedman:   I tried to talk to people when I came to America. Because my teachers, I could read. I didn't go to school till I was 12. So I wanted to tell them why, but nobody heard me. Nobody cared. Nobody wanted to talk about it. But one day, when my oldest daughter was 15, she said to me, they're looking for a Holocaust survivor in school. Can you come to my class? That's how I started. Manya Brachear Pashman:   And then your grandson, many years later, introduced you to this thing called Tiktok, right? Tova Friedman:   I didn't know what Tiktok was because my daughter worked for a candy company called Tic Tac. You know the Tic Tac that you eat, the little white things that you have, like they make noise and stuff. So that's her company. Well, it's not her. She works for them. So I said to my son, what would a candy company be interested in the Holocaust? It's the same word. In fact, I still don't know the difference. Tik tok? Tic Tac? Manya Brachear Pashman:  Tic Tacs. Tova Friedman:   Tic Tac and TikTok? Manya Brachear Pashman:  Yes. Right, that's what you're on, TikTok. Tova Friedman:   A refugee is always a refugee. So he said to me, we had Shabbos dinner in his house, and he said, Can you give me two minutes? I said, Of course. He said, Just tell me something about yourself. Two minutes, because the people who are going to hear it have a two minute span. They can't listen to more than two minutes. I said, What should I say? Anything? Okay, my name and two minutes. Goes very quickly. And then all of a sudden, a half hour later, he said, people are interested. I said, what people? He said, on this. I said, on what?  You have a phone in your hand. What are they, who? And that's how it started. He first explained to me the system, what it means, and he got questions. He said, Would you like to answer the questions? I said, Who's asking? You know, I mean, I'm not in the generation of social media. I don't even have Facebook. I don't know any of that stuff. So he explained to me, he taught me, and he's very good at it. He's a wonderful guy. He's now 20. He's at WashU. And he became the person who's going to try to keep it going. Manya Brachear Pashman:   Well, your presence on Tiktok is really this wonderful, really, very innovative way of reaching people, of reaching young people, Jewish and non-Jewish. Tova Friedman: Right. Manya Brachear Pashman:   Lisa, you've come up with some unusual ways to reach young people. You were a middle school teacher until two years ago. Is that right? But you had this project where you had your students draw stick figures, and this was more than two decades ago when you started this. Can you tell us a little bit about the stick figures, which is like the polar opposite of Tiktok, but just as innovative?  Lise Marlowe:   So when I started teaching the Holocaust, and the first thing you say is 6 million Jews were murdered just for being Jewish, I realized the number did not shock students. I mean, it was sad, and they were empathetic, but the number 6 million…when we think about this generation and our sports heroes and our celebrities making millions of dollars, 6 million didn't sound like a big number. So at the time, I just had students take out a piece of paper and draw 20 stick figures across the paper. And to keep doing that for five minutes to see how many we could draw in five minutes. And my class, on the average, could draw, almost all of our elementary schools and middle schools in five minutes time, thousands of stick figures in five minutes time. And then the next day, when I went to my lesson, I'm teaching the Hitler's rise to power, one of my students stopped me and said, Wait, Mrs. Marlowe, aren't we going to draw stick figures? And I said, What do you mean?  And she said, Well, I went home and I talked to my grandmother, and the other students were jealous that we're drawing stick figures. And I think if we get together, my church and all of our friends, we pull together, I think we can draw 6 million. Tova Friedman: Wow.  Lise Marlowe:   And I said, you want to do this? And she said, Yes, I want to do that. So it warms my heart that every year I had hundreds and hundreds of students drawing stick figures, mostly not Jewish students. We are in a very diverse community in Shawnee school district, one of the most diverse in the state, mostly students of color, and I had them handing me in 1000s of stick figures every week, it covered our whole entire gym floor. And when I retired, sadly, we did not get to all the children, because we know 1.5 million children were murdered.  There was 1.6 million children to start with, and that means 94% of all the Jewish children were murdered in Europe, and we did not reach that milestone. And that shows that 6 million is a big number. And I have students like, you know, they're in their 30s and 40s now, who will always stop me on the street and say, did you get to 6 million. They always remember that's that project, and I have to, sadly tell them, we didn't even finish the children. Manya Brachear Pashman:   Tova, I would say that teaching is your side gig, right? You certainly have done so much to advance education, but professionally, you're a therapist, and I'm curious if your experience, your lived experience, has informed how you communicate with your patients? Tova Friedman:   I think it does. You know, to me, time has been always of essence. Time is the only thing we have. Money comes and goes. You look at the stock market. Tight now, it goes. Sometimes it goes up, sometimes it goes down. Time is the only thing. Once you lose it, it's done.  So when I get a therapist, that's how I always thought, because timing to me, like, how many people just died that didn't have the time, like those 6 million people that you drew. And the children, how much they could have accomplished, had they had time, right? Time was taken from them. So when I get a client, the first thing I say, listen, we're not going to be here forever. We're not going to sit and talk about your parents and your grandparents. Five years from now, you'll be able to maybe. No, it's going to be time-limited, and it's going to be quick. And you have to accept my style, or there's so many people who love having you for 10 years. I need 10 weeks or less.  That means that their goals, you accomplish them. I'm a little tough, and I say I'm not going to hold your hand, even if I could. I can't anymore because of COVID and because a lot of it is on Zoom. But even when I had them in my office, I said, I will not be a therapist who's going to sympathize, sympathize, sympathize. I'll sympathize for five minutes, then we're going to work. And a lot of people will say to me, Oh, that's exactly what I needed, somebody to really push me a little bit. I said, Yeah, but that's the way it's going to be.  And others say, Wow, you're a mean person. I don't want to want to be here. I said, there are hundreds of other therapists. So yes, Holocaust has taught me, eat it fast, or somebody else will take it. I'm sorry, but also that's one thing. But let's talk about the good things. This is good too, but. My degree was in gerontology, because Hitler was, that's the most vulnerable in our society.  You know, the elderly become alcoholics. Loneliness is among the elderly, financial issues. You know, loneliness is a killer. And I worked with the elderly to help them. I felt that's, that's the people that are sort of redundant. So that's where I worked with. I did it for years. And then I went to other age groups. I feel that my experience gives them courage.  You know, come on, come on. Let's do it. Try it. Don't worry. What can happen? What can happen if you speak to your to your father or to your mother and you say this and this, what can happen? In my mind, I said–I don't tell them that, and don't say I said that–I said there are no gas chambers here. So just you know, in my mind, I said, the consequences are minor, so let's do it. And it works. Manya Brachear Pashman:   And I wondered if it was the level, the level of trauma, pales in comparison to what you went through?  Tova Friedman:   No, no. Manya Brachear Pashman:   That's what I was wondering.  Tova Friedman:   I feel that every trauma is different than, you know. You can't say, Well, my foot hurts, and it's so, big deal. So your foot hurts, my two feet hurt. No. Every pain deserves a healing, even if it's a little toe, it deserves it. And I take it very seriously. Most clients don't know about me, hopefully. I don't talk about anything personal. But I'm a little bit, you know, we don't have time on this earth. Let's make it as good as possible.  Manya Brachear Pashman:   Thank you, thank you for sharing that. Lisa, I want to ask about your family, about your great grandmother's efforts. She was not Jewish, but she saved thousands of Jews in Denmark, and I'm curious how that story was passed down in your family. Lise Marlowe:   So I started learning the Holocaust at a very young age, because my grandfather was from Denmark, and he actually fought against the Nazis for the Danish Navy, and he would share with me how his mother rescued Jews in boats, in fishing boats, and take them to Sweden. And I never really heard that story before. And I was able to go to Denmark and go to Sweden and do more research. And I learned that she was actually the editor of Land of Folk newspaper, which was a major resistance newspaper. 23 million copies were given out secretly to make sure that people knew what was happening. But I was so proud, you know, being Jewish that my non-Jewish side of my family helped to rescue people, and I think it really helped me with the work that I do now, and standing up, and social justice, that's always been a passion of mine, and I think just her story inspired me to stand up for others. And they literally saved 99% of the population by getting them to Sweden. And it's really a truly heroic story that's not told that much. But the Danish people, if you ask them, they're very humble, and their attitude is, it's what people are supposed to do. So I'm just very proud of that Danish heritage.  Tova Friedman:   Do you think that their king or something has something to do with it? Leaders? Tell me about that? Lise Marlowe:   It's a myth, right, that King Christian wore a Jewish star. He did say, if the Nazis require our Danish Jewish people to wear the star, I will wear it with the highest dignity. Along with my family. And Danish people didn't treat the Jews as the other. They considered them their friends and their neighbors, and that's why they did what they did.  Tova Friedman: Wonderful.  Lise Marlowe:   They didn't see them as the other, which is such an incredible lesson to teach students.  Tova Friedman: Yes, yeah. Manya Brachear Pashman:   Preserving these stories is so important, your experiences. Have you witnessed as lasting an effort to preserve the stories and pass down the stories of the righteous among us, like your great grandmother. And I ask you both this question, is it as important? Tova Friedman:   I think it's, you know, Israel, there is this wonderful, in Yad Vashem, the big museum, there's a whole avenue of the righteous. You know, I ask myself, what would I do if my family would be in danger in order to save somebody else, and the answer is, I don't know. But I am so utterly amazed that people do that. And there are many–well, not enough–but this is very impressive, your story, and I would love to learn. I don't know the answer, what separates one person from the other, that one is selfless and looks at humanity and one only at their own families?  I wish some studies would be done and so forth. Because we have to do something right now. We are now considered the others. You know, we are, in this world, all over Europe, except, ironically, not in Germany. I was in Germany, and I spoke to German kids, high school kids in German. I didn't know I knew German. I just got up and I saw they were trying so hard to understand. I had an interpreter, and I didn't understand the interpreter. And I said, Let me try. Let me try. I speak Yiddish fluently and German a little bit like that. Also, I lived three years in Germany, so I didn't speak it, but it must have come into my head. And do you know what they did after my speech? 250 kids? They came over. They apologized. I mean, they're a generation separated. I went to Dachau, where my father was, and there were two women whose parents or grandparents were Nazis, and they said to me, we're dedicating our entire life to preserve this Dachau andcamp and and they they have, they give talks and Everything, because my family killed your family, but they admit it. So right now, Germany has laws against it. But what about the rest of the world? What's happening in America? So I would love to know how the Danish did that. It's a wonderful story. It makes your heart feel good, you know. Thank you for the story. Lise Marlowe:   I would just add, the survivors we have today were the children who survived, right? Most of the adults are gone. And they were the hidden children. And most of them were hidden by non-Jewish people. Actually, all of them were. The Catholic Church, a farm lady, you know, who said, she took kindness on them. So you know, the hidden children were mostly hidden by non-Jewish people in terms of the righteous of the nations. Manya Brachear Pashman:   Thank you both so much for your insights. This has been a really illuminating conversation.  If you missed last week's episode, be sure to tune in for my conversation with AJC Chief Policy and Political Affairs Advisor Jason Isaacson, about legacy of the 2015 Iran Nuclear Deal, the U.S. withdrawal from that deal in 2018, and Iran's dangerous stockpiling of uranium that's getting them closer to nuclear weapons capabilities. You can also listen to our latest episode about the impact of Pope Francis on Jewish-Catholic relations. From April 27-29, 2025, we will be at AJC Global Forum in New York City. Join American Jewish Committee (AJC) and over 2,000 committed activists at the premier global Jewish advocacy conference of the year. After the horrific attack on October 7, 2023, and in this fraught moment for the global Jewish community, escalating threats worldwide underscore the importance of our mission. All who care about the fate of the Jewish people, Israel, and the values of the civilized world must respond now with action, urgency, and resolve. If ever there was a time to stand up and be counted, that time is now. Your voice is needed now more than ever.  If you won't be with us in person, you can tune into the webcast at AJC.org/GlobalForum2025.  

This episode is brought to you by Puori: Clean protein powder is here with Puori's Pw1 Whey Protein, and we have an exciting deal for you! Right now, get 20% off, or if you choose their already discounted subscription, you get almost a third off the price! Only available when you visit the exclusive URL https://www.Puori.com/VALERIA and use promo code VALERIA In this week's episode, Valeria sits down with poet, author, and activist Aija Mayrock for a powerful conversation about healing, identity, and how we reclaim our voice after trauma. Aija opens up about being bullied for eight years, living with speech impediments, and how writing a book as a teenager saved her life. She shares her journey from self-publishing to becoming a bestselling author, performing spoken word at Madison Square Garden, and ultimately finding empowerment through creative expression. Valeria and Aija also unpack the pressures of growing up in immigrant families, what it means to choose life after darkness, and how reconnecting with Jewish identity transformed Aija's mission. They speak candidly about confidence, judgment, legacy, and the complex dynamic between women in today's world.  Plus, Valeria exclusively chats with Aija about her romance with Nuseir from Nas Daily. Follow Aija: https://www.instagram.com/aijamayrock/  Aija's books: https://www.aijamayrock.com/books   Items mentioned:  The Shvestsers: https://www.instagram.com/theshvesters/ (Yiddish singing sisters) The Choice by Edith Eger: https://a.co/d/4rl6bSP  New Earth by Eckhart Tolle: https://a.co/d/9odFZs9  Man's Search for Meaning by Viktor E. Frankl: https://a.co/d/aMFPumw Follow me: https://www.instagram.com/valerialipovetsky/  Shop my look from this episode: https://shopmy.us/collections/1437523  What we talked about: 01:07 Aija Mayrock: Writing a book at 16 after years of bullying 07:12 Valeria on invisibility, insecurity, and showing up 10:59 Selling a TV show and choosing to get an MBA 19:42 Rediscovering Jewish identity and heritage 29:00 Performing spoken poetry at Madison Square Garden 35:45 Choosing life and finding strength after trauma 37:10 How parents can help kids open up 40:00 Traveling the world to document Jewish communities 44:00 Women vs. women—why the real divide isn't gender 58:00 Falling in love after October 7th and facing backlash Learn more about your ad choices. Visit megaphone.fm/adchoices

18: Jewish Stories Translated from 18 Languages (Cherry Orchard, 2023) is the first anthology of translated multilingual Jewish fiction in 25 years: a collection of 18 splendid stories, each translated into English from a different language: Albanian, Croatian, Czech, Danish, French, German, Greek, Hebrew, Hungarian, Italian, Ladino, Polish, Portuguese, Romanian, Russian, Spanish, Turkish, and Yiddish. These compelling, humorous, and moving stories, written by eminent authors that include Shmuel Yosef Agnon, Isaac Babel, and Lili Berger, reflect both the diversities and the commonalities within Jewish culture, and will make you laugh, cry, and think. This beautiful book is easily accessible and enjoyable not only for Jewish readers, but for story-lovers of all backgrounds. Authors (in the order they appear in the book) include: Elie Wiesel, Varda Fiszbein, S. Y. Agnon, Gábor T. Szántó, Jasminka Domaš, Augusto Segre, Lili Berger, Peter Sichrovsky, Maciej Płaza, Entela Kasi, Norman Manea, Luize Valente, Eliya Karmona, Birte Kont, Michel Fais, Irena Dousková, Mario Levi, and Isaac Babel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

What is it about a swing rhythm that sets hearts a flutter? It's a universal truth. It may have started as an African secret formula, but it was co-opted and catapulted into white western culture by some hip caucasian standard bearers.Here we'll examine the psycho-physical connection through two seemingly unrelated musical delicacies: one by the undisputed titan of respectable jazz, and the other by a racially mixed group of Philadelphia teens who barely made it out before the doo-wop death spiral. Bongo Stomp, from 1962, by Little Joey and the Flips, doesn't even feature real bongos (the drummer Jeff Leonard is simulating the jungle signature on his toms). But, it definitely swings. The other showcases legendary stickman, Gene Krupa, who showed the world his undeniable big swinging dick energy. BENNY GOODMAN1938 was ground zero, the big bang, the crossroads of Jazz and its soon to be birthed step-child, Rock n Roll. Benny Goodman and his band played Carnegie Hall and made history. First as a cultural event, and later, when the live recording was released in 1950 as a double album which sold over a million copies. Bei Mir Bist Du Schöen is a defiantly wonderful conglomeration of Yiddish lyrics delivered by Martha Tilton- (remember, simultaneously, Hitler was ramping up his power in Europe) - and, an irresistible swing rhythm smoothly rendered - which breaks into a kind of super charged klezmer section. It must have been startling in 1938, and it hasn't lost its power to captivate almost 100 years later. LITTLE JOEY AND THE FLIPSBy 1962, Doo-Wop was about to be consigned to the dust bin of History, along with the crooners that had dominated the previous decade. The British Invasion was about to begin, which would turn the record business on its head. But, just prior to that cataclysm, Joseph Hall and his 4 Pendleton wearing compadres arrive, dip dip dipping their striped hearts out, and they release this anomaly on Joy Records, which makes it to 33 on the charts. This was followed by only a couple more tries… then, oblivion. Maybe it was that swinging “bongo” break that lifted the Frankie Lymon-esque knock-off to its catchy heights? 

With over 1,000 kosher wines from across all major winegrowing regions, Royal Wine is the largest importer (and producer and distributor) of kosher wine in the world. Gabe Geller, Director of PR & Wine Education, discusses the market for kosher wine, how and where it is made, and how Orthodox Jews hear about them.Detailed Show Notes: Gabe's background, at Royal Wine >9 years, wine industry for 16 years (retail, consulting, marketing)Royal Wine - world's leading importer, producer, distributor of kosher wineIn US, carries >1,000 kosher wines from every major wine producing regionOwns Kedem, Herzog, and other brandsCan't taste kosher wine, similar to other winesProduced only by Sabbath observant JewsNo non-kosher ingredients or processing agents (e.g. - fining agents)Has kosher certification on the bottleMevushal (“boiled”) - for some kosher wines, uses flash pasteurization which is also used by some non-kosher wineries; tend to taste more approachable initially, but ages longerIsrael #1 producer of kosher wine (~5M cases), USA (~350k cases; mostly Herzog), France (~350k cases across many wineries)Kosher wine marketObservant Jews drink kosher wine year-roundJews use wine in almost every religious ceremony, considered the “holy beverage”Passover 1st night dinner (Seder), every adult is required to drink 4 cups of wine (can by any kosher wine or grape juice), each cup symbolizes 1 way God saved Jews from slaveryJews who don't do kosher normally will for Seder40% of kosher wine in the US is purchased for Passover (used to be 60%, declining as more quality kosher wines available, so more is being bought year-round)Top markets - Israel, US (NY/NJ #1, FL, CA - CA Jews drink less wine than East Coast Jews), FranceIn top kosher markets, large retailers (e.g. - Total Wine) will have a kosher selection, some kosher wine stores, and online retailers (e.g. - Wine.com) also carry kosherOf the 15.7M Jewish people (2023), only a small portion keep kosherSome kosher wines sold to the general market (e.g. - Bartenura Moscato #1 imported Moscato the past 15 years, most don't know it's kosher; Jeunesse semi-dry wines have a distinct consumer appeal)Israeli politics / Gaza war have lead to people buying more to support IsraelMarketing to the Orthodox communityIdentify sects with stricter mevushal rules (e.g. - 101F vs 105F) and promote specific brands that meet thosePrint advertising big (English, Yiddish), many do not use as much internet, none on Sabbath, take in news via printWhatsapp #1 social media for Orthodox Jews (or Telegram) Get access to library episodes Hosted on Acast. See acast.com/privacy for more information.

They say new York drinking water is some of the cleanest— don't buy it! I saw a billboard that said 8 glasses of tap water will prevent a heart attack. That's because it already has so much asprin in it! Yooo! Don't drink that! “Some of the cleanest drinking water in the country” Then what the fuck is in the tap water in the rest of the country?! New York tap water ain't right! It's not. Even my brita filter is like “Well, I'll do my best” But it doesn't. I drink tap water out the brita filter and I'm still like “Well geez, I'm sleepy” Fuck that. I moved to New York and had to double triple my budget for water. “New York tap water is “potable” What doe ther even mean. Notice it's not the word “safe” or “healthy” or “clean” It's “potable” Which means— It passes for people we don't really consider people anyway. If you can't afford a real clean water then you deserve whatever's in this mess here— “It's potable” Don't trust that. This is coming from the same government that tried to tell us ketchup was a vegetable. KETCHUP IS A VEGETABLE = NEW YORK DRINKING WATER IS SAFE TO DRINK. THIS IS THE SAME LIE. TRANSACRIPT: (Uncorrected, cause this is a lot of words.) We'll see how bad it gets. Good morning Krusty crew! you guys are Kusty crew now. I'm sure at least a few of you listeners are Krusty, like my morning voice. Hello. This episode is brought to you by Amazon. I'm just kidding. They're not paying me. However, I always have like a particular difficulty, like retrieving my Amazon fresh order, and I'm pretty sure so that it's it's so that I can come back on here and be like,Yo, okay, like what the fuck is up with Amazon? And allthough I don't think they need advertising. I haven't seen an actual television and like years, but I've never seen a commercial for Amazon. I've never seen a commercial like they don't need it. They fucking totally cornered the market on every fucking thing you need. Everything. like to the point that some people are like specifically like anti-amazon, which I don't know, I think I want to pride myself on being anti-amon for a while, but really Amazon was like anti-me. They're like your identity. You're sketchy. Now, who are you? I like I couldn't I couldn't Amazon for the longest time and it caused me the greatest difficulty in my life. I was literally paying like more for everything that I needed period. There was no like there was no finagling. I just love finagling. I don't know why. There't there was no getting around it. Like I couldn't just like oh, like here's a here's a fucking alternative to Abbott, there's no alternatives. Like I found companies in the process of doing that that I do like, but like I still have to revert back to Amazon because like most of those companies are like really good, like sustainable companies and like organic companies and like even small businesses, but at the same time, because they are those things, they cost me more and so it's like I can't afford like not to do this anyway. what's going on? We get an episode today. Well, we get we get an episode. We according to this Amazon hall, by the way took two days, like I thought that I was making an order because I was well, here here it is. It's like this was my equivalent for like drunk ordering anything. I don't drink. But if there, you know, if there's like a close, you know, like, I don't know. I don't think I could actually manage to my indigenous heritage kind of grants me like a certain functionality when drinking, although there's like a level. There's like a limit. Like I go from completely functional and like cooperative to no, like very quickly. So I don't think that I could be the type of like blacked out drunk person to order on Amazon. But if I were, this is this is the order I would have made. I guess you could I guess you could kind of compare the fact that like I went out after, what, two days of not working out? I had to go run an errand and that was the worst. That was the worst. I went out in New York ugly for the first time and I went out in New York ugly for the first time in a long time because I I was like, okay, I learned my lesson. like don't be ugly in New York. So I went out ugly because I didn't care. I was like, okay, well, I have to do this fucking errand and everything was bad. Everything went wrong. Everything was bad because well, I mean like I blamed myself I wasn't working out. I think I ran like a considerable amount that day and did like maybe 15 minutes on the pelone, but it wasn't enough. because I I went out and like lights were flickering and there was I was like, what? fucking side dimension is this is not where I live? This is not the place, this is not the place. and so I went out and I had a horrible time, and when I came back, I was like, fuck it, I'm hungry. and I'm pretty sure I just did what's fucked up is damn, I meant to Google. I meant to Google whatever the fuck the thing is that you do before Passover. I'm pretty sure it's called Schchitz. Like I'm not 100% sure because I keep telling myself like I'm gonna Google that. Passover is literally like tomorrow. But also I just got rice. And I left lintils off of my I think lintils is a no, no. I think it's disputed. Like people are like lintels and oats and some people are like yes, and some people are like no. And I'm like,Yo, dude, well, I'm vegan. And a lot of Jews are not, so I mean, like can't we just like substitute, but like the whole point of schitz or whatever you call it, I need to look it up. I'm pretty sure it's Fish. Sch fits like 90% sure, but that's I mean like 90 still 90's and A. It's a low A, but it's an A. And so I think it's something close. I think it starts with the S and ends with a Z like most Jewish and or Yiddish slang terms. or words. I don't know, I love Jews. I'm obsessed with them. I've been thinking about going to like actual services on Saturdays. However, I I like I find it hard to actually move myself on Saturdays in New York. I'm like there's too much. It's too much. It's too much. I don't wanna be out. fuck this. I don't wanna go out even if it's like too a Jew church, like it might be worth it. Especially if it was like like you know, nothing like Mormon church, not in the middle of the day for five hours. Not in the middle of the day for five hours, it might be. I mean, like I don't I don't know. I don't know anything about the actual, like I don't know anything about that shit. I just have it somewhere in my body. I'm like Jew things. hello Jews. anyway. it's no secret. I love Jews. I love Mormons. I actually like all the people. especially people who practice religiously like religiously. I'm like, oho, dude, like, well, I mean like they're extremists, but they're extremists atheists. so I mean like both of like just to be an extremist in any way is wrong. I worked very, very minimally for in for an extremist vegan last year, and I'm still traumatized by it. I still like he grabbed my backpack to keep me from fucking catching the bus and which, by the way, was the day that I lost my wallet. I specifically blame that. like I blame him for that. like I dropped my wallet because he was like, oh, we have to do this or we have to do a group hug. And he like, I was like, oh, nope, my bus is coming and he grabbed the in and he grabbed the back of my backpack and like for some reason now he grabbed the back of my backpack and I was like, what the fuck you doing? He was like, we have to do a group hug. And then I was like, yo, and then I ended up running for the bus and like g getting paid and not having my wallet with me by the time I got back to my apartment, cause I was like shaking him. I was like, the fuck are you pulling on me? Now every time I get every time I get caught on something, I cuss that motherfucker out. like, I don't know. I don't know if it has any direct, like effect on him, cause like every time, every time I get caught on something, and I feel like the motion of a pull, I I just start cussing him out in my brain. I'm like,uck this dude. I hate you. But anyway, I hated him for a lot of reasons. I didn't quit that job cause he paid in cash at the end of each day. It was like he was like one of those horrible people that's like bro, I don't like and everybody knew it and everybody like tipted and walked on eggshells around this motherfucker. But like he paid in cash. He paid in cash tax free at the end of each day, so it was like, yo, if you could get through the end of each day without quitting, you get your whole paycheck today, which and he was paying like a pretty living wage like over minimum wage for New York. So I was like, okay, all right. But I think that I think that was the game. It was like I was supposed to quit because he was like he was terrible. and it was like, why haven't you quit yet? I'm like, he pays in cash. At the end of the day, like all I have to do is suffer through this fruit. however long it takes to get cash at the end of the day. Then I drop my wallet and that was a terrible thing because he paid in cash at the end of the day and I dropped my wallet and nobody's turning in a fucking wallet with a full paycheck of cash in it. So I never got that wallet back and then I well, we could call it like a draw not too long after because he he was like, why haven't you quit yet? I'm going to make you quit. I'm like, you will not make me quit. I will get paid cash at the end of this day. Cash. Anyway, anyway, it's tax free cash, daily, I'll be back. Anyw, what's going on? Oh, I don't know. I don't know. Was that saying something about Amazon? Oh, extremists. I mean, like I don't I don't think that has anything to do with anything, but being extreme oh, he is extremist vegan. Like he would do mean things to you to try to make you be like oh, I give up meat completely and like veganism is one of those things where it's like it's like alcoholism. Like you have to be ready to change. You get or like ear anything, honestly. like any kind of whatever, like you can't make a person do anything until they're ready. Like you can try, but like most of the time the behavior is just gonna revert back to itself like overeating not working out not working out, like the sugar, like dietary changes, like pretty much any like major behavioral changes have to be initiated by that person for like a personal reason. Like you and even if you are going to convince them to change in some way, you have to like you have to suit them. You have to make it kind of seem like it's their idea. Like you can't just force your ideas onto somebody and be like, oh, you're you know what, you're right. Like I would change because you were this fucking mean to me. I'm like, that doesn't make actually, you know what, after a year of going out at New York, I was like, fine. And then I remembered why because I was like, it's not that bad, whatever, sweatuit and I had fucking I've been getting a lot of work done, so I had my nails like Cardi B long for a while, but then I was like, this is inefficient. if for the things that I have to do, like the amount of things that I have to do with my hands, I can get all this done quicker and then do my nails again later as's not gonna be like that big of a deal, because it, you know, like it you do just figure out a different way to do things with your hands. It's like almost like the nails aren't there, except for typing. And I type very fast and I work very fast, so I'm like, okay, like, these nails gotta go. And so they went. And so I've just been down back to bare bones and like natural hair and no makeup and like yo, yesterday, yes, because I did this twice because I was like once you do it once, I was like I was already like in the bottom of like people scowling at me and shit. So I was like, okay, well, you know, scowls, whatever, I can do this again because I have like one more errand and this dude, this kid this kid that works at the Walgreens was like, oh, I thought you were a terrorist. Like, he didn't say that, but he did. He was like he was like, I thought you were gonna lay down and like, I thought it was over. I thought you were gonna like pull out a can of C4 and blow us all up. And I was like, what? And I forgot that I was like usually like when I go out pretty people treat me nice cause duh. felt like when I go out like regular, people are like oh, like oh, like I'm like, oh, is it that bad? That's what I told the kid, cause I forgot like, I'm just so used to like, I'm still the same consciousness. I'm still the same personality on the inside like it don't matter like, you know, like I just ran here. I I'm like high on endorphins or whatever. likeT's like he was like, oh, like, oh, and I was like, oh, God, is it that bad? I have like a cone head because I'm wearing a bun, but I'm also wearing a hat and a hood, cause it's been nicely cold. It's been great and I I'm worried about the environment cause it's not raining. It's spring, like we're about the hop straight from like the dead of winter to summer and it like and I know it's almost summer because it was like 9 pm last night and the sun had just gone down. I was like, oh, that's fucked up. It's spring again. I was like no, as bad news. It's like that's bad news. It hasn't rained once. Like how are the fucking people? Like, what is the birth doing? Because I mean, like the P people are bad. Well, I mean, like no, not necessarily. I just hadn't like, honestly, the people are always the same. It's like perception, so like when I do my hour on the pelotone and my mild minimum run or whatever, and then I go out into the world, I'm like literally don't like all that shit like bounces off of me. Like the people are still shitty. I'm sure of it. but like I'm just just don't care. It's like a shield live like indoor friends feeling at my peak. That's what I feel. But lately I haven't been feeling great so I haven't been working out, so I haven't I haven't been feeling great because I haven't been working out and it is it has the possibility to be what's it called a vicious cycle, but it did it. Like I was I realized it right away that I was like, oh, this is this is wrong. This is wrong, I don't live here. I don't live here, and I had a very good hour on the pillot last night because two two days ago, I was like, oh, this is this is what happened. I went out and I came back and I was feeling like negative. I was like, no, that was a bad experience. I' hungry now because, you know, sometimes anxiety causes my stomach to churn in a way that's like just fill it with something. And I'm like, okay, usually I understand like anxiety, eating and I can avoid it. Like I understand that like, okay, this is stress or whatever. and I can like, you know, just fill my stomach with water as I'm not hungry. I'm like nervous. I'm not hungry I have anxiety. Like most of the time people eat because they're bored, not because they're hungry. And so I'm like, you know, I'm I don't I haven't I don't mind at all. And so I kind of refuse to allow myself to get bored, but like I do notice like like I eat more when I put like, okay, this this Amazon hall says to me that I'm about to make some ball music because it is the equivalent of something that's like I would have done in a state of like a different state of mind or consciousness as if I were drinking. This this like, okay, like our only emptied it pre-pisode because I was sure that I was like, oh, I know I have ice cream in here. I finally found the fucking bin and Jerry's that I wanted. I was so sick of going to the store and looking through fucking like container after container of bin and Jerry's and not finding the one that I rigid like the first one that I picked up, the first time that I decided like, I'm going to give n non-air Ben and Jerry's a try. I've tried all the other expensive fucking ice creams vegans, and I'm for the most like oh, this one's kind of got like ice chips in it's like freezer burnt tasting this one melts funny and turns into like a gelatinous goo. So I'm like okay Ben and Jerry's like knows what the fuck they're doing and they do what's fucked up about Ben and Jerry's is they're non-airy tastes and is texturized, like they regular ice cream. So it's like the closest thing to regular ice cream. I don't get paid by the way, by any of these people. However, I am like now getting into like the the likeet verse of doing things because I have to because I'm like I make too much music for people not to know about it. Like whether it's gonna be like mediocre bass music or eventually like, I don't know, the most legendary bass music of all time. I now have goals. Well, I mean, like I kind of entered into this DJ thing with like the one thing. I was like, okay, like, if I can't be this, like, what is the point of being like anything else if I can't be this good at doing that, like why would I even like and then I realized I'm like, oh, I'm doing like a house oriented sets, but like, yo, I came here for dubstep. Like, what? oh, are we going to talk about some? We have to talk about subtrronics because I can't I'm like, yo, I can't like, what? Like, I understand as a like, I'm I'm a double fan now because I okay, let's finish all these things. Don't go out in New York ugly. Just don't be ugly in New York. Just don't do it. Just try. just try. just try and New York will give you back an energy what you fucking like it's you you get out of it what you put in. Just try, try. I see people wearing less croccks now. This is good, like, but my equivalent of not wearing crocs is like yo like hair and makeup every day, like non-negotiable. Don't be ugly. I'm like, okay, all right, whatever. I get an out, that kid was like, oh, are you a terrorist? I was like, what the fuck, kid? Like, you were you were nice to me the other day. I'm the same person. I'm the same person making the same transaction, what the fuck? Anyway, so I got back from my errands feeling just totally destroyed. and I made this Amazon hall, but I thought that I was gonna eat in a few hours, whatever I was ordering instead of two days from when I was ordering, they were like, oh no, this is the next available delivery window. I was like that is a deficit to like my like, what if I don't want it two days from now? This is technically an impulse decision based on the fact that I'm reacting badly to whatever the fuck just happened outside. Actually, you know what, though. I just unpacked this fucking Amazon hall, which, by the way, I get the most expensive and non-exciting Amazon haul of all time. The only is like of all time, every time I order Amazon, I'm disappointed unless dish soap or like, I don't know, cleaning supplies. I get like a certain I'm like, yes, it's here. Lysyle has a new fucking scent that I'm just I adore it. I'm like, yo, yo, this doesn't smell like anything I've smelled before for like cleaning. It's like the fabulosa ofysol, which why haven't I just been using fabuloso? Fabuloso used to be mad cheap. Now everybody like caught on to the fact that fabuloso is one of the best multiurpose cleaners ever like of all time. No, they're not paying me either, but I don't really care. Like my whole new thing is like, my whole new thing is like everybody's like subscribe this and fucking $15 a month and like y, dude, you're sucking everybody's income out of them, like everybody who's living under a certain level of fucking like everybody who can't just buy things flat out has to buy them on a subscription and if you count up all the subscriptions like that's like the whole like the common American worker right now, like the common one, like not the, oh, I have an okay job or like, you know, you should just get an education or like, whatever you're elitist mentality makes you think that like your life and your privilege is not like your life and your privilege is your merit. That's I'm not talking about you because you skated through life on your genetics, basically, and you think that you earned what you have, but you didn't. Your grandparents and their parents did and blah, blah, blah, and your lucky that way. But the rest of us are out here like $15 a month for this $20 a month for that. and it adds up to like your entire income is like, okay, after your living expenses like you're still gonna be in like a pretty unshakable amount of debt. because you're like, okay, well, I mean, like I can't afford to do it flat out. Like if I did all these subscriptions at once, flat out, and each of them is like 200 hundred a year, if I did them all flat out, I would be like, I don't know, like at least 5K like a year just like at once. I don't have that. Most people don't have that. and so it's like, okay, well, you can break it down and this is how the businesses are fucking people. They're like oh well, I mean like you can pay for it monthly but it's actually more monthly. Like you save money if you do it yearly, but it's like oh, but if I need everything pretty much all at wants if I need everything pretty much all at once and I can't afford to do everything all at once by the year, I'm actually going to pay more doing it by the month, but I can only afford to do it by the month. So this is the thing that's like fucking with me. I'm like, oh, you guys are fucking with people. What's my point? Oh, I don't know, oh, everybody's being fucking greedy as fuck, which is is just leaving a bad taste in my mouth for humanity at all. I'm like, you greedy motherfuckers. Like, I might live this life in an in an ideal way for now, but it is a temporary space of like discomfort in order for me to observe and understand, like, how better my energy can be suited in the next don't I don't. I mean, like my next incarnation needs to be like a body list, like orb of air and light. Like that's I don't want another like human body, because first of all the planet is like unless you guys find like another habitable planet. and like, I'm not in the I'm not in the fucking level yet where they're gonna be like, oh, like you're fucking worth saving, like we'll take you to our like, we'll take you to our Elysium in space, where only the elite people and the people that we deem worthy will be here and we'll leave like pretty much Hollywood's been telling us forever. They're like, yo, we're gonna leave all the poor ugly, colored people on this planet. and like, when this planet is like destroyed by it by pretty much our doing. And we're gonna like float on some kind of system and space because we have no idea for like a second, like a close enough habitable planet for us to then, like just move on to, like, I don't care what you say, like repopulating Mars is dumb. It is dumb. It is dumb. It's not a fucking it's not a happy place. Like because at one point, because at one point it was a habitable planet. And guess what? we're we're pretty destructive species. It's just historically and like beyond historically, because typically once we destroy ourselves, like as a species, all of our knowledge all of our knowledge and records are destroyed with us. So we have this like, we have this sense of knowing within our like within our mega that's like, oh, if something happened here. But what? And some people have actually access to that within their minds and within their consciousness. It's like, oh yeah, it's like, like, yeah, a lot ofass music producers are like, what, you think I'm from here? I don't give a fuck about this. I don't give a fuck about this. I'm like, I get it. Like this is just for now. This is just for now. I might be included in this, but also I'm like, yo, dude, like I'm pretty environmental when it comes down to like this planet is, you know, anyway. was I just saying, don't be ugly in New York. Oh, okay, so I made this Amazon fucking hall, like a drunk fucking person. Although, like a drunk person, I was kind of looking out for my future self because there's a lot of stable, like there's a lot of pantry staples in here that's like, bro, you won' run out of food. like you might have rice blowat, but you won't run out of food because sometimes I do sometimes I spring so much for the organic and for the like for the like vitamin packs, like superfoods they call it superfoods, but those are just regular foods. Like if you strip down all the foods that are not foods, like all the foods that are actually just like chemical and overprocessed, like if you took all those things off the planet, because they shouldn't exist really anyway. Like you would be left with what they call superfoods or what they market as superfoods that are actually just foods. like, no, these are the foods that you were technically like designed to eat. These are the foods that will fuel your energy for whatever the fuck you have to take on. This is the food that you're like you're made to eat. But they call it superfoods and market it as such and blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. I just got bored. Anyway, what the fuck was that saying? Oh, I took I had like had a hand and creating my next masterpiece. Because I got things that I typically don't. I'm I don't fuck with things like that, like snack foods. But as I said before, like we're not produced that snack, I really do, and I haven't been snacking because I'm like, oh dude, like it's not worth it. I'm I'm New York vein like also have these DJs are just like so skinny, and I'm just like, oh, this body shaving, you can't say that or. I'm like, no, like I aspire to be that. so that people actually pay attention not for what I'm doing, but how I look. So trust me, I'm assimilating. I really am. Oh, which, by the way, I have a discord now. I don't know what the fuck it's for. I have no idea I also have a twitch. I have a twitch. There's nothing on it. I have I have pretty much everything. I even got a Snapchat. I haven't had a sn Snapchat since Ollie died because Ollie was my only sn Snapchat friend as it I have a sn Snapchat. This is all for music though. It's not like when I think about it, I'm like oh, this is the dumbest fucking shit ever and I'm do it when I'm fucking I'm actually figuring out like I'm using like I have TikTok eww and well what's great about it is I am using it like as a business tool so I'm not stuck on the shit like I'm not I am scrolling now, but not I'm like what's weird is like my energy is like looking for something. I'm like oh like okay, like this DJ posted something or like this might want a free copy of my fucking of my music to play or whatever. So I should hit them up. Like as I'm using it as a business platform more than like a social platform because I'm just not just not a social person. It doesn't make sense to be, but now I'm understanding like with the feedback that I'm getting that like, oh, this is how you do it. Like I'm not gonna get a job in this industry unless I assimilate to like what I'm hoping doesn't happen is that I assimilate too much because now all of a sudden I'm like I should get a vape I should get a vape like all the kind that I like are illegal in New York. And I'm actually really proud of the fact that I quit vaping when I got here like when I got here because I was thinking that I was traveling outside of the country and like I didn't want to be like I don't know, traveling outside of the US makes me feel like I'm an ambassador for my country so I don't want to represent my country badly. However, I feel like the actual chosen representatives of the country are not doing like the greatest job. so it doesn't matter what I do like because they are technically the ambassadors to this country like they like I'm pretty much aware like a stamp on my head that has their fucking face and or name on it when I go outside the country anyway I don't know I I usually try to assimilate in that way when I travel outside of the country like learn to speak like you're not American because most countries have an opinion about that. They're like oh you're an American deer, they're you're stupid. I'm like I'm not arguing. How many miles is a kilometer? Can you translate this before we hold up? Let me get Google translate? I'm I'm American, man. I'm American to the point where I have the fucking math doesn't make sense. Like it doesn't make sense. Apple pie, I yeah, apple pie. However, though, I realized because of this, and my indigenous heritage, I have kind of like a like a weird, I don't know, I can't I amm not sure. Like I think because of the way that I've decided to craft my lifestyle, I have like kind of an upperhand advantage at like understanding culture, like understanding culture just culturally, like what has happened from like the inside of the like the like the corporate, like conglomerate capitalists, like like set epicenter. Well, I don't know. I've been reading enough about China to be like wow, China. Also, I't I'm loving this. I'm getting I'm getting feedback on my fucking like my what's it called? My stats or whatever. And I don't have a lot of fans and followers, which is sad, which by the way, if you're listening to this, like check check out my other big gold check out the YouTube. It's at the festival project by the way YouTube YouTubeube.com slash at because it's weird that they have like for their backslashes, but it's at the festival project I'm the festival project. There's a whole bunch of people trying to really like I've been telling people that my project is the festival project for a while and now all these people are coming out of nowhere like I'm the festival project. I'm like, you are not. Like, you are not the festival project. Stop lying on yourself. I'm the festival project. I've always been the festival project, at the festival project, that's me, not anybody else. That's you, technically, like the letter you, with no check mark because I'm not paying for that shit. Would I become notable enough to have a Wikipedia page, they'll put the fucking check mark on it for me. I ain't paying for it. I'm paying for it the fuck that like that's like you could buy a grabby award now. I'm sure that you can. I' 100% sure that you could do that. Which is sad and it's likeo, dude, I actually like I what's it? I I don't know. I think I come from a weird world where it's like I hold the academy to like such high regard that it's like I'm like the fact that I'm like pretty certain that you could buy a Grammy makes me sad because it's like like I don't know this whole oh, that's what I was saying. I'm giving away all my shit for free because everybody's greedy motherfuckers. Like I'm giving away my music for free like the album that I dropped yesterday all the rage is 100% free. All you have to do is go on my website and download it. That's it like you don't even have to spend money on a subscription for a streaming service like you could just go get that at my website www.mU.uru. That's the website you can just download whatever the fuck I haven't put all my music up there because honestly I'm I'm realizing how much music I have and like how long I've been making music and I'm like, oh you're like oh okay, first of all, I'm like it's gonna be it's hard it's hard enough for me to just format it and put it on a flash drive just to like have all my music together because I've made it over time and so the expand it it's just a lot like it's just a lot all my music's not in one place, all my mixtapes are not in one place. I just got to sound cloudy yesterday. I only got a SoundCloud to enter a fucking beat making contests the first time I've ever done anything like that like I've entered DJ contests so I can try to get a job, but I've never done a beat making contest, so I've never had to actually like condense my creative space into like a one minute thing. And so, I don't know, I really enjoyed doing that, but it's not something that I was looking at the other contest, they were like, it's for a clout. I'm like, that's stupid. I don't want to waste time on clout. Cloths not gonna pay my bills, anyhho. Clout. Oh, what was I saying? Oh, I was supposed to talk about subtrronics, my Galypes, refrigerator. These Ecuadorian bananas. Okay, I have a like I eat a lot of bananas because bananas and for whatever reason, if found bananas like synonymous with New York City, I always have even before before I lived here, I think it's just because it was like the cheapest thing that I could find is like bananas like bananas. That's what I gonna eat bananas. So I always just kind of like for some reason it was like, oh, from in New York, I need bananas. Now I live in New York and I'm like I see why. But now I'm like my flavor palate is changing to be more specific and so I'm like a banana connoisseur, but I finally like I landed on a I landed on bananas. I landed on bananas that I just love so much. First of all, they're huge, they're huge. I also like these really tiny bananas that are like sweet and little and like they have a very specific taste, and I like the red ones, and yo, that lady when I lived in Mexico, she was so elusive, like she came she was the only lady in the whole place with red bananas and like these red, these really tiny red bananas have like the like they're the best bananas I've ever tried. But the second bananas, the second best bananas I've ever tried are Ecuadorian bananas. and I'm like, yo, dude, first of all, they are huge. Like they're big thick, they're like big, they're big and they're d they're big, big, perfectly sized bananas. good girth. good, nice, just good bananas. They're huge. and uh I don't know, like I started going to the store and then I stopped going to it because rac is oops, I'm not supposed to say that. I I just realize something. I realize something about the world like that you can't even you can't even insinuate like a conversation about race. Like people people will get like people start to get upset, like one way or another. Like I said, extremism on both sides exists. I don't like I can't I'm I'm post racial. Like I can't pick a side anyway like you're gonna put me on one side or another based on your perception of who I am or what I do but like I'm completely like I'm like literally the most neutral thing that ever like literally the most neutral thing that ever. And so what was I just saying, oh, I don't know, I went into a hole. Acuadorian bananas. We'll just we'll just re her back to Acuadorian bananas. Yes, extremism, no. Ecuadorian bananas, yes. They are the best. They are the best, and not only is the size perfect, but the flavor of the banana is just a little bit different from like Guatemalan bananas or Mexican bananas, like no, Ecuadorian bananas. And so now I've gotten into the habit of like, I found another store that has Ecuadorian bananas, thank goodness, because like when I stopped going to the other store, I was like god damn it, they have the Ecuadorian bananas. like that was the one thing from there that I liked and the Uber pancakes. But we'll it's okay. That controversial episode, which I'm like, what's it called? referencing may or may not er. I need to it's like a twohour episode that I did in an emotional kind of turmoil. I need to check that episode to see if I want to air it. It might it might not. Like it could just be like deleted, because I felt like it was forced. I was like why are you try why are you trying to make me act out of my fucking character? Fuck you. Like I don't like when people try to force things. So that sometimes happens where people will come out of the woodwork and be like, talk about this experience. And I'm like, "Yo, dude, you just cornered me into making me feel like unsafe and not great. I don't necessarily and then it was like the energy was like, okay, I have to talk about this, but I didn't like the way that it made me feel. So the fact that it felt forced was like eh but I definitely earned that next tattoo. I'm I'm behind on tattoos I have two tattoos that I have to get it. I definitely earn that one. I earn that one with the help of Erica body, but I'll explain that in some in the multiverse and legends things later. I don't understand how things work sometimes in the universe, but that was one of those things I was like this is this is not even a synchronicity. This is like a this is an experience. We'll see if that episode's worth posting, but either way, I in the tattoo, I earn the tattoo beforehand, that was just the solidification, I think. Anyhho. what the fuck is I say? Ah, Ecuore bananas, yes, yes. Because it makes me think like like, if their bananas are like this, what are their women like? Like, I could give no fucks about the men. I'm not a lesbian, but like, I'm thinking in the way of like a I'm thinking in the masculine way that's like, you know, if they're bananas tastes like this, like, what are their women like Ecuadorian bananas? I think about that, because I'm like yod dude, like my taste profile is based on my diet. So, if these bananas come from Euador, like, what else comes from Ecuador that's fucking perfect. probably women. I don't believe in perfect men. I mean, like perfect looking, sure, perfect acting, sure, a combination of these things to together, rare, but like a per perfect women exist all over the place. Like perfect men. I don't think is a thing. I don't think it is. And that's not me being sexist or like because honestly, if you listen to the way that I speak, like being like a I don't have a preference for gender, just don't be a fucking sh shit hole of a human being. Like I don't care what you are, how you are, like just be cool, you know, like B peaceful and mind your manners and shut the fuck up. I mean like I'm not trying to silence people, but like be mindful of your environment. You know what I'm saying? Be mindful of people around you because there are so many there so many. And you are the focus I to try to say Acuadorian bananas, yes, as good. Are we ready to talk about subronics? Did I talk about all my websites and stuff? We have a discord. It's I think you can find me on discord at blue the guru and it's the same on twitch. I haven't posted anything to twitch yet. I did. I did tape a couple of my performances, but they were horrible. They were horrible and honestly they were just so that I could enter a contest so I could try to get a job. Like that was it. I did that. I was like, well, I have to do something because you you miss 100% percent of the chances you don't take. I believe truly in that so like I would rather enter something that's like mediocre and at least be on the radar and be like, hey, I'm trying. Like I'm really trying with all the things that like all the things that I'm going through and all the work that I have to do like I'm at least trying to get my work seen and I'm at least trying to put it out there and like, you know, the odds of me winning at something like that, especially if it is last minute and it is like mediocre and I know it's not my best performance, which, by the way, I think okay, people really like, oh, this is what I was saying about my audience. One, people really like talkatoo. That's one of my first actual productions, okay? It has almost no technique whatsoever. Well, it does, and I I did work like really hard on it, but like yo, I made that song in a tree, literally a tree, like like a tree. People like this song. It's for some reason gotten really popular, like no out of nowhere. Like people are like this song. I'm like, really? I made that in a tree with no plugins, no I'm pretty sure it's all stock samples. People love it. People love that song, but honestly it is one of my like it is it like it mixes with everything, talking to like if you need like a filler song and I think it is long enough that's like, yo, dude. Like, if you need to go to the bathroom or whatever, like this song is like the song rocks. And honestly, I don't know why that well, I mean, like that song is special. It was the first song I ever heard played back on a system at a festival. because I was like, like here's my music, whatever. And I didn't expect because the DJ was like,, you suck. And I was like, and just be just looking at me because I like ran up during a fucking uh, like a power outage at this fucking rave. I was like, yo, like this this might be the only time that I could actually talk to the you you miss 100% of the chances you don't take. So I was like, okay, like, this might be the only time I could talk to this guy. The power just went out and I was like, then now is my chance because like otherwise mid party and it was a good party, like it was a good one. It was a good it was it was a good one. It was a really great. It was a really great. um but, yeah, that was the first time I ever heard my music played back because I like ran up and I was like yod like here here's me, here's my music, here's a flas I have like you could keep it. has my music on it and it had I think at the I think it just had copy and paste on it like that whole EP was done and so a copy and paste is just talk to this other song called Nero, which has me like hand drumming on it, which is a cool song too. I use the Ableton push. I love the Ableton push and I had to forfeit it because it wasn't going back in my luggage. I couldn't afford it. So somebody fucking I feel charitable about this. Somebody inherited a $1200 at the time that it's depreciated, somebody inherited what I paid $1200 for for free, I think we're even. Anyway, um I add in uteroakatu and 43 on it. That's copy and paste and like, I I ran up during a blackout and I was like here. like, here's my stuff. And he was so annoyed. The DJ was so fucking annoyed. He was like, what are you saying? Like, and if they were like, the powers are, we can't get the power to come back on. so like people had started like a drum circle over in the corner and some people were leaving, they're like, you know, when the power goes out of a fucking festival or a rave like first of all, it's not a it's not a slammer. Like it's not a banging fucking festival and or rave if the power doesn't go out at least once or the cops come. Like if there's no raid, people don't get raided these days, do they? Yeah, that used to bring like a certain element of fucking like fear and excitement that like, yo, this party might only last five minutes. Let's get it anyway. It's New York old New York rave culture. hey, they're having a party over here because we're having a party over here but like shut down that party. Snitches in New York have always been a thing. like, if somebody over there is doing something that competes with your business, like you snitch on them, that would that's old school dance music culture. That's what they used to do, like those little preppy and we're not gonna put a color to it, but those little preppy boys that were like doing the old school, like underground, like break it in raves. Like that's what they were doing. They were like, oh, he's uh doing a there's a party over here in a secret place over here that shouldn't be. But those people were also doing a party and they wanted all the fucking people to come to their party and said that that party. So they were just snitch. They were just like hey, I got a tip. I got a tip on these motherfuckers. And then and then the other party would get shut down and everybody would be like, rolling balls, be like okay, we're still need a I need a party, like where's the other party? And there would always be somebody from the other party there to like usher people to the other party, like, I know where the party is. Yeah, these people. Anyway, I have I have such a love for the culture. What what the fuck was I just saying? Oh, one people have talked to which I made in a tree. That's almost that's almost discouraging. I'm like, yo dude, I'm footing in all this fucking like putting in all this extra work and like this fucking sound design and engineering and like trying to fucking trying to achieve subtronics but sober. Ha ha I'm like, uh, I'm also like ten years older than this kid. at least, excuse me, I don't know what the fuck is happening. Coffee early in the morning. Is my nose running or is it just like, oh, it's almost summer, so we're getting moist in the bitch, like we're just gonna get tepid for the next six months with no rain. Like it's gonna be like the moistures in the air. Enjoy that crawls. anyway I need to figure out what the fuck is schitz is or if that's what it's called. the longer I stay in New York. The easier it is for the old Jew and me to fucking arise. Ugh Anyway, what the fuck was I just saying? Oh, I love this about my statistics. My fans, although there are a few of them are speckled all over the world. I still don't know where Kazakhan is. but I think I have I have a couple listeners in Kazakhstan and they're in two different cities. I'm like that's pretty incredible to me. I was likeYo, dude, where the fuck is Kazakh stand? I don't know. I also found like, okay, like I don't I don't know where half these places are, but like I don't wanna go there although this place this one particular place I'm like oh dude, I don't know where the fuck you're at. I don't know where the fuck you're at and nobody knows where the fuck you're at cause I tried to look you up on a map and it was too distinctively like non places. I was like, is it this place or this place? And they're like it could be this place where that place? And I'm like cracked, but where is it? They're like nowhere, don't worry about it. I'm like damn! Okay, but I have a family there, so that's cool. I got fans all over the world, but they're like speckled. They're not, you know, by the hundreds or millions or billions. Are we gonna talk about that? Eventually, eventually, yes, we'll talk about my love of late night television. Yes, we have talked about that. But not right now. Because that could easily take up a whole episode, easily take up a whole episode. If you ever want to know the state of like if you ever want to know the state of mainstream, America, just check late night, because honestly, that's just like an anchor man dressed up in a little monkey suit as to whatever the fucking day people were talking about reiterated for the night people to understand. It's the same news. They are part of the news networks. I've just realized this cause I'm like oh no that's more like entertainment oh, it's the news. It's just the news kind of funny. It's just the same news that like whatever the NBC oh no, okay, like let's not NBC. Oh, yeah, NBC is doing enough right now. like go. No wonder why they didn't want causeby to buy the network, they would've fucked up their plans. He would have fucked up their plans. I'm like, I don't know what he was gonna do with MBC, but like he would have fucked up whatever they're doing now. That's why they prevented that. They were like, no. no, we have plans. They they're for the foreseeable future. Anyway, let's not NBC, because there's also CBS and uh that's it. At this point, I'm like, yeah, I'm pretty sure they're just like moving towards like the like a mass conglomeration of like, we're all the same. I'm like kind of like, and what's funny is they outfit themselves to pretend that they're like, I like this is so funny how left leaning it is when like all y' motherfuckers swing right easily. But I'm like, okay, I understand that this is for the masses, the masses are left swing. I'm like, okay, this is politics again, let's not do this. But everything is, it really is. Anyway, oh my go, what'll talk about my love for late night honor diff episode completely. Well, I mean, like we have a season devoted to it. We do, because I'm like, oh, they have to be like included in this in into the multiverse in legends, because like basically all of the mainstream pop culture like go like flows through late night TV. like that's where it goes. Like if you heard about it, you probably heard about it on late night TV because it is media like that's like anybody who's anybody goes through late high TV. I will not talk about all of I mean like there's so many different there's not really variations. I just said what it is. They're basically anchormen that are disguised not as anchorman. They are giving you the same news from the morning time news or the daytime talk shows, but watered down so that it seems like different news, but it's not as the same news all day. They work for the network, the network works for the dest network work for it themselves. What the fuck? I haven't figured this out yet, like on an intellectual level, I'm starting to, but it's one of those things where it's like mm kid, curiosity killed the cat. Curiosity killed and skinned many cats. Don't look here. I'm like, I got it, I get this. I got it, shut up. Shut up. Let me sit my fucking mug. guys when it comes down to it, I am assimilating well enough to be like, okay, I'm on Instagram twitch. Fucking I'm on Twitter, which is now X. I don't know. I think so. I have it. It's there like I don't use it or anything, but like I'm trying to see what the engagement for this upcoming season will be and if it works, then it works, but I have kind of thought about shooting this podcast in like a if I'm going to do anything, it's going to be anhilate night format where I have like a specific set of like this is what we're going to talk about. I do have a monkey suit picked out. I do have that because I like the format. It's easier it's easier for me to digest and then regurgitate information for my fans and followers this way. Like that's I don't know, like besides the fact that like I have been studying comedy for like the better part of two years now and that I grew up screenwriting and w like, ah, I don't know, like like I get it, though. I get why I'm so like hardwired to this. It's like yo dude, like via the television, we're so comfortable with these people because it's like oh like you're in my house like Lin Letterman, you're in my house like my whole entire existence, my whole childhood. So it's like that's like familiarity to a point that you can't you can't shake it. So like you can grow up and like, you know, the next the predecessors of the next and the next any man comes and like takes over the role of the last any man, but also like evolves the masses for the next coming generation and like the traits of the like it's it's a very interesting culture. I'm obsessed. like I love late night TV. I love TV, but I love late night TV specifically and we'll talk about that more in depth. I guess at some point because I do have to explain this entire weird what seems like an offshoot season well, it was kind of an offshoot season because I lost a season. I don't know what the fuck happened to it. Well now I'm going through my hard drives and I'm like, here it is. It's in here. It's all in here. I'm like, oh, so here we will answer my question. Soon, what did I write last year? I don't know. don't know at all. I really don't. I know a post in some of it. Some of it got like mirrored back in the universe, like, did you know you wrote this? I'm like, no, it's kind of prophetic in a way. just kind of happened. It took over my body anyway. What did I write last year? I don't know. Somebody read it. Somebody read it and then I have to do I have to do more like protections for my intellectual property because yo, I wrote half the Super Bowl commercials facts. I did I did. I was like yo,ude, I wrote this. Michael documents, what the fuck you do I Google documents? Like fuck you like fuck you unless that money is going into a pool to later pay me. When I like reach a certain level as an incentive, like we know we stole this from your fucking show, which, by the way, is just available online to anybody who fucking wants to copy and paste it and the descriptions you idiot. Yeah, I'm like yeah, well I mean like I can't really afford to join the writer's guild. They're like in that respect we will rip you off. only so that I can make sure that this commercial reaches your eyes and time for you to understand that like yo, you just put this out here for free. I'm like well love is free and music should be free. Like I'm technically just taking like a bag like a like a back step to like what the fuck is happening in the corporate world, which is sucking people like it's bleeding people who are already tired dry. And I'm like, well, I'm not going to do that. I'm not going to be like, you know, like like, like, yes, I put like a PayPal about me link like if you want to donate to the festival project or later the complex collective cause I will not collect donations for my nonprofit until it's actually I've actually established the nonprofit as a 501 C3 and so like like the way that I'm doing my music right now is that like half of my profit goes to the festival project, which is like my my label, my independent label and media company. But the other half of my my like income, my earned income from music or, you know, however I earn or monetize, goes to the complex collective, which is a completely nonprofit organization, like meant to contribute back to the artists and like the artist community. not just the artist community, but just like to the overall health and wellness of like the like to to humanity as a whole, I think. Well, that's what the complex collective is kind of it's it's a health and wellness based nonprofit to the charity. So my the way that I what's it the way that I credit myself is that like the I use the complex collective, which is a nonprofit, as my music publisher, so that anything from the complex collective goes into the pool for the nonprofit, because I have to like, I can't consciously go throughout the rest of my life without giving back to my community and that way. like be because the way my life has gone so far, I don't like as much as I want to volunteer, I like well, I tried and then I like the the food bank that I volunteered for was like so and they had some organizational issues. They had some uh leadership issues. And so I was like, this is actually a toxic environment, which sucks. so I decided not to do that and uh and, you know, put all my uh energy of being like a charitable person into like my own, like I'll just my own nonprofits, non-for-profit is to give back to the community to artists and people in it in like transitionary, whatever. um That's the complex collective. So that's that's why you see that. That's why you see that badge on everything. That's the nonprofit sector. It is a subsidiary to the festival project, and I'm pretty much like devote my like I pretty much devote my my uh my gains, so to speak, into like both pools. Eventually, I'll have enough to then solidify the nonprofit with a um well, I have to you know, you have to pay. It's not it's not free for nonprofit. It's not. And so that's what that is. What else was I saying? Fans all over the world? Yes, we have fans all over the world. It's really cool. A lot of these places I've never heard of, but I do I find it a little bit, uh heartwarming and chanting, like I'm a little bit magical that like I'm hitting people in like some of the major dance cities, like Sal Paulo, Brazil, and uh like like places that are Amsterdam, London, uh I have more. I have more people in the UK than I thought, but it's okay because I I like them. I like them. Well, I like people. I like people that are people. Well, people be people on it so not all the time. Like sometimes I'm like, oh, this is like this is characteristic of your species. Like this is why this is this way. Like this is this is a whole human thing. It's not attractive at all. But I think we' close to an hour, I'd had to be oh, six minutes what do I got for six minutesronics. I'm I can't okay, I love subronics like as like Won as a fan because I went to a few of his performances. I'm not gonna lie. Every time his whole audience has BO. everybody. I'm like, oh, nobody in here has D right. But I think I got my fucking I don't know, maybe it was a sign. I was I was mixing the other day like nonstop and I'd been running around and I have a special jacket that I wear when I DJ that's like a really it's like a nice, I don't know what material it is, but it's really nice, like a uh a sports jacket, like a bomber. No, it's not a bomber style. It's like a I can't I can't remember this. It's like a sports jacket, but it's this material that's really nice. it's just always been my DJ jacket. It's like my lucky DJ jacket. and uh I usually wash it like on a delicate cycle and don't put it in the dryer to keep it preserved because it's really, really nice and I had been running around for a couple days and then mixed for like a solid, I don't know, I was in there like all together, I was in there, I think like nine or ten hours and I spent most of those the most of that time, like actively mixing because my music was not it was not s synched, so I had to hand pitch everything on four decks, which was overwhelming, which, by the way, I also did not know, which is why, like you like I did post at least one of the videos. but it's I'm embarrassed. I'm wearing yellow. yellow's not a good color. I'm looking heavy as fuck, like, oh, man, they had that video in the sidebar next to this girl, that's like a size double zero model. like fucking DJ and the rainforest with like grown footage and like HD, like, and then all her videos were like, she was she was like DJing and the one was like in the rainforest. one was like on a beach. Like she just had like she was all these destinations that had the drone footage, like money, but also like beauty just like pure beauty. Like she didn't have to do good. Like her music sounded good, but like she looked awkward as fuck not being able to dance to her own music. But still, like the like what why would you be paying attention to that when A she's beautiful, that's a distraction, be drone footage of like whatever the fucked rainforest or like tropical beach, like she was everywhere. I was like fuck this bitch. And algorithm's like Toby salty. I was like, I'm a little salty because it showed my thumbnail next to her thumb nail and I was like, no, no, no no. no like, oh so bad. So now I know. I know better than to look fat. Don't be ugly in New York. I was actually in full hair and makeup with my nails done with my Cardi B style nails. Yes, I was, but the yellow shirt on camera and it wasn't the best camera. It was like so I like I I used to have a camera like that when I first got into filmmaking when I was like eight. It was like the same camera. I'm like yo, this is bad. It's really bad. But, you know, all that's investments, investments. I don't think it's gonna be even I don't think it's gonna be any better, which, by the way, some people are delusional, bro. I just got Snapchat. I haven't had Snapchat since Allie died so I've been like I've been away from like that whole world and like seeing first of all, people actually pay money to dress their fucking, like, what are those things called? their little animated. Like, okay, you're paying money to put clothes on a on a 2D creature, you are dumb. That's why they do that, though. I'm like, oh, I need this forage shirt for my fucking Snapchat animated thing. I'm like, that's stupid. I mean, like if you got it. But still, even if you got it, it seems like I could have a million dollars and I still wouldn't spend a dollar to dress a fucking animime character. That's stupid. I like that's stupid. However, these are the same people that are posting actual like I could never post a selfie without filter on, cause I'm looking at myself in the camera with no make up and no hair and like just ugly. And I'm looking at myself in the camera and then one of these filters comes on and I'm like yo, I am beautiful. One of these filters comes out and just automatically made me pretty. And I was like, oh, like, but some people post that selfie and then they're under the or they put that as the background on their phone and they're under the illusion that that's what they look like like bitch, you don't look like that. You don't look like that you should not like that's for fun. You should not send those pictures. You should not you I don't think you should be able to save those pictures. Like, no, like, honestly, and if you post them, wouldn't it be funny if the algorithm just took off all the fucking corrections? Wouldn't it be funny if like, oh, like we see this filter, we'll just take off the filter when you post it. So like it posts with all without the Photoshop or without the filter, that would be hilarious. That'd be a funny hack. But coders who doing more like ethical things are nonethical things. I don't know what hackers do. I got accused of being one once, because I had a bunch of flash drives and hard drives. I realized that this is just like this is just what happens when you become a music producer. I'm like, I don't have space for this. I need more like I need more flash drives. I need more hard drives. I need more SD cards. Like I need space for my stuff. Somebody was like people think you're a hacker. I was like, you're an idiot. But that's hilarious. And that was one of the funniest things I've ever been accused of being, because it's like, bro, if I was a hacker, do you think I'd be staying in this fucking hostel, dummy? Fucking dumb. Why would I be hacking from this hostel? Well, I do really actually, you know what? I think that yes. But also we have more stories to tell eventually, what was I gonna say about subtrronics? I just love this music, very good, very, very good, very good. That's it. I don't have anything else to say. I thought I was gonna take up at least half an episode, because I was actively listening to it. I've been actively listening to it like sober in the middle of the day, but it is good running music sometimes. Sometimes I'm just like, oh dude, like I have to stop running and head bang. like this is inappropriate, this is inappropriate. I don't I don't know, I don't highly recommend a lot of bass music, like in the city setting, because something happens mechanically in your brain, something at least my brain, where it's like, oh, like that shouldn't synchronize this way. That shouldn't do that. Don't do that. why? What frequency? Idiots. idiots. lots the same guy, by the way. This is the same guy. He doesn't like, what's fucked up is he have a whole vehicle, he doesn't leave the neighborhood. Like he's a menace, like he does not leave the neighborhood. He doesn't. like he drives in circles all day. And like that's his that's he has like no other power. I get it. Like I' I'm understanding like I'm studying the psychology of people with small brains like this. is that like he has no power over like the rest of his life, so like that's his that's his like freedom. That's his power as being able to do that for like a second at a time, like he that's it, then he rounds the corner and does it again, then he rounds like the fucked up thing to me is it's like bro, you're not going to go anywhere with that. Like you have a whole vehicle, a whole vehicle, like anything I have to do I have to go on foot. That's I'm not gonna lie to disadvantage. I mean, like it's not too much of a disadvantage in New York, but anywhere else it's like, you don't have a car. I'm like, yeah. I don't. Like New York is probably the only place in the US that you absolutely really don't need one. You really don't. And honestly, when I see people with cars here, I'm like yo dude, I hope you paid that all the way off because like, honestly like if you're in debt for that, like you you lost like, you lost, like you're not going anywhere and it's like depreciating as you drive it, like this just like, I don't know. I saw well, I was on the bus and we hit a car. The bus kept going. Bus kept going and totally did. It did not make it didn't even flinch like the bus was like oops, you were over the line. I was like damn damn. So eventually eventually that person is gonna come out and be like, oh. ho No, anyway, we do have to talk about some of this entered the multiverse. We are over an hour, so thank you for listening. Yay, what I want on the peloton one arm on the pelotone. Again, I'm not getting paid, but I think going against the grain of like corporate greed right now is the best thing. So all of the things that I can possibly like put online for free. I'm putting online for free. um I'm also trying to get I'm trying to start the process of giving away like copies of my album for free and you know, as springtime and festival season gears up, public spaces. Oh, we didn't talk about the fluffer. First of all, I was worried that it wasn't gonna come out. Excuse me, gosh, what is happening right now? Flip? It snot. stuck somewhere trapped in my space. I'm sorry about that. If you can hear that on this recording, I apologize for that. I apologize, but whatever. Ooh, maybe, well, yeah, I do get like weird. I get weird when I don't work out enough, so I did that. I also went to the gym. I ran yesterday, and then I got on the peloton for an hour and I slept hard between like shaking myself awake to be like, my Amazon

Link to video version of this episode: https://youtu.be/MnFddZtaWdQ

18: Jewish Stories Translated from 18 Languages (Cherry Orchard, 2023) is the first anthology of translated multilingual Jewish fiction in 25 years: a collection of 18 splendid stories, each translated into English from a different language: Albanian, Croatian, Czech, Danish, French, German, Greek, Hebrew, Hungarian, Italian, Ladino, Polish, Portuguese, Romanian, Russian, Spanish, Turkish, and Yiddish. These compelling, humorous, and moving stories, written by eminent authors that include Shmuel Yosef Agnon, Isaac Babel, and Lili Berger, reflect both the diversities and the commonalities within Jewish culture, and will make you laugh, cry, and think. This beautiful book is easily accessible and enjoyable not only for Jewish readers, but for story-lovers of all backgrounds. Authors (in the order they appear in the book) include: Elie Wiesel, Varda Fiszbein, S. Y. Agnon, Gábor T. Szántó, Jasminka Domaš, Augusto Segre, Lili Berger, Peter Sichrovsky, Maciej Płaza, Entela Kasi, Norman Manea, Luize Valente, Eliya Karmona, Birte Kont, Michel Fais, Irena Dousková, Mario Levi, and Isaac Babel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

18: Jewish Stories Translated from 18 Languages (Cherry Orchard, 2023) is the first anthology of translated multilingual Jewish fiction in 25 years: a collection of 18 splendid stories, each translated into English from a different language: Albanian, Croatian, Czech, Danish, French, German, Greek, Hebrew, Hungarian, Italian, Ladino, Polish, Portuguese, Romanian, Russian, Spanish, Turkish, and Yiddish. These compelling, humorous, and moving stories, written by eminent authors that include Shmuel Yosef Agnon, Isaac Babel, and Lili Berger, reflect both the diversities and the commonalities within Jewish culture, and will make you laugh, cry, and think. This beautiful book is easily accessible and enjoyable not only for Jewish readers, but for story-lovers of all backgrounds. Authors (in the order they appear in the book) include: Elie Wiesel, Varda Fiszbein, S. Y. Agnon, Gábor T. Szántó, Jasminka Domaš, Augusto Segre, Lili Berger, Peter Sichrovsky, Maciej Płaza, Entela Kasi, Norman Manea, Luize Valente, Eliya Karmona, Birte Kont, Michel Fais, Irena Dousková, Mario Levi, and Isaac Babel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

This week's highlights: We welcome back Rabbi Yitzchok-Boruch Teitelbaum, known in his Monroe, NY, community as der Pshischer Rebbe, for Pesach greetings and words of wisdom. We meet Chazan Dr. Moshe Moskovitz, the High Holiday cantor at Los Angeles's Congregation Shaarei Tefila, to discuss his background, his yiches (he's the grandson of two post-war Carpathian cantors), and his journey into chazones (the musical art of leading Jewish prayer in the Ashkenazi tradition), as well as Pesach from a cantorial perspective — guiding us through several cantorial recordings along the way. Pesach greetings from many of our cohosts, friends and sponsors, as follows: Israel Book Shop (Eli Dovek ז״ל recorded Mar 28 2007) American Association of Jewish Holocaust Survivors of Greater Boston (member and Holocaust survivor Tania Lefman, and member and Holocaust survivor Mary Erlich), co-sponsor of Boston's 2025 In-Person and Virtual Community Holocaust Commemoration of Yom HaShoah, Sunday, April 27 at 10:30 AM Eastern. (Registration required.) We reached them at their homes in Greater Boston by phone on April 9, 2025. Yetta Kane, Holocaust survivor and rebbetzin in Los Angeles with whom we just completed an interview to be aired a little later this year. Recorded at her home in Long Beach on April 8, 2025. League for Yiddish, New York, NY, (Gitl Schaechter-Viswanath, Chair of the Board). Recorded at her home in Teaneck, NJ, on April 9, 2025. Leah Shporer-Leavitt, Newton, MA, co-host of The Yiddish Voice / דאָס ייִדישע קול (from 2024) Dovid Braun, Leonia, NJ, co-host of The Yiddish Voice / דאָס ייִדישע קול (from 2024) Yankele Bodo, Tel Aviv, Israel, actor and singer (from 2016) Eli Grodko, New Millford, NJ, friend of the show. Recorded at his home in Teaneck, NJ, on April 8, 2025. Boston Workers Circle, Brookline, MA (Yiddish committee member Linda (Libe-Reyzl) Gritz) Verterbukh.org, the online Comprehensive Yiddish-English Dictionary, Greater Boston (Khayem Bochner, co-editor and director of the online dictionary) Hy Wolfe, Director of CYCO Yiddish Book Center, Long Island City, NY (from 2020) We wish all our cohosts, sponsors and friends a Happy and Kosher Pesach. מיר ווינטשן אַלע אונדזערע אונטערשטיצער, פֿרײַנד און באַטייליקטע אַ פֿריילעכן און כּשרן פּסח Music: Moishe Oysher: Chad Gadyo Moshe Stern: Uvchein Yehi Ratzon Leibele Glantz: Tfilas Tal Moshe Ganchoff: Btses Yisroel Leibele Glantz: Ma Nishtono Nusach Moshe Koussevitzky: Fir Kashes Intro instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air date: April 9, 2025

Navigating the choppy waters of our inner Nile, where the Pharaoh of Negative Thought reigns supreme, Rabbi Bernath offers a sage map for the modern soul's Exodus. Picture this: an inner Pharaoh, all ego and no ear, refusing the logic we offer as liberally as matzah at Pesach. It's an ancient tale, yet as current as our latest tweet.Enter Moshe, our timeless hero, speaking Hebrew to a Pharaoh who's as lost in translation as a tourist without Google Maps. The catch? It's not about the words, but the Divine energy they carry, slicing through stubbornness like a hot knife through butter. Consider the Chafetz Chaim, whose Yiddish plea melted Polish hearts without a single word understood—a testament to the soul's language, transcending the babble of Babel.Then there's the 7/38/55 rule, a reminder that our vibes speak louder than our vocabulary. The body's ballet and the tone's tune tell tales our tongues can't touch.So when faced with our own Pharaoh—be it doubt, fear, or the Sunday Scaries—Rabbi Bernath advises a strategy as bold as it is biblical: Speak in your soul's native tongue. No translation needed. For it's not the clarity of argument, but the purity of our Divine essence, that can topple tyranny within.In essence, Rabbi Bernath suggests, when logic's light dims and reason's ropes fray, it's time to unfurl the banner of our inherent holiness, declaring our truths in a language beyond words. Like Moshe, we stand before our inner Pharaoh not to debate, but to demonstrate—a conduit of Divine will, unyielding and unfiltered.In doing so, we don't just speak to our shadows; we illuminate them, transforming the inner Egypt into a land flowing with milk, honey, and the sweet freedom of self-mastery. So let's raise our staffs, part our personal Red Seas, and march towards a promised land of inner peace and purpose, one holy utterance at a time.The Coach Ratner PodcastCoach Ratner is not a matchmaker, but a MateMaker. With 7 books under his belt,...Listen on: Apple Podcasts SpotifySupport the showGot your own question for Rabbi Bernath? He can be reached at rabbi@jewishndg.com or http://www.theloverabbi.comSingle? You can make a profile on www.JMontreal.com and Rabbi Bernath will help you find that special someone.Donate and support Rabbi Bernath's work http://www.jewishndg.com/donateFollow Rabbi Bernath's YouTube Channel https://www.youtube.com/user/ybernathAccess Rabbi Bernath's Articles on Relationships https://medium.com/@loverabbi

The bond market—stodgy, suit-clad, and deeply un-Instagrammable—has the economy feeling either “yippy” or “queasy,” Plus, Republicans are eager to wield the issue of trans athletes, especially when stocks are tumbling. And linguist John McWhorter returns to discuss the beauty of borrowed Yiddish verbs, the aesthetics of the letter X, and why “My wife, she…” is pure Rodney and pure syntax. Produced by Corey Wara Email us at thegist@mikepesca.com To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/TheGist Subscribe to The Gist: https://subscribe.mikepesca.com/ Subscribe to The Gist Youtube Page: https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g Subscribe to The Gist Instagram Page: GIST INSTAGRAM Follow Mikes Substack at: Pesca Profundities | Mike Pesca | Substack  Learn more about your ad choices. Visit podcastchoices.com/adchoices

J.J. and Dr. Abigail Gillman interpret the ideas and impact of the Buber-Rosenzweig Bible translation. Follow us on Bluesky @jewishideaspod.bsky.social for updates and insights!Please rate and review the the show in the podcast app of your choice.We welcome all complaints and compliments at podcasts@torahinmotion.org  For more information visit torahinmotion.org/podcastsAbigail Gillman is a Professor of Hebrew, German, and Comparative Literature in the Department of World Languages and Literatures.  She teaches courses on modern German literature; Hebrew literature; Israeli Cinema; and Religion and Literature (cross-listed as XL and RN). She teaches and lectures in the Core Curriculum, and has also taught in the CAS Writing Program. She recently published A History of German Jewish Bible Translation (University of Chicago Press, 2018). This book takes as its starting point the remarkable number of re-translations of the Hebrew Bible produced in Germany—translations into German and Yiddish—from the Haskalah through the twentieth century.  The book demonstrates that bible translation in Jewish society was (and still is) used to promote diverse educational, cultural, and linguistic goals. She is currently writing about the parable/mashal across Jewish Literature, and about “monstrous motherhood” in recent Israeli (and Jewish) film and memoirs.

The Mishna in Masechet Pesahim lists the various vegetables that may be used to fulfill the Misva of Marror on the night of the Seder. The Rabbis teach us that these vegetables are listed in descending order of preference, and thus the first vegetable mentioned – Hazeret – is the most preferred vegetable to use for Marror. The Gemara identifies Hazeret as "Hasa," which alludes to the fact that the Almighty had mercy ("Has") on the Jewish People on the night of the Exodus. "Hasa" is generally understood as referring to lettuce. Strictly speaking, even iceberg lettuce may be used for Marror, though it is customary to use Romaine lettuce (perhaps because it is generally cleaner). The Bet Yosef (commentary to the Tur by Maran, Rav Yosef Karo, author of Shulhan Aruch) writes that although iceberg lettuce does not have a bitter taste, it is nevertheless suitable for Marror because it becomes bitter when it is left in the ground. The vegetable used for Marror does not have to actually taste bitter, but rather must be a vegetable that in general has a bitter taste. Thus, although the iceberg lettuce that is generally eaten has been removed from the ground before turning bitter, it may be used for Marror, and, as mentioned, it is in fact the preferred vegetable. Some Ashkenazim have the custom to use horseradish ("Chraine" in Yiddish), which is the third vegetable mentioned by the Mishna – "Tamcha." It appears that lettuce was not available in Ashkenazic lands, and so they had to resort to horseradish, and this then became their custom. We follow the custom of the Arizal (Rav Yishak Luria of Safed, 1534-1572) to place "Ulshin" – endives – at the center of the Seder plate, and then place lettuce on the bottom. It should be noted that one does not have to eat the endives, neither for Marror not for Korech (when we eat Masa and Marror together), though some have the custom to add some endives for Korech. One may, if necessary, combine different vegetables to reach the required quantity of Ke'zayit. Thus, one may combine some lettuce and some endives to reach a Ke'zayit. Likewise, an Ashkenazi who uses horseradish but finds it difficult to eat a Ke'zayit may add some lettuce or endives. The Rama (Rav Moshe Isserles of Cracow, 1525-1572) writes that if one cannot obtain any of the vegetables mentioned by the Mishna, then he may use any vegetable that has a bitter taste. The final item listed by the Mishna is "Marror," which could be understood to mean that if none of the other items are available, one may use any bitter-tasting vegetable. The Halachic authorities write that in such a case, one should not recite the Beracha of "Al Achilat Marror." Of course, one who uses lettuce for Marror must ensure that the lettuce is clean and free of insects, as otherwise he would be violating a prohibition by eating the Marror, as opposed to fulfilling a Misva. Nowadays one can purchase lettuce grown hydroponically or through other means that avoid infestation, and Hacham Ovadia Yosef strongly encouraged the use of this lettuce. Summary: According to Sephardic custom, Romaine lettuce should be used for Marror. One must ensure that the lettuce is free of insects. Although it is customary to use Romaine lettuce, one may, strictly speaking, use iceberg lettuce, as well. Our custom is to place endives in the center of the Seder plate, and place the lettuce at the bottom. One does not have to eat the endives, though some people add some endives to the Korech. If necessary, one may comine different forms of Marror to reach the required quantity of "Ke'zayit." If one cannot obtain any of these vegetables, he may use for Marror any bitter-tasting vegetable, but the Beracha of "Al Achilat Marror" should not be recited in such a case.

Send us a textNavigating the choppy waters of our inner Nile, where the Pharaoh of Negative Thought reigns supreme, Rabbi Bernath offers a sage map for the modern soul's Exodus. Picture this: an inner Pharaoh, all ego and no ear, refusing the logic we offer as liberally as matzah at Pesach. It's an ancient tale, yet as current as our latest tweet.Enter Moshe, our timeless hero, speaking Hebrew to a Pharaoh who's as lost in translation as a tourist without Google Maps. The catch? It's not about the words, but the Divine energy they carry, slicing through stubbornness like a hot knife through butter. Consider the Chafetz Chaim, whose Yiddish plea melted Polish hearts without a single word understood—a testament to the soul's language, transcending the babble of Babel.Then there's the 7/38/55 rule, a reminder that our vibes speak louder than our vocabulary. The body's ballet and the tone's tune tell tales our tongues can't touch.So when faced with our own Pharaoh—be it doubt, fear, or the Sunday Scaries—Rabbi Bernath advises a strategy as bold as it is biblical: Speak in your soul's native tongue. No translation needed. For it's not the clarity of argument, but the purity of our Divine essence, that can topple tyranny within.In essence, Rabbi Bernath suggests, when logic's light dims and reason's ropes fray, it's time to unfurl the banner of our inherent holiness, declaring our truths in a language beyond words. Like Moshe, we stand before our inner Pharaoh not to debate, but to demonstrate—a conduit of Divine will, unyielding and unfiltered.In doing so, we don't just speak to our shadows; we illuminate them, transforming the inner Egypt into a land flowing with milk, honey, and the sweet freedom of self-mastery. So let's raise our staffs, part our personal Red Seas, and march towards a promised land of inner peace and purpose, one holy utterance at a time.Support the showGot your own question for Rabbi Bernath? He can be reached at rabbi@jewishndg.com or http://www.theloverabbi.comSingle? You can make a profile on www.JMontreal.com and Rabbi Bernath will help you find that special someone.Donate and support Rabbi Bernath's work http://www.jewishndg.com/donateFollow Rabbi Bernath's YouTube Channel https://www.youtube.com/user/ybernathAccess Rabbi Bernath's Articles on Relationships https://medium.com/@loverabbi

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For this cycle's "Mise-Unseen" entry, Julian, Emilio and Madeline fire up 'Hester Street', Joan Micklin Silver's overlooked and under-appreciated film from 1975 depicting the struggles one Jewish family, recently immigrants to the United States, face while assimilating to life in their new homeland at the turn of the century.  The trio comment on the film's unique depiction of New York City (particularly in relation to when it was first released), the unusual complexity that most characters are given, how centering Gitl's journey gives the film a strong emotional core, the film's unexpected humor, its portrayal of the working class Jewish immigrant experience class, and why this movie and its story feel so unique.  They then have a great chat with Sharyn Rothstein, an accomplished writer who recently adapted 'Hester Street' for the stage, and discuss what was meaningful to her about this story, what details from the film spoke to her, and what the stage production does to modernize and reshape the story for today's audiences.  It's a deep dive into an unsung 1970s NYC film you won't want to miss!  Sharyn Rothstein is an award winning playwright, teacher, and writer for television.  Her play "Bad Books" is currently running at Roundhouse Theater in Bethesda, Maryland through April 27th.  Follow her and her work at www.sharynrothstein.netIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

#346> Sponsored by Oren Hizkiya and Shira Berger in honor of their upcoming marriage, בשעה טובה ומוצלחת, may they be Zoche to build a Bayis Ne'eman B'yisrael.> We dicussed Rabbi Binyomin Slonik's bio, why he wrote this work, how unique it was for a rabbi to write a halacha work in Yiddish for women, the lives of Jewish women at the time, style of the work, popularity and legacy of the work, and more.> To purchase "My Dear Daughter: Rabbi Benjamin Slonik and the Education of Jewish Women in Sixteenth-Century Poland":  https://amzn.to/3QRltep> To join the SeforimChatter WhatsApp community: https://chat.whatsapp.com/DZ3C2CjUeD9AGJvXeEODtK>  To support the podcast or to sponsor an episode follow this link: https://seforimchatter.com/support-seforimchatter/or email seforimchatter@gmail.com (Zelle/QP this email address)Support the show

In this episode, I chat with my coworker and first Israeli guest on the podcast, Shira Sa'ar! We talk about identity, culture, and the realities of life in Israel. We discuss the different Jewish subcultures in Israel, from Mizrahi to Ashkenazi, and compare them to Jewish communities in the U.S. Then we get into Shira's perspective on political correctness, stereotypes, and why Israeli discourse often leaves little room for complexity. Then, we finish off with a fun game comparing Israeli and American words and Yiddish slang! 0:00 - 7:22 | Shira's army service and upbringing 8:40 - 14:22 | Jewish subcultures in America vs. Israel 14:22 - 20:00 | Stereotypes, racism, and social divisions in Israel 20:00 - 25:30 | The role of nuance and complexity in Israeli discourse 25:30 - 32:39 | Dating norms, meeting the parents, and cultural expectations 32:39 - End | Israeli vs. American slang + Yiddish quiz

The historic language of Jews in Europe – Yiddish – was once spoken by tens of thousands of Jewish immigrants in Los Angeles. That language was almost destroyed by assimilation and the Holocaust. But now, Yiddish is making a comeback. Reporter: Robin Estrin, KCRW Dozens of postal workers gathered in protest outside a Bakersfield courthouse on Thursday. They were fighting against the potential privatization of one of the nation's oldest institutions. Reporter: Joshua Yeager, KVPR Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode: reality fame-adjacent, first collegiate basketball, Westminster sparkle knee suit lewks, gummy clusters respect, toothsomeness, muff protection, a Needlepoint journey, the best Supreme Court argument ever, airplane tidiness, someone else's soapy water, feather lights, the T in often is silent, complacent vs. complicit, camel beauty enhancements, Today in Yiddish, farshtaist, shalach manors, baby carrot drama, The Baby Carrot Association of America, science news, rats love to drive, Skittle formula changes, this week in college Facebook parenting, missing cows, Brynn from RHONY, RHOA, The Traitors, The Best Quiz Show Ever, schipperkes, and a very dramatic reading. 

Link to video version of this interview: https://youtu.be/hKN0_75EuqEAnna Shternshis is a Professor of Yiddish studies and the director of the department of Jewish Studies at the University of Toronto and the author of "Soviet and Kosher", "When Sonia Met Boris" and the forthcoming "Jews in the soviet union: post war life, hopes and fears". In this interview we talk about the fascinating history of the Jews of the Soviet Union, the oral histories Anna collected from Yiddish (and non-Yiddish) speakers born before 1929, and the Yiddish songs she recovered from during the holocaust.Some links for Anna Shternshis here:Soviet and Kosher: https://amzn.to/4irTnT6When Sonia Met Boris: https://amzn.to/4bxypzCHer project to set holocaust songs to lyrics, titled Yiddish Glory: https://www.yiddishglory.com/Link to the University of Toronto: https://german.utoronto.ca/anna-shternshis/Twitter: https://x.com/shternsh

This week Bruce lodged a complaint at the local DOGE consulate and discovered which country pulled the “accordion” straw in the Eurovision song contest this year — it’s Sweden! All that and more in this week’s episode of your favorite all-accordion, alt-accordion radio show / podcast! If your Apple or Android (or plain old RSS) podcast subscriptions (strongly recommended!) haven't […]

For centuries before its "rebirth" as a spoken language, Hebrew writing was like a magical ship in a bottle that gradually changed design but never voyaged out into the world. Isolated, the ancient Hebrew ship was torpid because the language of the Bible was inadequate to represent modern life in Europe. Early modern speakers of Yiddish and German gave Hebrew the breath of life when they translated dialogues, descriptions, and thought processes from their vernaculars into Hebrew. By narrating tales of pilgrimage and adventure, Jews pulled the ship out of the bottle and sent modern Hebrew into the world. In Travels in Translation: Sea Tales at the Source of Jewish Fiction (Syracuse UP, 2016), Frieden analyzes this emergence of modern Hebrew literature after 1780, a time when Jews were moving beyond their conventional Torah- and Zion-centered worldview. Enlightened authors diverged from pilgrimage narrative traditions and appropriated travel narratives to America, the Pacific, and the Arctic. The effort to translate sea travel stories from European languages—with their nautical terms, wide horizons, and exotic occurrences—made particular demands on Hebrew writers. They had to overcome their tendency to introduce biblical phrases at every turn in order to develop a new, vivid, descriptive language. As Frieden explains through deft linguistic analysis, by 1818, a radically new travel literature in Hebrew had arisen. Authors such as Moses Mendelsohn-Frankfurt and Mendel Lefin published books that charted a new literary path through the world and in European history. Taking a fresh look at the origins of modern Jewish literature, Frieden launches a new approach to literary studies, one that lies at the intersection of translation studies and travel writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

For centuries before its "rebirth" as a spoken language, Hebrew writing was like a magical ship in a bottle that gradually changed design but never voyaged out into the world. Isolated, the ancient Hebrew ship was torpid because the language of the Bible was inadequate to represent modern life in Europe. Early modern speakers of Yiddish and German gave Hebrew the breath of life when they translated dialogues, descriptions, and thought processes from their vernaculars into Hebrew. By narrating tales of pilgrimage and adventure, Jews pulled the ship out of the bottle and sent modern Hebrew into the world. In Travels in Translation: Sea Tales at the Source of Jewish Fiction (Syracuse UP, 2016), Frieden analyzes this emergence of modern Hebrew literature after 1780, a time when Jews were moving beyond their conventional Torah- and Zion-centered worldview. Enlightened authors diverged from pilgrimage narrative traditions and appropriated travel narratives to America, the Pacific, and the Arctic. The effort to translate sea travel stories from European languages—with their nautical terms, wide horizons, and exotic occurrences—made particular demands on Hebrew writers. They had to overcome their tendency to introduce biblical phrases at every turn in order to develop a new, vivid, descriptive language. As Frieden explains through deft linguistic analysis, by 1818, a radically new travel literature in Hebrew had arisen. Authors such as Moses Mendelsohn-Frankfurt and Mendel Lefin published books that charted a new literary path through the world and in European history. Taking a fresh look at the origins of modern Jewish literature, Frieden launches a new approach to literary studies, one that lies at the intersection of translation studies and travel writing. 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

For centuries before its "rebirth" as a spoken language, Hebrew writing was like a magical ship in a bottle that gradually changed design but never voyaged out into the world. Isolated, the ancient Hebrew ship was torpid because the language of the Bible was inadequate to represent modern life in Europe. Early modern speakers of Yiddish and German gave Hebrew the breath of life when they translated dialogues, descriptions, and thought processes from their vernaculars into Hebrew. By narrating tales of pilgrimage and adventure, Jews pulled the ship out of the bottle and sent modern Hebrew into the world. In Travels in Translation: Sea Tales at the Source of Jewish Fiction (Syracuse UP, 2016), Frieden analyzes this emergence of modern Hebrew literature after 1780, a time when Jews were moving beyond their conventional Torah- and Zion-centered worldview. Enlightened authors diverged from pilgrimage narrative traditions and appropriated travel narratives to America, the Pacific, and the Arctic. The effort to translate sea travel stories from European languages—with their nautical terms, wide horizons, and exotic occurrences—made particular demands on Hebrew writers. They had to overcome their tendency to introduce biblical phrases at every turn in order to develop a new, vivid, descriptive language. As Frieden explains through deft linguistic analysis, by 1818, a radically new travel literature in Hebrew had arisen. Authors such as Moses Mendelsohn-Frankfurt and Mendel Lefin published books that charted a new literary path through the world and in European history. Taking a fresh look at the origins of modern Jewish literature, Frieden launches a new approach to literary studies, one that lies at the intersection of translation studies and travel writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Highlights: Sholem Beinfeld, regular co-host of The Yiddish Voice and professor emeritus at Washington University, St. Louis, shares thoughts on the new Trump administration as of March 5, 2025, one day after President Trump's first speech to Congress of his second administration. Rukhl Schaechter (שׂרה-רחל שעכטער), editor of Forverts (a/k/a the Yiddish Forward, פֿאָרווערטס), online at forward.com/yiddish, reflects on 25 years with this Yiddish institution, originally as a writer and now as its editor. She spoke with us on Zoom from her home in Yonkers on Nov. 24, 2024. (Previously aired Nov. 27, 2024) Music: Intro instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air date: March 5, 2025

Navigating the choppy waters of our inner Nile, where the Pharaoh of Negative Thought reigns supreme, Rabbi Bernath offers a sage map for the modern soul's Exodus. Picture this: an inner Pharaoh, all ego and no ear, refusing the logic we offer as liberally as matzah at Pesach. It's an ancient tale, yet as current as our latest tweet.Enter Moshe, our timeless hero, speaking Hebrew to a Pharaoh who's as lost in translation as a tourist without Google Maps. The catch? It's not about the words, but the Divine energy they carry, slicing through stubbornness like a hot knife through butter. Consider the Chafetz Chaim, whose Yiddish plea melted Polish hearts without a single word understood—a testament to the soul's language, transcending the babble of Babel.Then there's the 7/38/55 rule, a reminder that our vibes speak louder than our vocabulary. The body's ballet and the tone's tune tell tales our tongues can't touch.So when faced with our own Pharaoh—be it doubt, fear, or the Sunday Scaries—Rabbi Bernath advises a strategy as bold as it is biblical: Speak in your soul's native tongue. No translation needed. For it's not the clarity of argument, but the purity of our Divine essence, that can topple tyranny within.In essence, Rabbi Bernath suggests, when logic's light dims and reason's ropes fray, it's time to unfurl the banner of our inherent holiness, declaring our truths in a language beyond words. Like Moshe, we stand before our inner Pharaoh not to debate, but to demonstrate—a conduit of Divine will, unyielding and unfiltered.In doing so, we don't just speak to our shadows; we illuminate them, transforming the inner Egypt into a land flowing with milk, honey, and the sweet freedom of self-mastery. So let's raise our staffs, part our personal Red Seas, and march towards a promised land of inner peace and purpose, one holy utterance at a time.Support the showGot your own question for Rabbi Bernath? He can be reached at rabbi@jewishndg.com or http://www.theloverabbi.comSingle? You can make a profile on www.JMontreal.com and Rabbi Bernath will help you find that special someone.Donate and support Rabbi Bernath's work http://www.jewishndg.com/donateFollow Rabbi Bernath's YouTube Channel https://www.youtube.com/user/ybernathAccess Rabbi Bernath's Articles on Relationships https://medium.com/@loverabbi

Jonah's got a new pair of specs, the WaPo has a new editorial policy, White Lotus, Severance, Rob studies and watches Tik-Tok, Reacher, and lots of Yiddish. Yep, it's a new GLoP.

Jonah’s got a new pair of specs, the WaPo has a new editorial policy, White Lotus, Severance, Rob studies and watches Tik-Tok, Reacher, and lots of Yiddish. Yep, it’s a new GLoP.

Merriam-Webster's Word of the Day for February 18, 2025 is: chutzpah • KHOOTS-puh • noun Chutzpah is audacious boldness often paired with reckless self-confidence. Someone with chutzpah dares to do or say things that seem shocking to others. // It took a lot of chutzpah to stand up to her boss the way she did. See the entry >1. list text here Examples: “... [Anne] Hathaway is not easily talked out of things she believes in. She took drama classes, understudied future Tony winner Laura Benanti in a production of Jane Eyre at 14, and had the chutzpah to write to an agent with her headshot at 15.” — Julie Miller, Vanity Fair, 25 Mar. 2024 Did you know? The word chutzpah has been boldly circulating through English since the mid-1800s. It comes from the Yiddish word khutspe, which comes in turn from the Hebrew word ḥuṣpāh. The ch in chutzpah indicates a rasping sound from the back of the throat that exists in many languages, including Yiddish. That sound is not part of English phonology, so it follows that the c is sometimes dropped in both the pronunciation and spelling of the word. Some speakers of Yiddish feel that chutzpah has been diluted in English use, no longer properly conveying the monumental nature of the gall that is implied. A classic example can be found in Leo Rosten's 1968 book The Joys of Yiddish, which defines chutzpah as “that quality enshrined in a man who, having killed his mother and father, throws himself on the mercy of the court because he is an orphan.”

Merriam-Webster's Word of the Day for February 18, 2025 is: chutzpah • KHOOTS-puh • noun Chutzpah is shameless or disrespectful boldness often paired with reckless self-confidence. Someone with chutzpah dares to do or say things that seem shocking to others. // It took a lot of chutzpah to stand up to her boss the way she did. See the entry > Examples: “... [Anne] Hathaway is not easily talked out of things she believes in. She took drama classes, understudied future Tony winner Laura Benanti in a production of Jane Eyre at 14, and had the chutzpah to write to an agent with her headshot at 15.” — Julie Miller, Vanity Fair, 25 Mar. 2024 Did you know? The word chutzpah has been boldly circulating through English since the mid-1800s. It comes from the Yiddish word khutspe, which comes in turn from the Hebrew word ḥuṣpāh. The ch in chutzpah indicates a rasping sound from the back of the throat that exists in many languages, including Yiddish. That sound is not part of English phonology, so it follows that the c is sometimes dropped in both the pronunciation and spelling of the word. Some speakers of Yiddish feel that chutzpah has been diluted in English use, no longer properly conveying the monumental nature of the gall that is implied. A classic example can be found in Leo Rosten's 1968 book The Joys of Yiddish, which defines chutzpah as “that quality enshrined in a man who, having killed his mother and father, throws himself on the mercy of the court because he is an orphan.”