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June 2017

„גייען זיי אין די שוואַרצע רייען‟ פֿון שׂרה גאָרבי

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אויף „יו־טוב‟ קען מען זען אַ סך פֿילמען, אין וועלכע געניטע זינגער שטעלן פֿאָר ייִדישע לידער. ס׳איז אָבער דאָ עפּעס אוניקאַל אין דעם ווידעאָ פֿון שׂרה גאָרבי, אין וועלכן זי זינגט מאַני לייבס „גייען זיי אין די שוואַרצע רייען‟, באַגלייט פֿון אַ פּויק, וואָס זײַנע ריטמישע קלעפּ שפּיגלען גוט אָפּ דעם אומעט פֿונעם ליד.

דער פֿילם איז אַ טייל פֿון אַ קאָנצערט פֿון חורבן־לידער, וואָס גאָרבי האָט געהאַלטן אין פּאַריז אין 1966. לייב האָט לכתּחילה אָנגעשריבן דאָס ליד וועגן די ייִדישע פּליטים פֿון פּאָגראָמען בעת דער ערשטער וועלט־מלחה אָבער ס׳איז שפּעטער אַדאַפּטירט געוואָרן ווי אַ חורבן־ליד.

אויך זייער רירנדיק איז גאָרביס אומפֿאַרגעסלעכער נוסח פֿון מאַרק שוויידס „מודה אַני‟ אינעם זעלביקן קאָנצערט, אין וועלכן זי ווערט באַגלייט פֿון דרײַ „קרישטאָל־אָרגלען‟ — אינסטרומענטן, וואָס פּאַסן זיך פּערפֿעקט צו צו איר קול. די מוזיק צו ביידע לידער האָט געשאַפֿן מיכל געלבאַרט.

שׂרה גאָרבי (פֿון דער היים גאָרבאַך) איז געבוירן געוואָרן אין קעשענעוו, בעסעראַביע אין 1900. זי האָט זיך געלערנט אין אַ מוזיק־קאָנסערוואַטאָריע אין יאַס צו 17 יאָר, און האָט זיך דערנאָך באַזעצט אין פּאַריז מיט איר מאַן. אין 1940 איז זיי געלונגען צו אַנטלאָפֿן קיין האַיִטי און דאָס פּאָרל האָט זיך דערנאָך באַזעצט אין ניו־יאָרק, וווּ זי איז געוואָרן אַ פּאָפּולערע זינגערין אויף ייִדיש, רומעניש און רוסיש. אין 1948 האָט זי געמאַכט אַ קאָנצערט־טור אויף ייִדיש איבער די „די־פּי״־לאַגערן פֿון אייראָפּע.

אין פּאַריז האָט זי אַרויסגעלאָזט אַלבאָמען אויף ייִדיש, פֿראַנצויזיש און רוסיש. נאָך דעם, וואָס זי האָט באַזוכט ישׂראל, האָט זי צוגעגעבן צו איר רעפּערטואַר אַ ריי לידער אויף העברעיִש און דזשודעזמאָ. אין 1960 האָט זי אָנגעהויבן אַ צוויי־יאָריקן טור איבער דרום־אַמעריקע און האָט בעת אַ וויזיט אין בוענאָס־אײַרעס פֿאַרענדיקט דרײַ אַלבאָמען אויף רוסיש, ייִדיש און ציגײַנעריש. זי איז געשטאָרבן אין 1980 אין פּאַריז.

Read more: http://blogs.yiddish.forward.com/oyneg-shabes/204711?utm_source=Sailthru&utm_medium=email&utm_campaign=New%20Campaign&utm_term=Oyneg%20Shabes#ixzz4l9OA1yDi

Concentration Camp: The Eichmann Trial and the Origins of Punk Rock

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Donald Trump might Make Punk Great Again, but in America, it was traumatized, and defiant, Jews who made it
By Steven Lee Beeber

It’s 3 a.m. in The Blue Room and the audience is sweaty with joy.

The Modern Lovers’ high-strung leader, Jonathan Richman, has just left the stage, his Nice-Jewish-Boy songs about being “in love with the Old World” having been delivered in the manner of his musical hero, the Not-So-Nice Jewish founder of the Velvet Underground, Lou Reed. In his place now are two ethnic-looking guys, one short, staring at the crowd, the other tall, carrying the kind of cheap organ that comes with preset Salsa and Cha Cha beats. The audience stares back, expecting the usual rock foreplay, the twang-twang of tune-up, the “sibilance” of sound check.

Suddenly the short guy leaps offstage and approaches the audience. In one hand he holds a microphone. In the other a knife. The crowd pulls back, realizing that he also has a chain looped around his neck. There’s the sound of some menacing alarm going off, a two-note organ pattern, insistent.

“Argggh,” a woman cries, rushing for the exit.

But the knife-wielding maniac is blocking her way, threatening anyone who tries to leave. And he’s whispering into the mic, yelping, whispering again, desperate, as if he’s being tortured, some sick story-song, Frankie picked up a gun, pointed it at the six-month-old in the crib…”

It goes on for five, 10, 20 minutes, the boos starting to rise. Then another song, and another, the boos increasing. When it’s over, nobody applauds.

That was Suicide’s debut at New York’s Mercer Arts Center, 1973. Or as the singer with the knife, Alan Vega, described it nearly 40 years later, the aural equivalent of Treblinka.

***

When Vega died this past July, he finally got his applause. There was a eulogy from the Boss and an obit in the Times, the usual lines being trotted out—he was more influential than commercial, ahead of his peers, an uncompromising artist, a forebear of punk rock. An even greater outpouring of words had appeared just weeks earlier to commemorate the 40th anniversary of the Ramones’ first album. If Vega was a forebear, the Ramones were the true article, a kind of Ur Punk band. The excitement around the revolution they kicked off reached a fever pitch in England, where the capital—officially declaring itself Punk London—hosted a series of museum exhibits, roundtables, and lectures, in the process igniting a debate over the appropriateness of institutionalizing a movement seemingly dedicated to anarchy. One punk heir even burned a $1 million worth of artifacts in protest, simultaneously giving the finger to both the city and the burgeoning punk-archive industry at Yale, NYU, the New York Public Library, and the British Library.

What is it about punk that continues to generate such interest? Decades on, where are the anniversaries for bubble gum, glam, or psychedelia? No, only punk stands out as truly worthy of our attention. Punk speaks to our times. But why?

Perhaps it has something to do with what’s been left out of the story. When those obits for Vega appeared, almost none mentioned that bit about Treblinka. Or the fact that Vega—born Boruch Alan Bermowitz—was raised in an Orthodox Jewish home, that his father was a refugee of Hitler’s Europe, that he married a Holocaust survivor, considered fighting for Israel in the Yom Kippur War, name-checked Dachau in song, and mocked neo-Nazi skinheads, having his nose broken repeatedly for his efforts.

The same was true of those articles about the Ramones. Almost none noted that half the band’s members (Joey and Tommy) were Jewish, or that Tommy was a son of Holocaust survivors, or that the group came from the same Jewish middle-class neighborhood, Forest Hills, that gave us Simon and Garfunkel.

As with Vega, the articles about the Ramones emphasized the state of New York in the early ’70s, focusing on economic devastation and lack of hope. In doing so, they failed to see the city in its totality. For as no less an authority than Lenny Bruce—the punks’ favorite comic—put it, “It doesn’t matter if you’re Catholic—if you’re living in New York, you’re Jewish.” This was especially true in the period during which the punks were coming of age, the 1950s and ’60s, when NYC was the most Jewish city in the world. With a population of Jews larger even than Tel Aviv, it’s not surprising that a Jewish attitude should have prevailed there. It was in the shrugs of the neighborhood deli, the one-liners of the street-corner smartass, the red-diaper-baby politics of cranky uncles.

In 1961, a shadow was cast over the city that touched everyone, but Jews especially, which explains not just why punk is still relevant but why it appeared in the first place. It was that year that ABC first aired a criminal trial in its entirety. The defendant was Adolf Eichmann, one of the chief engineers of Hitler’s so-called Final Solution. Every day throughout that spring, the grisly details of the Nazi genocide were broadcast into New Yorkers’ homes. Questioned by Israeli prosecutors, witnesses described the selections for the gas chambers, the experiments on twins, the starvations and beatings and plans to work inmates to death.

Up until that point, the horror that we now call the Holocaust had been little known. There’d been a seeming collusion of silence immediately following the war, a numbed inability to speak. Now, 16 years later, the gag was ripped off. Day after day, television viewers were subjected to a kind of nightmare soap opera, one in which people were turned into soap. If they were appalled, they were also riveted—especially those most loyal TV viewers, children. Among those children were future Jewish punk legends such as Jeffrey Hyman (Joey Ramone), Tamas Erdelyi (Tommy Ramone), Lenny Kaye (the Patti Smith Group), the Dictators (all Jewish), Chris Stein (Blondie), Lou Reed (Velvet Underground), and Martin “Reverby” Rev (Vega’s partner in Suicide). Along with them were their slightly older “siblings,” future proto-punk performers such as Vega, Genyusha Zelkowitz (Genya Ravan), and Tuli “Naphtali” Kupferberg (the Fugs). They in turn were joined by pivotal behind-the-scenes players such as Danny “Feinberg” Fields (manager of the Ramones, Iggy Pop, Jonathan Richman, etc.), Seymour Stein (founder of the record company that broke many of the bands), Hillel “Hilly” Kristal (owner of CBGB’s, the club where punk was born), Bob Gruen (one of the many Jewish photographers who chronicled the scene), and Sandy Pearlman (mastermind behind the Dictators, producer of the Clash, and one of the main architects of the new, mostly-Jewish-penned, rock writing that championed the music).

If the youngest viewers were raised in the cathode shadow of the Holocaust, the oldest came of age in it. Some like Genya were themselves Holocaust survivors, while others like Tommy and Vega were the children of survivors. Then there was Richard (Meyers) Hell, often credited with creating the punk look, who with his punk anthem “Blank Generation,” band The Voidoids, and “Please Kill Me” T-shirt, exhibited a nihilism and self-destruction more often associated with guilt-ridden survivors.

In a kind of parody of a then-popular bread commercial (“You don’t have to be Jewish to like Levy’s Rye”), there were also non-Jewish punk rockers who seemed to identify with the trauma. Iggy “Osterberg” Pop (then known as Iggy Stooge) had a father who’d been adopted by two Jewish sisters, and himself dated Jewish women almost exclusively. When one of these came to see an early show, he surprised her with what he thought would be a welcome addition to his performance, a piece he dubbed “The Murder of the Virgin,” in which his bassist, dressed in a Nazi uniform, whipped and stomped on his bloodied chest. Patti Smith, who co-founded her group with the Jewish music critic Lenny Kaye, opened both her early shows and her debut record intoning, “Jesus died for somebody’s sins, but not mine.” And John Holmstrom, co-founder of PUNK magazine, drew a comic in which the nihilistic Richard Hell did battle with “Nazi dykes.”

Still, in general, it was the Jews who were most affected by the Holocaust and who reacted by acting out. Lou Reed crooned of “dead bodies piled up in mounds” and the “ghost bloodied country … in the east.” Jonathan Richman wrote though never released a song comparing the trains from the Jewish suburb of Scarsdale to those heading for the death camps, and in concert introduced “Hospital”—about a girl suffering a nervous breakdown—as really being about the “Jewish American Princess concept.” Sandy Pearlman, who died less than a week after Vega, created both Blue Oyster Cult and the Dictators, in the former giving the albums names like Secret Treaties (a reference to an alleged conspiracy between American and German Jewish armament dealers to profit from WWII), and in the latter, despite the band’s protests, including the Henny Youngman-style studio chatter of lead singer Handsome Dick Manitoba (“With my vast financial holdings I could have been basking in the sun in Florida. This is just a hobby for me … ya hear?!”).

The post-Holocaust Jewish influence on punk could be felt too as it broke in England. Malcolm McLaren, who briefly managed the New York Dolls, took what he saw as the Jewish energy of New York and translated it into the Sex Pistols, particularly the Irish outsider Johnny Rotten (McLaren had wanted the Jews Richard Hell and Sylvain (Mizrachi) Sylvain instead). The Sex Pistols’ song “Belsen Was a Gas,” while in poor taste, could be read as an ironic send-up of the Nazis’ deadly seriousness, just as their bassist’s predilection for wearing swastika T-shirts could be viewed as the same, especially when one sees him doing so next to his Jewish-American girlfriend, Nancy Spungen. McLaren’s protégé, Bernie Rhodes, meanwhile, took his intense interest in leftist politics and used it to encourage Joe Strummer to stop writing pub rock and start creating “political songs” for the Clash—a band that initially not only sounded like the Ramones (see “White Riot”), but, like them, was half-Jewish (founding members Mick Jones and Keith Levene).

Is it any surprise that the kids who’d viewed the Eichmann trial created bands like the Dictators and Shrapnel, songs like “Master Race Rock” and “Blitzkrieg Bop,” and lyrics such as: “First rule is, the laws of Germany; second rule is, be nice to mommy; third rule is, don’t talk to Commies; fourth rule is, eat kosher salamis.” In her essay “Notes on Camp,” Susan Sontag proposes that Jews and gays react in unique ways to oppression: Jews with the weapon of “moral seriousness,” gays with the irony of “camp.” The Jews who made up the world of punk created a new sensibility—a kind of concentration camp. When Joey Ramone, in “Bonzo Goes to Bitburg,” attacked President Ronald Reagan for visiting a cemetery full of SS dead, he wasn’t just making a political statement; he was undercutting the deadly seriousness of the fascist enterprise. No wonder one of the biggest songs by the Dictators was “The Next Big Thing”—and not just because of the much-quoted brag “We knocked ’em dead in Dallas, they didn’t know we were Jews,” but even more so for the sentiments expressed in its opening lines: “I used to shiver in the wings, but then I was young. I used to shiver in the wings, then I found my own tongue.” Like Chris Stein of Blondie, who, according to lead singer Debbie Harry, collected Nazi memorabilia to show “the Jews had won,” the five Jews in the Dictators were taking back their lives from the silence. They were saying that they’d won, that they laughed in the face of their one-time oppressors.

Punk is a galvanizing force that rises in opposition to oppression and injustice. If it’s taken Trump and his administration’s accompanying anti-Semitism to remind us of punk’s importance, so be it. As The New York Times noted in a recent article about political resistance among poets, “The singer-songwriter Amanda Palmer roused the audience when she said President Trump might make punk rock great again.” After all, Palmer should know. Though the Times didn’t mention it, she’s most celebrated as the founder of an influential punk-cabaret duo from the early 2000s. Its name? The Dresden Dolls.

לידער פֿונעם איין־און־איינציקן פּאָעט מרדכי געבירטיג

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די טעג פֿאַלט אויס דער 75סטער יאָרצײַט פֿונעם גרויסן ייִדישן פּאָעט מרדכי געבירטיג ז׳׳ל, וועלכער איז דעם 4טן יוני 1942 אומגעקומען אין דער קראָקאָווער געטאָ.

אַ לעגענדאַרע פּערזענלעכקייט אין דער וועלט פֿון ייִדישער מוזיק בעת זײַן לעבן, איז ער אין דער זעלביקער צײַט געווען אַ פּשוטער סטאָליער, וואָס האָט אין זײַן פֿרײַער צײַט געשריבן לידער וועגן די אָרעמע ייִדן פֿון קראָקע, וווּ ער האָט געוווינט זײַן גאַנץ לעבן.

ס׳איז שווער אויף איין פֿוס איבערצוגעבן די וויכטיקייט און השפּעה פֿון געבירטיגס לידער. אויף דעם וואָלט מען געדאַרפֿט אַ גאַנצן אַרטיקל, צי אַ דאָקומענטאַר־פֿילם. ס׳איז כּדאַי פּשוט צו דערמאָנען, אַז פֿון אַרום 100 לידער זײַנע וואָס זענען אונדז פֿאַרבליבן, הערט מען אָפֿט כאָטש אַ טוץ פֿון זיי און זיי בלײַבן צווישן די סאַמע באַקאַנטסטע ייִדישע לידער איבער דער גאָרער וועלט.

געבירטיג, אַזוי ווי מאַרק וואַרשאַווקסי פֿאַר אים, האָט געשריבן וועגן אַ ריי טעמעס, פֿון אַקטועלע פּאָליטישע (אַרבעטלאָזיקייט, אַנטיסעמיטיזם, דעם חורבן), ביז ייִדישע (לידער וועגן שבת, חדר־ייִנגלעך און ייִדישע מאַמעס), ווי אויך מער אוניווערסאַלע (די פֿריידן און לײדן פֿונעם עלטער ווערן, אַ בענקשאַפֿט נאָך פֿאַרלוירענע חבֿרים, און ליבעסלידער). זײַנע לידער האָבן פֿאַרקערפּערט אַ מאָדערנעם צוגאַנג צו דער ייִדישער קולטור; זיי דריקן אויס אַ באַהאַוונטקייט אין דער ייִדישער טראַדיציע אָבער זענען אויך פֿעסט אײַנגעוואָרצלט אין דער מאָדערנער וועלט. די ברייטע גאַמע פֿון זײַנע טעמעס, צוזאַמען מיט דער וואַרעמקייט, מיט וועלכער ער האָט באַשריבן די ייִדישע מאַסן האָט אים געמאַכט אַן אַוניקאַלע פֿיגור אין דער ייִדישער מוזיק.

ס׳רובֿ פֿון געבירטיגס באַקאַנטסטע לידער האָט מען אַרויסגעגעבן ווי אַ בוך נאָך אין די 1930ער יאָרן. געוויסע, אָבער, בפֿרט די וואָס ער האָט אָנגעשריבן שוין אין דער קראָקאָווער געטאָ, זענען באַקאַנט געוואָרן ערשט נאָך דער מלחמה, ווען מע האָט געבראַכט זײַנע מאַנוסקריפּטן קיין אַמעריקע, וווּ זיי געפֿינען זיך הײַנט אינעם „ייִוואָ‟־אינסטיטוט אין ניו־יאָרק. זינט די 1950ער יאָרן האָט מען אַרויסגעלאָזט איבער פֿופֿציק אַלבאָמען, אין וועלכן מע זינגט בלויז זײַנע לידער. אַחוץ דעם האָבן כּמעט אַלע באַקאַנטע ייִדישע זינגער אַרײַנגענומען כאָטש אַ פּאָר פֿון זײַנע לידער אין זייער רעפּערטואַר. אָט זענען נײַן פֿון מײַנע באַליבטסטע רעקאָרדירונגען און ווידעאָס פֿון געבירטיגס לידער.

1. דניאל קאַהן: „אַרבעטלאָזער מאַרש‟:

(אויבן) אַן אַקטיווער בונדיסט, האָט געבירטיג אָפֿט באַשריבן די סאָציאַלע פּראָבלעמען פֿון זײַן צײַט, אַרײַנגערעכנט די אַרבעטלאָזיקייט, וואָס האָט געהערשט אין די 1930ער יאָרן. אין זייער אַ שטאַרקן נוסח פֿון זײַן „אַרבעטלאָזער מאַרש‟ שטעלט דניאל קאַהן און זײַן קאַפּעליע פֿאָר „דער באַפֿאַרבטער פֿויגל‟ — געבירטיגס ליד אויף ייִדיש און ענגליש אין אַ מאָדערנעם סטיל, מיט שטאַרקע השפּעות פֿון בערטאָלד ברעכט.

2. לעאָ פֿולד: „משהלע‟.

דער „קעניג פֿונעם ייִדישן ליד‟, ווי מע האָט גערופֿן דעם זינגער, האָט ליב געהאַט צו עקספּערימענטירן מיט פֿאַרשידענע מוזיקאַלישע סטילן. אין דעם פֿאַל באַגלייט אים אַן אַראַבישע קאַפּעליע. ניט געקוקט אויף דעם, איז זײַן נוסח פֿון געבירטיגס „משהלע‟ זייער אַ טראַדיציאָנעלע.

3. עמי פֿלאַמער און משה לייזער: „דרײַ טעכטערלעך‟.

זייער אַ שיינער קלעזמער־נוסח פֿון געבירטיגס באַליבטן ליד פֿון פֿראַנקרײַך.

4. בענטע קאַהאַן: „עס ברענט‟.

מחוץ דער ייִדיש־רעדנדיקער וועלט איז „עס ברענט‟ זיכער געבירטיגס באַקאַנטסט ליד. כאָטש ער האָט עס אָנגעשריבן אין 1936 וועגן אַ פּאָגראָם, איז עס געוואָרן איינס פֿון די פּאָפּולערסטע לידער אין די געטאָס און לאַגערן בשעתן חורבן און מע זינגט עס עד־היום אויף חורבן־חזכּרות איבער דער גאָרער וועלט. בענטע קאַהאַנס נוסח פֿונעם ליד איז מײַן באַליבטסטע.

5. מאַנפֿרעד לעם: „אין געטאָ‟.

כאָטש ווייניקער באַקאַנט ווי זײַנע אַנדערע חורבן־לידער איז געבירטיגס „אין געטאָ‟ זייער אַ רירנדיק און וויכטיק ווערק, וואָס איז כּדאַי צו הערן. מאַנפֿרעד לעם, אַ דײַטשישער זינגער, אַרבעט שוין איבער 20 יאָר, פֿירנדיק טורן פֿאַר דײַטשישע קינדער אין קראָקע, כּדי זיי זאָלן זיך באַקענען מיט מרדכי געבירטיגס ווערק.

6. אַלפֿרעד שרײַער: „דאָס גאָלדענע לאַנד‟.

מע הערט הײַנט זעלטן, צום באַדויערן, דעם פּשוטן פֿאָלקסטיל פֿון די אַמאָליקע מיזרח־אייראָפּעיִשע ייִדישע זינגער. אָט זינגט אַלפֿרעד שרײַער, אַ תּושבֿ פֿון לוויוו, געבירטיגס ליד „דאָס גאָלדענע לאַנד‟ אין זיין שיינעם פּשוטן סטיל.

7. ריזע איגעלפֿעלד: „אַבֿרהמל דער מאַרוויכער‟.

אויף אַן ענלעכן אויטענטישן פֿאָלקסישן אופֿן האָט ריזע איגעלפֿעלד פֿאָרגעשטעלט געבירטיגס „אַבֿרהמל דער מאַרוויכער‟ אויף אַן אָוונט בײַם „לאָס־אַנדזשעלעסער קולטור־קלוב‟ אין 1998 געווידמעט געבירטיגס קולטור־ירושה.

8. מרדכי־צבֿי ראָסל: „קינדער־יאָרן‟

געוויינטלעך האַלט איך אַז דאָס זינגען ייִדישע לידער אין אַ קלאַסישן סטיל קלינגט איבערגעטריבן, בפֿרט מיט אַזעלכע פֿאָלקסטימלעכע לידער ווי געבירטיגס „קינדער־יאָרן‟. מרדכי־צבֿי ראָסל איז אָבער אַזאַ טאַלאַנטירטער זינגער, אַז דאָס ליד ווערט בײַ אים פֿאַרוואַנדלט אין אַן איבערלעבונג, וואָס איז כּדאַי ניט צו פֿאַרפֿעלן. מיט זײַן באַסאָוון קול ווערט מען אַריבערגעפֿירט אין די „קינדער־יאָרן‟ פֿון קינדער פֿון אַ פֿאַרגאַנגענער וועלט.

9. טעאָדאָר ביקעל ז׳׳ל און טאַמאַראַ בראָקס ז׳׳ל: „הוליעט, הוליעט קינדערלעך‟.

איינס פֿון געבירטיגס אוניווערסאַלע לידער, „הוליעט, הוליעט קינדערלעך‟ ווערט דאָ געבראַכט פֿאַר אַ גרעסערן עולם אין טעאָדאָר ביקעלס פּרעכטיקן צוויי־שפּראַכיקן נוסח פֿונעם ליד.

Read more: http://blogs.yiddish.forward.com/oyneg-shabes/204464?utm_source=Sailthru&utm_medium=email&utm_campaign=New%20Campaign&utm_term=Oyneg%20Shabes#ixzz4kZI3ni91

First Kendrick Lamar, Now Kodak Black — Another Rapper Goes Hebrew Israelite

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Weeks after Kendrick Lamar surprised some listeners by calling himself an Israelite, another celebrity rapper has done the same.

Kodak Black may have just gone Hebrew Israelite.

In a string of Instagram posts this month, the 20-year-old rapper told his millions of followers that he is now an Israelite — specifically from the tribe of Levi. In one photo, Black posed in a suit while wearing a Star of David pendant. One photo was partially captioned: “I Can’t Lie I’m #Israel #12TribesOfIsrael #Levite.”

Hebrew Israelites are people of color, mostly but not all African American, who identify as the true descendant of the biblical Israelites. The movement is diverse and has multiple branches or denominations. Some high profile celebrities have recently referenced or embraced this identity, including Lamar and basketball star Amar’e Stoudemire.

Black’s reference to being a Levite stems from a popular Hebrew Israelite teaching that specific nationalities are descended from the Twelve Tribes of Israel. Haitians, according to a widely circulated “tribe chart,” are descended from the tribe of Levi.

Black was introduced to this belief and others while serving a jail sentence in Florida. A teacher known as Priest Kahan, who conducts prison ministry in the state, made contact with Black and studied scripture with him.

“Kodak Black is another individual who has unfortunately been caught up in the system,” Kahan told the Forward in a phone interview. “He’s facing so much temptation.”

Kahan now leads a Hebrew Israelite congregation that, according to its website, “observe[s] and teach[es] the laws and statutes of the Most High through Hamashiach Yahawashi,” using a Hebrew name for Jesus and describing him as the Messiah.

Kahan met with Black half a dozen times over the course of the rapper’s imprisonment. “I just tried to enlighten him,” he said. “This is new to him.”

Black served 97 days in jail for violating house arrest in relation to another case. He was released on June 5.

by: Sam Kestenbaum
Source: Forward.com

Malpes Mit Tzeklapte Kep (Monkeys and head injuries), song based on “Five Little Monkeys Jumping On The Bed”

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A beautiful children’s song performed in Yiddish by Bobe Adina.

Monkeys and head injuries – Based on the famed  rhythmic poem ‘ 5 little monkey’s jumping on the bed… ‘, it makes for an arithmetical lesson as each falls from the bed and hurts their head. Mom wants to have them all in bed so she can go to rest as well.

Malpes Mit Tzeklapte Kep

Finf kleyne malpalakh bodn zikh – a vane
Vern reyn un tuen on – a sheininke
pizhame
Putzn oys di tzeindlakh – farkamen zikh
oykh sheyn
Leygn zikh in betl, darfn shlofn geyn.

Ober:
Finf kleyne malpalakh shpringen oyfn bet
Shpringen (2) – oy, s’iz zeyer shpet!
Shpringen vayter, shpringen un eyns falt
arop
Git a kuk do ale – er tzeklapt zayn kop!
zi tzeklapt ir kop!

Di mame klingt dem dokter – un der dokter
zogt:
“Men tor nit shpringen – men tzeklapt di
kop!”

4 kleyne malpalakh…
3 kleyne malpalakh…
2 kleyne malpalakh…

Ein kleyne malpale shpringt nokh oyf ir
bet
Shpringt (3)… oy… s’iz zeyer shpet!
Shpringt zi vayter, shpringt zi, un zi falt
arop.

Itzt ale malpes mit tzeklapte kep
Lign – darfn shlofn – un di mame bet:
“Kinder, shloft, zayt ruik – kh’vil fun dem
avek
Kh’darf zikh oykh glaykh leygn – kh’vil
arayn in bet.
A gute nakht!”
Sh…

Translated and modified to Yiddish by Adina Cimet. This CD is not for sale.

Malpes Mit Tzeklapte Kep (Changuitos que Golpearon su Cabeza), canción basada en “Cinco Monitos Saltando En La Cama”

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Una hermosa canción infantil interpretada en Yiddish por la Bobe Adina.

Changuitos que golpearon su cabeza – Canción a manera de jazz que describe 5 changuitos después de vanarse y en pijama, brincando en la cama donde cada vez uno se cae… la mamá llamando al médico, los regaña; hasta que les pide acostarse para ella poder irse a dormir.

Esta canción forma parte del disco “Talzi”, Canciones de Cri-Cri y tradicionales en Yiddish.

Malpes Mit Tzeklapte Kep

Finf kleyne malpalakh bodn zikh – a vane
Vern reyn un tuen on – a sheininke
pizhame
Putzn oys di tzeindlakh – farkamen zikh
oykh sheyn
Leygn zikh in betl, darfn shlofn geyn.

Ober:
Finf kleyne malpalakh shpringen oyfn bet
Shpringen (2) – oy, s’iz zeyer shpet!
Shpringen vayter, shpringen un eyns falt
arop
Git a kuk do ale – er tzeklapt zayn kop!
zi tzeklapt ir kop!

Di mame klingt dem dokter – un der dokter
zogt:
“Men tor nit shpringen – men tzeklapt di
kop!”

4 kleyne malpalakh…
3 kleyne malpalakh…
2 kleyne malpalakh…

Ein kleyne malpale shpringt nokh oyf ir
bet
Shpringt (3)… oy… s’iz zeyer shpet!
Shpringt zi vayter, shpringt zi, un zi falt
arop.

Itzt ale malpes mit tzeklapte kep
Lign – darfn shlofn – un di mame bet:
“Kinder, shloft, zayt ruik – kh’vil fun dem
avek
Kh’darf zikh oykh glaykh leygn – kh’vil
arayn in bet.
A gute nakht!”
Sh…

Las canciones de Cri-Cri, son música original de Francisco Gabilondo Soler (Cri-Cri). Textos traducidos y modificados para su adaptación al Yiddish por Adina Cimet. El disco no está a la venta.

Di shisl un dos tepl (El Platón y la Olla), canción basada en “El Comal le dijo a la Olla”, de Cri Cri

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Una hermosa canción infantil interpretada en Yiddish por la Bobe Adina.

El Platón y la Olla – Canción basada en “El Comal le dijo a la Olla” de Francisco Gabilondo Soler, donde los dos objetos de la cocina se la pasan peleando y argumentando quién es mejor y más útil; hasta que deciden hacer la paz… ¡la mejor manera de convivir!

Esta canción forma parte del disco “Talzi”, Canciones de Cri-Cri y tradicionales en Yiddish.

Di shisl un dos tepl

Plutzling, in kikh, tzeshrayt zikh shtark a
shisl:
– Her du tepl, ruk zikh a bisl!
Oyb du meynst, vest do kenen zikh
onshparn
Makhst a toes – s’iz tzum lakhn.

Hot geentfert glaykh azoy in kas dos tepl:
– Azelkhe verter – un on a dekl!
S’kokht un paren zikh in mir di broynebeblekh
Zolst nit meynen vest do kenen take
Araynshtekn di tzeyndlakh!

Hot di shisl gedarshnt shtreng tzum tepl:
– Ze du taynest! Oy an ekl!
Mit dayn pare host fartushet mir mayn
glantzn
Itst hob ikh nit do kayn kheyshik tzu keyn
tantzn!

Oy, dos tepl hert un vert kimat
farkhalesht,
– Aza gayve – mamesh, mamesh!
Bist gekumen a genutste nit bavuste
On mayn esn bistu gornit kayn grand
dame a baputzte.

Un men hert vi s’redt vayter di shisl:
– Kum nit nenter – nit kayn bisl
Kh’bin a shisl – un mayn sheynkayt
onerkent,
Du a flader – vu alts vert bay dir farbrent.

Un der tsveyter hot geentfert mit a rash:
– Oy, geredt shoyn! Oy, a kaas!
– Oyb ikh khap dir makh ikh kashe fun dir
gikh,
S’leyent undz beser take sholem makhn
in kikh.

Hot di shisl a bisl zikh farroytlt
– Vilst dokh sholem – iz nem a broytl!
Kh’hof vest kenen genisn fun dem maykhl
Un glaykh filn di matone in dayn baykhl.

Hot dos tepl geredt shoyn gor un gikher
– Aza voyle – aza shtifn!
Host a gantze sho geplaplt – shist mit
fayer!
Un nor itzter veystu take vos iz zeyer (2)
tayer!

Las canciones de Cri-Cri, son música original de Francisco Gabilondo Soler (Cri-Cri). Textos traducidos y modificados para su adaptación al Yiddish por Adina Cimet. El disco no está a la venta.

Di shisl un dos tepl (The Platter and the Pot), song based on “El Comal le dijo a la Olla”, by Cri Cri

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A beautiful children’s song performed in Yiddish by Bobe Adina.

The Platter and the Pot – Both kitchen objects quarrel all the time to try to suggest who is the better one or the more useful one… until they decide to make peace, because it is the best way to live together.

Di shisl un dos tepl

Plutzling, in kikh, tzeshrayt zikh shtark a
shisl:
– Her du tepl, ruk zikh a bisl!
Oyb du meynst, vest do kenen zikh
onshparn
Makhst a toes – s’iz tzum lakhn.

Hot geentfert glaykh azoy in kas dos tepl:
– Azelkhe verter – un on a dekl!
S’kokht un paren zikh in mir di broynebeblekh
Zolst nit meynen vest do kenen take
Araynshtekn di tzeyndlakh!

Hot di shisl gedarshnt shtreng tzum tepl:
– Ze du taynest! Oy an ekl!
Mit dayn pare host fartushet mir mayn
glantzn
Itst hob ikh nit do kayn kheyshik tzu keyn
tantzn!

Oy, dos tepl hert un vert kimat
farkhalesht,
– Aza gayve – mamesh, mamesh!
Bist gekumen a genutste nit bavuste
On mayn esn bistu gornit kayn grand
dame a baputzte.

Un men hert vi s’redt vayter di shisl:
– Kum nit nenter – nit kayn bisl
Kh’bin a shisl – un mayn sheynkayt
onerkent,
Du a flader – vu alts vert bay dir farbrent.

Un der tsveyter hot geentfert mit a rash:
– Oy, geredt shoyn! Oy, a kaas!
– Oyb ikh khap dir makh ikh kashe fun dir
gikh,
S’leyent undz beser take sholem makhn
in kikh.

Hot di shisl a bisl zikh farroytlt
– Vilst dokh sholem – iz nem a broytl!
Kh’hof vest kenen genisn fun dem maykhl
Un glaykh filn di matone in dayn baykhl.

Hot dos tepl geredt shoyn gor un gikher
– Aza voyle – aza shtifn!
Host a gantze sho geplaplt – shist mit
fayer!
Un nor itzter veystu take vos iz zeyer (2)
tayer!

Translated and modified to Yiddish by Adina Cimet. This CD is not for sale.

“A Ketzl” (The Cat), song based on “El Gato de Barrio”, by Cri Cri

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A beautiful children’s song performed in Yiddish by Bobe Adina.

The Cat This cat lives happily in a neighborhood he knows well. He never wants to leave as he can describe all its inhabitants  and enjoys to see how the little children that return from school are met by the songs of dogs and chickens.. All the animals of the place.

A Ketzl

Kh’bin a ketzl vos dertzeylt aykh do a
mayse
Kh’voyn do in gegnt, lebn dem ployt.
Mitn tzingl lek ikh oys mayn kleyne lape
Oyf a tzerate, ru ikh zikh oys.

Vert bakant do mit mayn gegnt
Ikh bashrayb es – do bagegnt…
Shtendik tut zikh do a yontevl – hu ha!
Un nokhmitog ven di kinder
Kumen ale fun di shules
Kh’hob hanoe – ikh dertzeyl es akurat.

Vayl ikh dertzeyl aykh poshet un klor
Hert vos kh’zog, kh’bazing es mit mayn
lid
Oy… ikh dertzeyl aykh altz azoy klor
Mit pitchufkes, bizn letztn hor.

Dos ketzl miauket, varft un dreyt zayn ek,
Er vil nit tzien fun dort avek!
Er geyt shtendik oysgeputzt un
oysgetzvogn
Er vil nit hern, hot nit kayn shrek!

Un in ovnt ven di kinder
Geyen shlofn in di betn
Vet dos ketzl geyn shpatzirn – shpilt un
lakht!
Fun der vaytns hert men hintlakh
Un oykh tzvantzik gele hindlakh
Mit nigunimlakh oyf zeyer shprakh!

Translated and modified to Yiddish by Adina Cimet. This CD is not for sale.

A Ketzl (El gato), canción basada en “El Gato de Barrio”, de Cri Cri

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Una hermosa canción infantil interpretada en Yiddish por la Bobe Adina.

El Gato – Este gato vive contento en su colonia que conoce bien y de la que no quiere irse.  Sabe describir todo lo que pasa por allí y le encanta ver que los niños al regresar de la escuela, cuando reciben serenata de todos los animalitos del lugar.

Esta canción forma parte del disco “Talzi”, Canciones de Cri-Cri y tradicionales en Yiddish.

A Ketzl

Kh’bin a ketzl vos dertzeylt aykh do a
mayse
Kh’voyn do in gegnt, lebn dem ployt.
Mitn tzingl lek ikh oys mayn kleyne lape
Oyf a tzerate, ru ikh zikh oys.

Vert bakant do mit mayn gegnt
Ikh bashrayb es – do bagegnt…
Shtendik tut zikh do a yontevl – hu ha!
Un nokhmitog ven di kinder
Kumen ale fun di shules
Kh’hob hanoe – ikh dertzeyl es akurat.

Vayl ikh dertzeyl aykh poshet un klor
Hert vos kh’zog, kh’bazing es mit mayn
lid
Oy… ikh dertzeyl aykh altz azoy klor
Mit pitchufkes, bizn letztn hor.

Dos ketzl miauket, varft un dreyt zayn ek,
Er vil nit tzien fun dort avek!
Er geyt shtendik oysgeputzt un
oysgetzvogn
Er vil nit hern, hot nit kayn shrek!

Un in ovnt ven di kinder
Geyen shlofn in di betn
Vet dos ketzl geyn shpatzirn – shpilt un
lakht!
Fun der vaytns hert men hintlakh
Un oykh tzvantzik gele hindlakh
Mit nigunimlakh oyf zeyer shprakh!

Las canciones de Cri-Cri, son música original de Francisco Gabilondo Soler (Cri-Cri). Textos traducidos y modificados para su adaptación al Yiddish por Adina Cimet. El disco no está a la venta.