#sid yiddish

[remyfire]

what is that pet name you have sid calling hawk? i can't seem to find a translation anywhere and i'm curious!

Hello! :D This is a headcanon that my friend @siriusnebulae came up with for Sidney, and I was so in love with it that I adopted it immediately.

Zissele is a Yiddish term of endearment that essentially means "sweetie," with the -ele suffix making it diminutive. This is why it's more "sweetie" than "sweetheart."

That suffix, -ele, is one that's often attached to names to demonstrate that this is a person you are very close and endeared to. So you take Hawk, add the diminutive suffix, and you get Hawkele!

Another one we have comes from me being like "Man, it's a shame that 'kitten' has become such a meme of a nickname, because Hawk is so cat-like that I bet he would honestly be smug and preening if someone called him that. I just can't bring myself to use it seriously when writing him." So Sirius was like, "Well, what about ketzeleh? Yiddish for kitten." And I was immediately sold.

Notably these headcanons all really came about because Sirius had been looking for a term of endearment Sidney might use for Hawkeye and came across the word 'feygele,' which means 'little bird' and was used frequently as a fond name for young girls. Gradually, it became a disparaging term for gay men, but it subsequently began to be reclaimed and defanged. I believe we both headcanon Sidney as a gay man, so there was a lot of power in the thought of him not only reclaiming that term but introducing it to Hawkeye, Captain Sodom himself, who then takes it with incredible glee and relish, and it becomes quite a fond and sometimes teasing endearment from Sidney.

We both headcanon Hawkeye as having a Jewish mother—he uses Yiddish so frequently in the course of the series and shows what appears to be quite a reverence when witnessing the bris in S3's Life With Father—and Sidney is Jewish as well, so letting them have that connection was really meaningful for us. I especially headcanon that Hawk had no other connections to his Jewish heritage when his mother passed away. He recognizes the fondness in Sidney's voice when he first uses those endearments and feels an instant warmth as he realizes they're Yiddish, but he doesn't know what they mean until Sidney tells him. It becomes a moment of being seen between them both, and Hawkeye especially gets to really feel that sense of belonging that he sometimes has been missing when it comes to his heritage.

So yeah, now I'm hooked on that headcanon! Those are Sidney's Special Names for Hawkeye, so I am incapable of writing any other characters utilizing them fhdkdfs

[justforbooks]

All About Me!: My Remarkable Life in Show Business

Mel Brooks is the last comic in the world you can imagine wanting to be Hamlet – although, of course, that role is just another way of getting all the attention. He did play a Shakespearean actor in a 1983 remake of Ernst Lubitsch’s comedy To Be Or Not to Be, but otherwise the Danish you’re most likely to associate with Brooks is the kind you buy in a deli. Now 95, the comedian, screenwriter and director of such beloved spoofs as Blazing Saddles, Young Frankenstein and Silent Movie has written his autobiography. As the title might suggest, All About Me! is very much the work of the man who, as a young Jewish comic in the Borscht Belt resorts, got his break as a “pool tummler” (Yiddish for “entertainer”), his job to keep the guests happy and alert, and stop them falling asleep round the swimming pool.

Born Melvin Kaminsky, Brooks grew up in working-class Brooklyn, the youngest of four brothers, whose father died when he was two. There’s a priceless opening shtick about seeing Frankenstein as a boy, and worrying that the monster would get him; his mother reassured him that it would have to schlep all the way from Transylvania, find its way to get to South Third Street, then probably eat the Rothsteins downstairs first. The other childhood stuff is fairly mundane: memories of uncle Lee and religious fanatic Louie from Minsk, “clotheslines full of wet wash” and tributes to his mother, “a true heroine”.

Once Brooks enters showbiz, the period he devotes most attention to (45 pages, 15 more than his best-loved film, The Producers) is his long spell writing for TV comic Sid Caesar, an experience that comes across as both the dream and the nightmare of his existence, as traumatic as his wartime service clearing landmines. It was a joyful, frenzied, hugely stressful period that brought on anxiety attacks – not surprisingly, given Caesar’s volatility: he once held Brooks out of a window by his belt.

Despite the ensuing therapy, Brooks seems to have little self-awareness when it comes to his own behaviour: like the two occasions when he menaced a colleague into handing over everything in his pockets, the second time making him wade waist-deep in Central Park Lake. Brooks was simply one of life’s “wild beasts”, he says, but doesn’t look further into why certain clowns might have a touch of the sociopath, or just be a pain in the tuchus.

He’s good at remembering where jokes came from – like the 48th St impresario drying his underwear, a model for the flamboyantly squalid Max Bialystock in The Producers – but heavy weather when recalling gags and routines: “Nobody knew what was happening but it was absolutely hilarious”… “I don’t know how I held it together”… This is a book that is constantly corpsing. He’s not so hot at theorising, either: he became a clown for the time-honoured reason that “you don’t hit the kid that makes you laugh”; New York humour has “a certain intensity and a certain pulse”; and, bottom line, “Inept idiots will always be fun”. If you were Bialystock, you’d say: “OK kid, what else ya got?”

Not enough, alas, to make this an essential read. Among the minute recollections of each of his movies, there’s the odd morsel you may not have known (the deranged Nazi in The Producers was nearly played by Dustin Hoffman); but strangely, he leaves out the most outlandish story about Blazing Saddles, that screen siren Hedy Lamarr sued over her name being taken in vain, with its villain Hedley Lamarr. Nor is this the most revealing treasury of brushes with greatness: he recalls a joke shared with Bob Hope (“We both laughed. Life is funny”), advice and compliments from Alfred Hitchcock, walks with Caesar show colleague Woody Allen (“entertaining chatter”).

As for personal life, Brooks refers in passing to the end of his first marriage, with no mention of his first wife, Florence Baum. There are tender recollections of his long marriage to actor Anne Bancroft, but also an uncomfortable moment, more telling than intended: when Bancroft was having trouble rehearsing a scene, he told her: “You know what’s even harder? Writing!” When Bancroft died, Brooks says, “For a long time, I was inconsolable”, but then collaborators “pulled me out of my abyss of despair and we went to work on our next musical together” – a bizarre evasion of an emotional landmine, and perhaps the book’s most poignant moment.

Unless you’re a Brooks obsessive, or aching for a couple of transcripts of his very droll The 2000 Year Old Man ad libs with Carl Reiner, this is not the most gratifying read. Go back to his best movies instead: they’re sometimes uncomfortably dated, in places as creaky as Brooks’s knees must be. But you’d have to be Hedy Lamarr not to find them funny.

All About Me!: My Remarkable Life in Show Business by Mel Brooks is published by Century.

📷 Photo above: Brooks with his second wife, the actress Anne Bancroft.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[bigboxcar]

Mugshot Monday - "Patagonia, Argentina Sea Turtle" coffee mug with Morning Glory Signature Blend by Peace Coffee

I borrowed this rad little Sea Turtle mug from our friends Craig and Liz. My son is really good friends with their son.

It's really too small for anything more than a caffè macchiato, but I would always use it when we'd stop by and they'd share hot cocoa or hot apple cider.

Because every mug has a story, I of course asked about this one's.

Craig says, "There isn’t really a story. I think my mom picked it up in Argentina years back when my sister’s Klezmer band Yid Vicious was touring there."

OMG. That's an awesome story. I cannot explain the joy in my heart to discover there is a band named YID VICIOUS.

They're a fantastic Yiddish folk music band out of Madison, WI and Craig's sister Kia plays accordion and horns.

Yid Vicious have 4 records you can listen to on Spotify and Apple Music or you can play a handful of tracks on their website.

I'm thinking there may be some younger gens who have not discovered punk rock yet! You should know that *Sid* Vicious was the bassist for the English punk band Sex Pistols.

As far as the story of the mug, I unfortunately couldn't find anything online about the maker of this delightful little coffee mug.

I love the simplicity of the glaze and the texture of the unglazed clay body. I wish I knew who made it.

Thanks Craig for lending me this cool little cup. And I love this mug's story because now I have Yid Vicioious in my music library. Cheers! 😀 🪗 ☕️

See also also my 600+ photos from the Mugshot Monday project here: www.MugshotMonday.com – Every Mug Has A Story

[himbo-the-clown]

Okay yes I’m Jewish Father Brown posting again but I don’t yet have the time/energy to write my Jewish Inspectors fic and I want to project my Jewish Feelings onto these men so hear me out

Not only are all the inspectors Jewish, but they all deal with being Jewish in a heavily Catholic post-war small village in a different way

Valentine:

He’s kind of come to terms with the fact that antisemitism is just... part of his life. It’s gonna happen. He won’t actively antagonise anyone or flaunt that he’s Jewish, but he’s also not about to pretend to be xtian either

Yes he’s an atheist, yes he’s Jewish, no those two aren’t incompatible and he will be pissy about it if you ask him how he can be both. He’ll answer you, sure, but he’ll make it Very Clear he doesn’t appreciate it

Generally, he’s Not Here To Educate the xtians about Judaism

When he first meets Sullivan there’s a sort of moment of Recognition. He makes sure as he’s leaving to drop a hint that he’s also Jewish. Just so Sullivan knows that he’ll at least mostly be safe there

Okay so side tangent Sid headcanon that will become relevant: Sid’s Jewish. He was sent away during the Blitz (I’m estimating based on vague calculations that he was about 15 or so at the time) to an xtian family, and when his parents died he just sort of had to stay. So he was raised xtian and was never allowed to acknowledge that he was Jewish. I mean, most people can sort of tell and he gets stereotyped a lot for it, but he doesn’t know why because he’s just totally oblivious and the family he stayed with were Very Insistent that he was a good xtian boy and not a Jew and he ended up pretty much forgetting. He’s kind of heard hints of it from his grandmother when he gets to see her, but she wasn’t in a position to raise him and she thinks he’s probably safer not knowing

Anyway Valentine is very protective over Sid cause he sees this young Jewish guy who doesn’t even know that he has a whole culture, a whole family of people all over the country. A family who are collectively grieving. Sid doesn’t know what horrors have befallen his people (he knows what happened, but not that they’re His People). Valentine’s heart aches a bit whenever he thinks about it and he sort of vows to protect Sid in his own gruff way.

Valentine is proud of being Jewish but in a very quiet way. He’s not going to change himself to fit xtian society but also he’s sensible enough to know it’s a pretty bad idea for him to be Too Loud about it in Kembleford

Sullivan:

Oh this man fakes everything. He has never been authentic a day in his life. He pretends to be xtian, he pretends to be cishet, he pretends to be neurotypical. Nothing about how this man presents himself is authentic

He’s valid though, he knows the dangers of being different and he’s not about to give people a reason to hurt him

He’s from the East End of London, so he’s actually not used to hiding his Judaism as much. He’s from a heavily Jewish community and he was terrified when he got transferred to a small village

Why does he wear so much hair gel? Curls. Big springy Jewish curls. He can’t let people see them. He’s very very very strict about having hair gel in any time he leaves the house. Enough hair gel to keep his hair straight, which is a lot

He’s sort of... trying. To pretend to be xtian. But he’s really not very good at it. Like I said, he grew up in a heavily Jewish neighbourhood, he doesn’t know much about xtians other than, y’know, all the times they’ve oppressed the Jews. So he sort of goes to church when he remembers and tries to copy everyone else, but it doesn’t work very well. And he’ll pretend to celebrate Christmas but it doesn’t make much sense to him and he’s very uncomfortable

Most of his hostility towards Father Brown is because of the big alarm bells that go off in his head when he sees a priest in general. At all times he’s half expecting the Father to start talking about the “hypocrites in the synagogue” or some other equally thinly veiled antisemitism. He’s had Bad Experiences, he’s traumatised, and he’s having a Very Bad Time

He’s half envious of Sid and half pities him. Part of him wishes he was as ignorant of antisemitism and Judaism as Sid is, part of him wishes that Sid was as painfully aware of it as he is. But all of him feels a weird attachment to Sid because they’re both queer nd Jews, even if Sid doesn’t know it

He also sort of hates the Father for hanging out with Sid because he’s heard all the stories of priests stealing Jewish children to raise them xtian and while it’s not Quite the same situation with Sid, it’s a painful sort of echo of it, and he just desperately wants to save Sid, to teach him about who he is. And because of this mental association, seeing Sid do anything xtian feels like a punch to the stomach for him because it reminds him that Sid doesn’t know he’s Jewish

He got this sort of painful gut wrenching feeling when he saw Sid dressed as a priest. Like he felt physically sick even once he realised it was just an undercover job. It just hit way too close to home, especially with Sid not even knowing he’s not xtian

He’s calmed down a lot and is less jumpy by the time he leaves. He even thinks it’s a little funny when he finds out that the man taking over for him is also Jewish. He thinks about Valentine, he thinks about himself, he thinks about Mallory, and he thinks about how they’re sort of like a family. Almost like three generations, like being the Inspector is a family business. It makes him feel kind of warm and fuzzy in a way he hasn’t felt since his last Passover back in London with his whole family sitting around the seder table, and he can’t wait to have Passover with them again soon

Mallory (beloved bastard man):

He leans into it hard

Yeah, he’s Jewish, and what the fuck do you plan to do about it?

Durham has never really been known for it’s Jewish community, so he’s more than used to being the only Jew around

Part of why he’s such a horrible little bastard man is that he’s come to just accept Jewish stereotypes. His thought process is a little something like “if you’re going to accuse me of it anyway, I might as well do it”

He’s a stubborn guy, so he just decides to embody all the stuff people think he should be. Sure he’ll be annoying and rude and immoral and promiscuous and weak and all the other horrible things xtians think a Jewish man is

No he will not participate in xtian things if he can help it. He will not go to church, he will not celebrate Christmas unless he has to, he will not call Father Brown “Father”

He calls him “padre” because he refuses to call a priest “Father” it’s just too weird and xtian to him

He does NOT like Sid. He hates Sid a lot. He kinda blames Sid for not working harder to hold on to his Judaism (he’s Not valid for this, but it’s how he feels)

Anyway I’m not saying any of this is Good, but like.......let me have my Bad Jewish Representation

Also I like to think he speaks Yiddish :3

Anyway, one day I’ll write my Jewish Inspectors fic

[papermoonloveslucy]

SID MELTON

May 22, 1917 - November 2, 2011

Sid Melton (born Sidney Meltzer) played the roles of incompetent carpenter Alf Monroe in the CBS sitcom “Green Acres” and Uncle Charlie Halper, proprietor of the Copa Club, on “The Danny Thomas Show” and its spin-offs. He appeared in about 140 film and television projects in a career that spanned nearly 60 years. In addition to his work with Lucille Ball, he appeared in flashback on several episodes of “The Golden Girls” as Salvadore Petrillo, the long-dead husband of Sophia (played by Estelle Getty) and father of Dorothy (played by Beatrice Arthur).  His father was a Yiddish theater comedian. Sid was known for his short stature, 5′3″.  

In 1950, Melton appeared in the feature film remake The Lemon Drop Kid, also featuring “Lucy” actors William Frawley, Bob Hope, Ida Moore, Hazel Boyne, and Ben Weldon.  

In 1954, he made two appearances on the Desilu series “Our Miss Brooks” playing two different characters. He appeared alongside “Lucy” actors Eve Arden, Gale Gordon, Richard Crenna, and Hy Averback. 

Melton’s first encounter with Lucille Ball was in “Lucy Wins a Racehorse”  (LDCH S1;E4) aired on February 3, 1958. His short stature made him ideal to play one of the jockeys at Roosevelt Raceway. Although the show featured second unit footage on location, Melton’s riding sequences with Ball were filmed in Hollywood, without live horses. 

In November 1958, Melton returned to the “Westinghouse-Desilu Playhouse” for Lucille Ball’s only non-Lucy Ricardo performance on the anthology series, “K.O. Kitty.”  Melton played a crooked fight manager who later pulls a gun on Kitty (Lucille Ball)!  His partner in crime is played by Jesse White (above).  

Melton stayed on the Desilu lot to film two episodes of “The Ann Sothern Show” in early 1959. He played different characters in each episode and acted opposite Lucy’s pal Ann Sothern (naturally) and “Lucy” regular Charles Lane. To kick off the show’s second season in October 1959, Lucille Ball played Lucy Ricardo on a cross-over episode. 

In his second appearance on “The Lucy-Desi Comedy Hour,” “Lucy Goes To Alaska” (LDCH S2;E3), Melton played a bellboy at an unprepossessing hotel in Nome, Alaska. (Was Bobby Jellison not available?) Despite the location, Melton’s scenes were filmed in Hollywood. Red Skelton guest-starred on the episode, which was timed to coincide with Alaska’s statehood. 

In his final acting appearance with Lucille Ball, Melton was again cast for his diminutive stature as a construction worker named Shorty (although the nickname appeared only in the credits) in “Milton Berle Hides Out at the Ricardos” (LDCH S3;E1). He asks Milton Berle to autograph a photo, giving him a list of names for the inscription, the last being ‘Ruth', which was the first name of Milton Berle’s wife. 

Two months later, Melton played a Cab Driver on Desilu’s helicopter drama, “Whirlybirds.” 

1959 was a busy year for Melton.  That year he also began playing Charlie Halper on “The Danny Thomas Show”.  He did 93 episodes of the series over four years. 

Perhaps most memorably, Sid Melton played Alf Monroe on 30 episodes of CBS’s “Green Acres.” Alf and his sister Ralph (Mary Grace Canfield) were construction workers perennially working on the Douglas’s ramshackle home, particularly their sliding bedroom door. On the series, Melton worked alongside Lucille Ball’s dear old Barbara Pepper, as well as “Lucy” actors Bea Benadaret, Shirley Mitchell, Eleanor Audley, Jerry Hausner, and Parley Baer. The show’s stars, Eddie Arnold and Eva Gabor, both guest-starred on “Here’s Lucy.” 

CROSS-OVER CRAZINESS!

“Green Acres” was one of CBS’s rural sitcoms and existed in the same ‘world’ as “The Beverly Hillbillies” and “Petticoat Junction”.  It was not uncommon for characters to turn up on the other shows. During his stint on “Green Acres,” Melton did one 1968 episode of “Petticoat Junction,” although in this case he did not play Alf Monroe!

Just prior to his joining “The Danny Thomas Show,” The Ricardos and the Williams’ did a cross-over episode titled “Lucy Makes Room for Danny” (LDCH S2;E2) and Lucy and Desi returned the favor with “Lucy Upsets the Williams Household” (S6;E14). In 1970, Melton returned to the role of Charlie Halper for “Make Room for Granddaddy,” a series that Lucille Ball also guest-starred on in January 1971, playing Lucy Carter, her character from “Here’s Lucy.” To add to the meta-madness, from 1966 to 1969 Melton did four episodes of “Gomer Pyle U.S.M.C” as Friendly Freddy. The character of Gomer Pyle (played by Jim Nabors) turned up on “The Lucy Show” in November 1966, a month after Pyle confronted Lucy Carmichael.  

“For years I auditioned for producers and directors who would fall on the floor laughing, but then I'd never hear from them again. Go ask them why I'm not working. Believe me, there's a lot more to working steadily than being a name and delivering the laughs. There's a certain - let's call it kowtowing - that I'm not prepared to do.”

Sid Melton on “The Golden Girls” 

[lezet]

V.A.-"Covid-19 Compilation: Recorded Under Quarantine" out on FOREVER ESCAPING BOREDOM (USA)!!!

EB-111: COVID-19 COMPILATION: RECORDED UNDER QUARANTINE

39 artists from the Sunshine State and beyond recording under the duress of a pandemic.

Featuring:

Sloth, Male Model, Novasak, Elsie Shiro, Glaive, This Is What I Hear When You Talk, Su Sous Toulouse en Rouge, Hal McGee, Black Beast of Arrrghhh, Otolathe, {AN} Eel, Mental Anguish, Vasectomy Party, --minusminus, Aversion to Reality, Arvo Zylo, Ghosts of Dead Tables, Subaltern, RUBBISH, Chris Reierson, Lezet, Gain of Function, Rafael Flores, Sid Yiddish, Planet Shithead, Leandro Kalén, Lumpy's Quarantine Times String e.Band, Szymkowiak Joseph, Adam Naworal, Greathumour, Soloman Tump ft. Tom and Ed, Stonejaw, Matthew M. Conroy, AZOIKUM, Formaldehydra, KR Seward, Antropozoa, Thomas Park, and JLIAT.

bandcamp:

https://foreverescapingboredom.bandcamp.com/album/covid-19-compilation-recorded-under-quarantine

https://foreverescapingboredom.bandcamp.com/album/covid-19-compilation-recorded-under-quarantine

Lezet'scontribution:

2 x CD-R edition forthcoming.

Co-Presented by Forever Escaping Boredom and The S

[chiseler]

McVouty!

I first heard Slim Gaillard in a cramped little new and used punk rock record store just off South Street in Philadelphia in the mid-‘80s. You wouldn’t normally be expecting the spiked and leathered clerk in a place like that to be playing ’postwar jazz, but Gaillard was a different kind of finger-popping jazzbo, as singular a groovy beatnik punk rock wildman as they come.

Bulee “Slim” Gaillard’s early life, as he describes it, was as storied, fantastical, even mythical as Salvador Dali’s or an early 20th century boy’s adventure novel. Given official records are sparse, it’s just better and somehow more fitting to simply take him at his word. It only makes sense, really, and helps explain as well as anything how he became what he did.

The motormouthed madcap hepcat bebop comedy genius behind 1938’s “Flat Foot Floogie (with a Floy Floy),” a performer whose unexpected slips into rapid-fire Spanish, Arabic and Yiddish can at first sound like skilled mimicry, a kind of scatting Sid Caesar, was born in Cuba in 1916 to an Afro-Cuban mother and a German Jewish father. His father was a steamship steward who sometimes brought the young Gaillard along on ocean voyages to show him a bit of the world. But after a stop in Crete in 1928, the ship somehow sailed on half an hour earlier than scheduled, leaving the 12-year-old Gaillard behind. Completely alone and speaking only Spanish at the time, out of simple necessity he picked up enough Greek to get by for the next couple years. He also occasionally hopped aboard passing ships to visit the Middle East, where he likewise learned some Arabic and became enamored with the people, the music and the culture. Then at 16, deciding it was about time he returned home to see his parents again, he booked passage on a ship he thought was headed for Havana.    

Only problem was, the boat skipped Havana, sailing north to New York. Gaillard didn’t disembark there, instead staying aboard as the ship made it’s way through the St. Lawrence before docking in Detroit. Considering he spoke no English, Detroit seemed much more amenable, he would note years later, mostly on account of it’s large immigrant population. With so many Greeks, Arabs and Hispanics vying for work in the auto plants, he was at least able to find people with whom he could communicate, and was taken in by an Armenian family. He picked up English as quickly as he picked up the others, though, and started working odd jobs. Among the odder, there in the midst of Prohibition, was a stint with the notorious Purple Gang, for whom he made deliveries in a hearse carrying a coffin filled with bootleg whiskey. After witnessing too much violence, the preternaturally gentle Gaillard realized it wasn’t the life for him, and took the advice of a tough local beat cop (who also happened to be black) who warned him to get away from the gangs, get out of the neighborhood, and do something with himself. For a black teenager in Detroit in the 1930s, his escape routes were limited. He could go into boxing, or go into music. He tried his hand at boxing for a bit, then decided maybe music was the preferable route.

Gaillard started taking night classes, and after some backstage encouragement from Duke Ellington himself, eventually learned to play guitar, sax, vibraphone, piano and drums. In the mid-30s he moved to New York, having decided he wanted to be a professional entertainer.

Since work as a professional musician was hard to come by, he became what he called a professional amateur, making the rounds of the amateur nights at the local clubs, changing his act as he did to avoid recognition. Sometimes he’d be a dancer, others a pianist, still others a sax player. Simple fact was he could get paid $15 a night on the amateur stages, which was better than a lot of professionals were getting paid. The trick, though, was he couldn’t be too good, If he was too good, they’d never let him play amateur night. So he always had to drop in a few intentional flat notes to cover himself.

Although he was an excellent musician who could play everything from boogie woogie to bebop to Big Band to Afro-Cuban to American standards to children’s songs and classical, Gaillard will never be remembered for his playing. Despite having so many languages at his disposal (the list had since come to include Armenian, German and Yiddish), Gaillard found there were still ideas and concepts beyond what any of them could express. To rectify this he began inventing his own vocabulary, centered around the adjectival verb “vout” (and it’s variations vouty, McVoutm McVouty, etc.) and the suffixes o-reenee, o-roonee, and o-rootee. They were fluid in both usage and meaning, and could be dropped in pretty much anywhere in conversation. By the time he teamed with bassist Slam Stewart and the pair began recording as the musical comedy team Slim and Slam in the late ‘30s, Gaillard had started writing his own songs in the new language he had christened, yes, Vout-O-Reenee. Beyong that, the pair was a master of the dueling jive comic scat, playing off each other and riffing on everything from La boheme and “Jingle Bells” to chicken clucks and food references. Gotta say, Gaillard wrote an unusual number of songs about food—avocados, chili, fried chicken, ice cream, matzoh balls, bagels, peanuts, and whatever else came to mind when he was hungry. He also wrote songs about motorcycles, cement mixers, and mass communication.

Slim and Slam first came to the public’s attention when Benny Goodman performed their song “Flat Foot Floogie (with a Floy Floy) on the radio in late 1937. The song was an overnight sensation, and when Slim and Slam recorded their own bersion shortly thereafter, it reached number two on the Billboard charts. A copy of the song was even included in a time capsule buried at the 1939 New York World’s Fair. The capsule is scheduled to be reopened in the year 6939, and you have to wonder what whoever or whatever finds it will make of what kind of people we were.

Other outlandishly catchy novelty hits like “Cement Mixer (Put-Ti Put-Ti)” and “McVouty” soon followed. The pair’s between-song banter, marked by non-sequiturs, bad jokes, and Gaillard’s new language made them radio favorites. In 1941 they appeared as themselves in the appropriately wild and accidentally postmodern Hellzapoppin’, and performed in a handful of other films in the early ’40s.. Gaillard’s facility for languages, accents and crazy sound effects also earned him occasional voice work on animated Warner Brothers shorts from the era.

In 1943 Gaillard was drafted into the Army Air Corps, trained as a pilot, and flew a B-25 on bombing missions over Europe, which is something worth pausing to think about for a moment. After his plane was struck by anti-aircraft fire in 1944 and Gaillard was hospitalized for months with an arm full of shrapnel, he was discharged. He resumed his musical career, solo this time, recording jams with the likes of Dizzy Gillespie and Charlie Parker and releasing his majestic four-part “Groove Juice Symphony.”

Gaillard was  tall and rail thin with a pencil mustache, a groovy, mellow, and utterly unpredictable hepcat’s hepcat, and was deeply respected within the jazz community. While playing a stint at a little club in San Francisco in the late ‘40s, he met Jack Kerouac and Neal Cassady, whom he  says hun out at the club eight nights a week. They became good friends, Gaillard being impressed by their deep understanding and love of the music. Kerouac would later immortalize Gaillard by famously recounting the meeting in On the Road. (It’s also interesting to note that during a 1968 episode of William Buckley’s Firing Line, a very drunken Kerouac interrupted the discussion about the hippie movement with an impromptu rendition of “Flat Foot Floogie.”)

By the late 1950s, however, the music scene had started to change, rock’n’roll was coming to dominate the airwaves, the jazz clubs which had lined Manhattan’s 52nd Street were shutting down, and Gaillard was starting to feel like he no longer belonged. It’s unclear if the 1957 release of Little Richard’s “Tutti Frutti” had anything to do with this perception. The song was of course a massive hit and is today considered a fundamental, defining classic of early rock’n’roll. True to form, Little Richard refused to acknowledge the song (down to the “Tutti Frutti-o-roottee” chorus) was simply a bowdlerized version of Slim and Slam’s 1938 hit of the same name. Little Richard fans insist up and down they were two completely different and unrelated songs since the Slim and Slam version was about ice cream not girls, but when the singer himself notes his original title was “Tutti Frutti McVouty,” well, there you go.

Gaillard insisted he had nothing against the new music, but it simply wasn’t his scene, so by the end of the decade he stopped recording, stopped performing, dropped out and started looking for something else to do.

For an entertainer of his range, ability and goofy charisma, the choice seemed easy, and he picked up and moved to California. Although often cast as musicians who bore an uncanny resemblance to Slim Gaillard, over the next two decades he would appear opposite Bobby Darin and Stella Stevens in John Cassavetes 1961 feature Too Late Blues and in the 1958 Harlem Globetrotters movie Go, Man, Go! He had guest spots on Marcus Welby, M.D., Charlie’s Angels and Medical Center. He played Sam, the baseball expert in Roots: The Next Generation, and Raymond Burr’s butler in Love’s Savage Fury. Although he claims he was one of the gorillas in 1968’s Planet of the Apes, I honestly can find no verification of this, no matter how much I want to believe it.

After a dinner with Dizzy Gillespie around 1980, Gaillard decided to return to his one true calling. He  signed on for a number of jazz festivals throughout Europe, and started work on a couple new albums. Also at Dizzy’s recommendation, Gaillard picked up again in 1983 and moved to London, where the atmosphere was much more welcoming for American jazz greats than it was in the States.

As if to prove a point, shortly after his arrival, Gaillard was approached by the BBC, which produced a remarkable four-part, four-hour documentary about his life and career. Slim Gaillard Civilization allowed Gaillard to tell his own story, combining archive footage with clips from recent performances, conversations between Gaillard and old friends, candid shots of a family get-together in California (his daughter Jan was married to Marvin Gaye), a few impromptu songs, and even some dramatic recreations of scenes from his childhood. Gaillard’s slow, gentle and simple poetic narration leaves his tale sounding like a children’s bedtime story, which is the overall form the documentary takes.

He was a little slower, a little more, yes, mellow, and the manic energy of half-a decade earlier had ebbed a bit. A new recording of “How High the Moon?” seemed staid and over-rehearsed, even a little bored compared with the unpredictable and mad anarchic ad-libbing of his original 1947 recording, but remains uniquely his own. More than anything, there was a new and unexpected air of melancholy about the 68-year-old, much of it focused on a scene from his childhood. As he was leaving Cuba with his father for what would be the last time, Gaillard had been instructed not to look back, because he would see his mother standing there on the dock and want to go home. He did as he was told, never once thinking he would never see her again. After being abandoned in Crete, he never saw either of his parents again.

Gaillard died in 1991 at age 75, and is mostly remembered today as a novelty act, a kind of clown prince of jazz, but he’d led a singularly American life for someone who didn’t speak English until he was 16, and remains one of the most unique, eccentric, and insanely talented musical entertainers the country’s produced.

O-Roonee.

Jim Knipfel

[williamziegler]

Sid Caesar

Sid Caesar died in 2014 at age 91. A pioneer in the gentler arts of subtle humor, Caesar approached his craft with an inquisitive spirit and intellectual curiosity — you can’t do that without patience and discipline. He listened to rhythms and song, he could mime anything animate or inanimate. Though able to transmit the theater of language, his only two tongues were English and Yiddish.

All…

[jazzicology]

The ‘one hit wonders’ of jazz

This month's Jazzicology blog is contributed by Sid Thomas, UK jazz musician, author - and my dear friend and musical mentor. Sid writes about the lesser-known composers of some well-known jazz songs. 

-Nance Wilson

Great individual jazz songs

The body of standard twentieth century songs on which jazz is built, sometimes called The Great American Songbook, is dominated by a relatively small number of brilliant composers – Jerome Kern, Richard Rogers, Harold Arlen, Cole Porter, George Gershwin and so on. These giants are noteworthy not only for the quality of their work but also the sheer sustained quantity. For example, it’s said that, every day of his life, Irving Berlin wrote at least one complete song (words, music, verse, chorus, coda), more than 900 of which are in his published catalogue. But alongside the creations of the familiar songsmiths are many individual songs, usually by relatively unregarded composers, standing alone and carrying sometimes unexpected backstories. Here are a few tales of such orphan songs.

Sweet Lorraine (1928) is a charming song by Cliff Burwell, pianist with the Paul Whiteman and Rudy Vallee bands. I haven’t been able to find anything else he wrote.

S’posin’ (1929) by Paul Denniker is in the tradition of few-note popular songs, like Whispering and I cried for you, that were hits in the early decades of the century. The lyricist was the prolific Andy Razaf, who wrote more than 200 songs with many composers, including such classics as Ain’t misbehavin’, Honeysuckle Rose, Gee baby ain’t I good to you and Stompin’ at the Savoy.

Kay Swift was a classically trained musician who had a long-lasting affair with George Gershwin. She wrote the revue song Can’t we be friends (1929) and Fine and Dandy, the title number from the hit 1930 musical.

Another songwriter with a Gershwin connection was Ann Ronnell, whose Willow weep for me (1932) is thought to be a personal statement of unrequited love. Although she wrote several other songs during her time in Tin Pan Alley and Hollywood, perhaps the one she’s best remembered for (and about the greatest imaginable contrast with the deeply personal Willow weep for me) is Who’s afraid of the big bad wolf (1933).

Just friends (1931), a song much favoured in the bebop era (Charlie Parker’s version with strings is a classic), is one of very few compositions by German-American pianist John Klenner.

George Bassman’s one notable song is Getting sentimental over you (1932), familiar as the theme tune of the Tommy Dorsey Orchestra. Bassman worked as an arranger before falling foul of the McCarthy purge and his career and personal life dwindled to a tragic end.

Bernice Petkere was a productive writer (called at one time the ‘Queen of Tin Pan Alley’), best remembered now for two songs from the early 1930s – Lullaby of the leaves and Close your eyes.

Friedrich Hollaender was primarily a film composer. While in Berlin he wrote the score for The Blue Angel, which includes Marlene Dietrich’s celebrated Falling in love again (1930). After leaving Germany for the USA he composed many film scores and songs, one of which – You leave me breathless (1938) – became a jazz standard on the strength of a tour de force performance by John Coltrane.

Another favourite of Coltrane (and Charlie Parker too) is You go to my head (1938), by the marvellously named J Fred Coots. Coots was prodigiously productive (more than 700 songs and a dozen broadway shows) but unless you count Santa Claus is coming to town (1934), he only once matched the heights of You go to my head, with the poignant For all we know (1934), which conjures up visions of young WWII pilots dancing romantically with their girls the night before flying off to who knows what fate.

Bob Haggart was bass player and arranger with the Bob Crosby Band. He’s known for a few jazz numbers (Big Noise from Winetka, South Rampart Street parade) and one or two songs including the groovy What’s new (1939), which was originally a solo piece for trumpeter Billy Butterfield but later had lyrics added by Johnny Burke.

That old bebop warhorse How high the moon (1940) was composed by Morgan Lewis (could he possibly be of Welsh extraction?) who wrote a number of Broadway show tunes, including the novelty number The old soft shoe (1946).

Carl Fischer was a self-taught Native American pianist who composed just two enduring standards - but what songs they are: We'll be together again (1945) and You've changed (1942).

Moonlight in Vermont (1944) has been performed by most of the great jazz singers and instrumentalists. It’s an unusual song in that its lyrics (by John Blackburn) do not rhyme and take the form of two haikus (for an analysis, see https://www.jazzstandards.com/compositions-1/moonlightinvermont.htm). It was the best-known composition by Karl Suessdorf.

David Raksin (1912-2004) was the foremost composer of film and television scores of his time. His theme music for the film Laura (1944) was conceived as an instrumental piece, and a complex one at that, and the story goes that he was resistant to its becoming a song. However Johnny Mercer’s beautiful lyric changed everyone’s mind and it became a big hit and one of the most recorded songs of all time.

The story behind Nature boy (1947) has often been told. The composer, eden ahbez (no capitals, by request), left a copy of the song backstage at a Nat King Cole performance and the following year it became a hit for Cole as well as Sarah Vaughan and Frank Sinatra. The song was subject of litigation by Herman Yablokoff who claimed that the melody was a copy of his Yiddish composition Shvayg mayn harts (Be still my heart). The action was settled out of court. eden ahbez was a mystic, pursuing the classic Californian hippy vegetarian sandal-wearing alternative lifestyle and was said to have lived for a while with his family under the L of the HOLLYWOOD sign. Nature boy is his only significant composition and apart from some recordings of poetic chanting in the 50s and 60s, he pretty well disappeared from the music scene. He died in a car accident in 1995 at the age of 86.

And finally, perhaps the greatest one-off standard jazz song of all – and it’s Hungarian/French.

Autumn leaves(1946) was written by Joseph Kosma, who moved from his native Budapest to Paris via Berlin and composed the scores for several films, including such classics as La Grande Illusion and Les Enfants du Paradis. Kosma set to music the poem Les feuilles mortes, by poet and screenwriter Jacques Prevert, for the film Les Portes de la Nuit, in which it was performed by Yves Montand. Some accounts of the song’s origins state that the music was originally composed as a pas-de-deux for the 1945 ballet Le Rendez-vous. The English lyrics for Autumn leaves were written by Johnny Mercer in 1950 during a short train journey to New York. The song’s repetitive structure and basic harmonies have made it one of the most widely taught introductions for elementary jazz students, and the foremost non-American popular song, having been recorded at least 1400 times.

_______________________________________________________

Sid Thomas is a UK jazz composer and multi-instrumentalist who leads a parallel life as emeritus Professor of Biology at Aberystwyth University. He is author of numerous books on plant science, and is author of ‘Confessions of an Accidental Jazz Pianist’.

[ofpd]

also when sid's yiddishe mame-tate were like “we can't read” i literally yelled at the screen “thats not historically accurate they're jews!!”

drunk & watching glavant is ideal life rn <33333

[voicevisarchive]

Sad News - Passing of Abe Pasternak

Abe Pasternak, long-time volunteer at the Voice/Vision Archive and Holocaust survivor passed away on June 16, 2017. 

Abe was first interviewed for the archive by Professor Sidney Bolkosky in 1981. Several subsequent interviews and years later, Abe and Sid became close friends. Although Abe always said to Sid, “You’re the professor. Why do ask me?” I can only imagine that Sid learned as much from Abe as Abe did from Sid. We all did.

By the time I began working as the archive’s curator, Abe was a regular volunteer there, proof-reading and annotating interview transcripts, translating several languages including Hebrew, Yiddish, Hungarian and German, and helping identify and spell camps and ghetto names. 

On my first day of work at the archive I was handed a VHS copy of Abe’s 1984 interview by one of the librarians who had been working on the project. They told me I should watch the interview since I would be working closely with Abe and that he had kind of a rough exterior. Watching his interview would explain why but not too worry too much, he was, underneath that facade, a very nice guy. I watched. I thought I understood. Not so much.

A week or two after starting my job and watching the tape, I met Abe. I had never met a Holocaust survivor before and that, coupled with warnings of his curt demeanor, made me more than a bit nervous and I didn’t know what to say to Abe for the first few weeks. At the time, I was thirty years old and not even technically an ABD.  I really knew nothing about anything (though I certainly thought I did!) and Abe intimidated the heck out of me.

One day however, I came across an interview that required spelling a Hebrew phrase and I meekly peered into Abe’s tiny work space and asked him, “Abe, how do you spell this?” Expecting a reply like, “They hired you and you don’t even know how to spell this simple thing?” I was surprised to not only get the answer, but also an explication on the finer points of the Hebrew language. From that point on, I was an Abe fan. I lost my maternal grandfather when I was 14 years old and I never really got to know my paternal one until I was a bit older, so Abe was kind of a later-in-life surrogate grandfather for me, though I am not sure if he thought of himself that way. He taught me the basics of reading the Torah and he and his wife, Geri, bought my son a dreidel when they heard he was studying Judaism in school. He often brought me corned beef on rye from one of the best kosher delis around and when he found out that I liked swiss on my corned beef, he got it for me, even though he had to explain to the owner that it wasn’t for him. I’ll never forget the first time I saw Abe after I finished my Ph.D. He walked in and said, “Jamie, congratulations.” And offered his hand. I got up from my desk, we shook hands and Abe said, “Now pull up your pants and fix you shirt, you’re a professor now. You need to look like a big macher and doer!” At his funeral, Abe’s son, Martin gave a wonderful eulogy, noting that he especially liked a “a shirt with a stiff collar and a tight crease in his trousers.” Abe was certainly a “snazzy” dresser and I often fall back on his black turtle neck with sport coat “look” whenever I feel the need to look like a professor and don’t want to wear a tie. 

In 2005 the archive moved into a large office suite and Abe had his own desk, computer and a nice space to work in. He would come in and get right to work, swapping his Gorilla Glue ballcap–underneath was his ever-present yarmulke–for a pair of headphones. (what Abe called his “ears”).

Right about that time we had some extra money in the budget to hire student assistants to help with the interviews. Due to how the space was set up, the students and Abe worked next to each other and over the years each of students and Abe became close. At the time, Abe was in his eighties and here he was, making what, I think, were meaningful connections with people 60 years younger than him. 

By now, the corned beef sandwiches had been replaced by these wonderful, bialy-like onion rolls and we would all be happily chowing them down while Abe joked and asked whichever student was working at the time to go online and check his stocks for him. Abe also liked a good stock and I am sure he passed on quite a few good tips to the students in exchange for their help!  I took some students who participated in 2015 Poland Study Abroad trip to visit Abe after we returned home. On the trip, the students had visited many Holocaust related sites of memory in Poland, including Auschwitz and I think this made them extra nervous about meeting Abe. Unknown to us, Abe ordered kosher pizza for us and had his care-giver bake chocolate chip cookies and over pizza and cookies, their nervousness was replaced, I think, by enjoyment as Abe talked with them about what they saw and experienced, but he also took the time to tell them some of his favorite jokes. It was a great visit for all of us in many ways and I was happy that they had an opportunity to meet Abe.

It’s difficult to measure the impact Abe had as a Holocaust survivor. To be sure, Abe was a SURVIVOR. It was a major part of his life and he never shied away from it. Over the years, he spoke to thousands of people, maybe more, and although I’d seen him speak to small university classes and seminars, I never got the opportunity to see him engage large audiences of secondary school students—something he did often before I met him. I did however, get to see the results of these talks when Abe brought in his collection of thank-you letters sent to him by hundreds of these students over the years. Clearly, he made an impact on them. I am proud to say that the archive now houses many of them in its small document collection. Abe’s Holocaust experiences—or more precisely his memories of them, especially of Auschwitz—have been the focus of numerous studies on Holocaust survivor memory, trauma and oral history. His interview figures prominently in several major works on the topic and I’ve shown his interview to my Holocaust classes and used numerous passages from it in presentations and papers. I once gave a paper at a conference on media that featured a segment of his interview and not surprisingly, another participant on the panel used the same exact clip in their presentation. In addition to the four interviews Sid Bolkosky conducted with him for the Voice/Vision Archive, he was also interviewed Shoah Visual History Foundation. Copies of the video-taped Voice/Vision interviews are also available at the Fortunoff Video Archive at Yale University and the United States Holocaust Memorial Museum in Washington, D.C. so to say that Abe’s “testimony” has had a major impact on the field of Holocaust studies and education would be an understatement.  It’s important to remember however, that Abe was just Abe. He was a father, husband and grandfather. He proudly served in the US army after immigrating here after the war. He was a successful businessman who volunteered for several charitable organizations and was delivering “Meals on Wheels” to senior citizens well into his 80s. I’m not sure if he saw the irony in that, but I sure did. So, yes, there was Abe Pasternak, Holocaust survivor, but there was also Abe Pasternak the person. Certainly, both were concomitant but also separate. It’s important to remember that. Not only about Abe, but about other survivors as well. Sid Bolkosky summed this dichotomy up best in an article about chaos and order in oral history testimony, saying that: 

When Abe read Lawrence Langer’s interpretation of his own words, a brilliant analysis in which Langer contrasted Abe with Hamlet, Antigone and Ahab, Abe asked ‘Who is that anyway? It’s not me. I couldn’t understand where that came from. What are you guys doing to us? What are you turning us into?’ 

Sid acknowledges that Abe said this “affectionally and proudly…but [with] a reluctance to intellectualize his…experience [that] lurks beneath his questions.” Sitting here thinking, the phrase that I couldn’t decipher and which broke the ice between Abe and I was, “"Zachor V'al Tishkach” which means, “Remember. Do not forget.”

[placentarecordings]

The Placenta Family Tree Volume 12 (PR # 394 - 2017) out now on Placenta Recordings!!! Project Born (Flint, MI) Dan Mason ダン·メイソン (Orlando, FL) viivittely (St. Petersburg, Russia) Beelzpurp667 (Salzburg, Austria) Artyom Slon (Saint Petersburg, Russia) Tabasa (Hokkaido, Japan) Bbomit (Toronto, Ontario, Canada) Owsley (New Haven, CT) Birthday House Ltd.™ (Florida, USA) MΔG€N†▲ IN†€RNĔŦ (Chicago, IL) New Shoppe (Los Angeles, CA) BAD MiND (Fremont, Indiana) Bollox_tb3 (Salzburg, Austria) White Gucci Tim Gonzalez (Walla Walla, WA) いすゞ・ピアッツァ ＥＮＴＥＲＰＲＩＳＥＳ (Netherlands) Circuit Static (Salt Lake City, UT) Dream Park DISMEMBERMENT (Laurelville, OH) Chris Twist (Chicago, IL) Sanyan (Miami, FL) h8 no.3 (Osaka, Japan) DUBSTROY (Ambato, Ecuador) Chow Mwng (United Kingdom) Hoffman Leary Overdrive (Brooklyn, NY) LO MAS BELLO (Ambato, Ecuador) To Die (Jogjakarta, Indonesia) Period Bomb (Miami, FL) systemofadon (Denver, CO) qualchan (Seattle, WA) MC Harb (Miami, FL) KöSHRiMP CAVIAR RESTOBAR (Ambato, Ecuador) XOVER (Cagliari, Italy) YoukoHeidy (Tokyo, Japan) Dental Work (Detroit, MI) Endometrium Cuntplow (Los Angeles, CA) Bullshit Market (Detroit, MI) Wirephobia (Kurdistan, Iraq) Beutewaffen (Netherlands) golden hours Menso Noise (Ambato, Ecuador) Hari Maia (Rio de Janeiro) Arcano18 (Ambato, Ecuador) Andrew Bunny (Traverse City, MI) ILIVEINASQUARE Краб-рыбакKrab-rybakCRABFISHERMAN (Rostov On-Don, Russia) Farmacia + Loran (Argentina/France) Sid Yiddish (Chicago, IL) Official download available here: https://placentarecordings.bandcamp.com/album/the-placenta-family-tree-volume-12-pr-394-2017 Featuring 3 discs worth of material///BIY/Burn It Yourself: Nowhere in the world will you find another compilation like this. Promise. Please share! Front cover art by Ash Cooke @pulcoman Organized, compiled, and released by Jay Watson/Placenta Recordings Special thanks to: Ashley Suluk, Ash Cooke, Markus Drescher, Artyom Slon, Eidan Yoson, and Wirephobia for your assistance with making this album happen. "The state of music in the world today" This compilation series was created to defy mainstream culture by mixing genres that have never appeared on the same album before. If you are new to something here, give it a listen. It might change your life! 😸😸😸😸😸😸😸😸😸😸😸😸

[jewsome]

Sid­ney Lumet: A Life by Mau­ra Spiegel

Acclaimed as the ultimate New York movie director, Sidney Lumet began his astonishing five-decades-long directing career with the now classic 12 Angry Men, followed by such landmark films as Serpico, Dog Day Afternoon, and Network. His remarkably varied output included award-winning adaptations of plays by Anton Chekhov, Arthur Miller, Tennessee Williams, and Eugene O’Neill, whose Long Day’s Journey into Night featured Katharine Hepburn and Ralph Richardson in their most devastating performances.

Renowned as an “actor’s director,” Lumet attracted an unmatched roster of stars, among them: Henry Fonda, Sophia Loren, Marlon Brando, Anna Magnani, Sean Connery, Ingrid Bergman, Paul Newman, Al Pacino, Ethan Hawke, and Philip-Seymour Hoffman, accruing eighteen Oscar nods for his actors along the way.

With the help of exclusive interviews with family, colleagues, and friends, author Maura Spiegel provides a vibrant portrait of the life and work of this extraordinary director whose influence is felt through generations, and takes us inside the Federal Theater, the Group Theatre, the Actors Studio, and the early “golden age” of television.

From his surprising personal life, with four marriages to remarkable women—all of whom opened their living rooms to Lumet’s world of artists and performers like Marilyn Monroe and Michael Jackson—to the world of Yiddish theater and Broadway spectacles, Sidney Lumet: A Life is a book that anyone interested in American film of the twentieth century will not want to miss.

The post Sid­ney Lumet: A Life by Mau­ra Spiegel appeared first on Jewish Book World.

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[themausblog-blog]

Annotated Bibliography

Al Jazeera America. “Art Spiegelman - Talk to Al Jazeera.” YouTube, YouTube, 11 Sept. 2015, www.youtube.com/watch?v=-2MgJVJU53w.

Extremely in-depth interview, talks about life and other personal details about Spiegelman. Doesn't have many exact dates but extremely useful.

Baccolini, Raffaella and Zanettin, Federico. (2014). The Language of Trauma: Art Spiegelman’s Maus and its Translations. In Zanettin, Federico (Ed.) Comics in Translation (Pp.99-132). New York: Routledge. Retrieved from https://books.google.ca/books?id=6m1ACwAAQBAJ&lpg=PP1&pg=PP1#v=onepage&q&f=false

The Language of Trauma: Art Spiegelman’s Maus and Its Translations describes the ways in which Spiegelman’s work deals with the traumatic narrative of his parents’ holocaust experience. It presents the difficult process of translating trauma into language, and the struggle to bear witness, “shattering one’s world in the hope of regaining control over one’s emotions and memories”. The essay analyzes visual structures and cues presented in Maus which reflect Spiegelman’s careful handling of translating the trauma, albeit not being able to fully capture its extent, with integrity and accuracy to detail.

Bernstein, Richard. “Chilling First-Person Tales From Cambodia.” The New York Times, The New York Times, 19 Apr. 2000, www.nytimes.com/2000/04/19/books/books-of-the-times-chilling-first-person-tales-from-cambodia.html.

Der ewige Jude (n.d.). In Holocaust Encyclopedia, United States Holocaust Memorial Museum. Retrieved from https://www.ushmm.org/wlc/en/article.php?ModuleId=10008228

This entry describes the plot of the propaganda film and its notoriety.

Franklin, Ruth (2011-10-05). “Art Spiegelman’s Genre-Defying Holocaust Work, Revisited”. The New Republic.

An article that elaborates on the personal connection Art Spiegelman has with his novel and the intensity of it’s writings and how it influenced audiences into receiving a historically accurate representation of Auschwitz.

Geepeekay | The #1 Garbage Pail Kids Website. (n.d.). Retrieved April 15, 2018, from http://geepeekay.com/

A website dedicated to documenting and keeping up-to-date with the ongoing series of Garbage Pail Kids trading cards.

Gordon, A. (n.d.). Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony. Retrieved April 01, 2018, from http://www.english.ufl.edu/imagetext/archives/v1_1/gordon/

This entry discusses the relationship between Artie and Vladek, as well as some memorable scenes in the comic.

History.com Staff, “Nazi Party” History.com A&E Television Networks. Web  2009. Web. https://www.history.com/topics/world-war-ii/nazi-party Accessed April 3, 2018

This article describes the origins of the Nazi Party while providing details on the overall impact of Hitler's rule and how he altered the lives millions during WWII. This is a very informative based website that covers a lot of different points surrounding WWII, it includes a variety of thorough videos on the Holocaust and its effects of the Nazi Party before, during and after the war.

Kaplan, A. (2006). Masters of the Comic Book Universe Revealed! Chicago: Chicago Review Press.

A novel focusing on several different comic artists and writers lives and careers. It also touches on historically prominent events that have taken place since the creation of the industry.

Park, H. S. "Art Spiegelman’s Maus: A Survivor’s Tale: A Bibliographic Essay." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 29 no. 2, 2011, pp. 146-164. Project MUSE. Accessed April 2, 2018

The author provide insight on the significance of the perspective of a second generation Holocaust survivor, the credibility of the retelling of history and the overall critical impact the story of Maus has made on readers and as well on Spiegelman himself. This article goes into depth on several more topics such as identity, the use of english and the use of art within the memoir.

Ray, Michael. “Art Spiegelman.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 14 Feb. 2018, www.britannica.com/biography/Art-Spiegelman.

Biography of Spiegelman highlighting important dates and events, goes into enough detail and dates everything accurately. Great for an in-depth primer for information before going into more detail with the interviews.

Shmoop Editorial Team. (2008, November 11). What Animal Allegory? in Maus: A Survivor's Tale. Retrieved April 15, 2018, from https://www.shmoop.com/maus/what-animal-allegory-symbol.html?admitad_uid=8db1b7e7ae72a9fa8063e11408c07363

This link provides detail as to how the characters in MAUS were created and why they were the animals that they were. There is a lot of symbolism that came out of creating these characters in MAUS.

United States Holocaust Memorial Museum.“Timeline of Events” Holocaust Encyclopedia. Web. <https://www.ushmm.org/learn/timeline-of-events/1933-1938> Accssed April 4, 2018

This link provides a easy to navigate timeline of the events of WWII. It provides brief but key pieces of information from before 1933 to after 1945. The link also provides information on different events that happened within their respective years.

United States Holocaust Memorial Museum. “Culture In The Third Reich: Disseminating The Nazi Worldview” Web. <https://www.ushmm.org/wlc/en/article.php?ModuleId=10007519> Accssed April 4, 2018

In this specific article, the author explains the culture found within the third reich. The article explains how the Nazi’s key goal was to influence social organizations with their ideology and policy. From art, to theatre and architecture, this piece describes how these were effected within Nazi Germany and their influence on the Germans and Jewish populations.

Wisse, Ruth R. “The Modern Jewish Canon A Journey Through Language and Culture” New York Times. 2000. Web <https://archive.nytimes.com/www.nytimes.com/books/first/w/wisse-canon.html?scp=56&sq=amos%2520oz&st=cse> Accessed April 3, 2018

The author describes the importance and significance of identity connected through language. In this case Yiddish and Hebrew spoken within communities not predominantly jewish. The article also brings up how Hitler’s rule impacted the use of Jewish language and its use within literature. Although the article discusses many interesting points on the importance of identity with one’s native language the author does talk about other aspects such as religion.

Witek, J. (2007). Art Spiegelman: Conversations. Retrieved from https://books.google.com/books?id=ZKd1aGW7EMoC&pg=PR17#v=onepage&q&f=false

The following is a novel that gives an in-depth look on the story of Art Spiegelman’s life and the hardships it took to get recognized within the comic industry.

Witek, Joseph (1989). Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar. University Press of Mississippi.

A novel the analyzes how comics went from being for children, to a popular worldwide phenomenon. It details mature graphics novels underground beginning, to the importance of their popularity today.

"Art Spiegelman; A Childhood." Times [London, England], 17 Apr. 1993, p. 47. Academic OneFile, http://link.galegroup.com.library.sheridanc.on.ca/apps/doc/A115992689/AONE?u=ko_acd_shc&sid=AONE&xid=4737c4d3.

An Interview with Spiegelman going over the main points of his childhood, has a lot of small but good details about his life.

“Art Spiegelman.” Lambiek.net, Lambiek, 13 Mar. 2016, www.lambiek.net/artists/s/spiegelman.htm.

Brief but broad overview of Spiegelman's life, source is from a comic conservation website and doesn't go into many details.

“Life after Maus with Art Spiegelman [HD] Late Night Live, ABC RN.” YouTube, YouTube, 7 Oct. 2013, www.youtube.com/watch?v=3xTM-ewN9yM.

Very in-depth interview with Spiegelman, has a lot of primary-sourced information. Contains information that isn't biographical but still helpful.

“Art Spiegelman.” ADC • Global Awards & Club, adcglobal.org/hall-of-fame/art-spiegelman/.

[shtickler]

Sid Vicious, Yid Vicious, and Sid Yiddish: https://t.co/rpYoB2XWYz #jews #jewishlife #jewish

— SHTICKLER (@shtickler) January 11, 2018

[msheahan]

Sid Yiddish ready for an IPO at Nasdaq. (at Times Square, New York City)