Researching Yiddish penny songs (tenement song broadsides of theater and variety show songs, 1895-1925)
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Thursday, February 12, 2026

Dos lid fun Yarmulovski (about the crash of the S. Jarmulowsky bank on the Lower East Side in 1914)

UPDATE: I first posted this ten years ago, but yesterday I decided to record it again, this time with all the verses, and with keyboard. My voice is ten years older but my indignation is fresh and young. The song ends: "One who dares steal even just a bit of bread is severely punished. When someone flays the skin from thousands of people? He's called a wise man." Here is the new recording:

Alexander JarmulowskyIt took a while to find the historic figures of this song. Yarmulovski the elder is Alexander (Sender) Jarmulowsky. Ordained as a rabbi, he married the daughter of a wealthy merchant and established a shipping firm in Germany, then emigrated in the early 1870s to New York City, where he founded the S. Jarmulowsky bank on the Lower East Side.


Jarmulowsky was known as the "East Side J.P. Morgan" and his bank was the area's first skyscraper. He died, however, within weeks of the building's completion. His sons inherited it, made bad investments, and a few years later went bust.

Most of its depositors were poor and counted on being able to withdraw their savings to send to European relatives when World War I was beginning. In August 1914 5,000 depositors gathered in front of the skyscraper and demanded their savings. They then paraded to City Hall, where some were clubbed and arrested (see New York Times article from August 30, 1914 at the bottom of this post). The bank was closed in 1917 and many of the depositors were left with nothing.

Here's the 2016 recording - with Jim Baird on bass - of the song Max Zavodnik wrote about their misery:


The song's full title is Dos lid fun Yarmolovski, Max Kobre un Mandel di 3 bankirer un zeyere korbones. (The Song about Jarmulowsky, Max Kobre and Mandel, the Three Bankers, and Their Victims.) These culprits were Sender's two sons, Meyer and Louis Jarmulowsky, Max Kobre, and Adolf Mandel. The final words of the song ring true today:

When someone dares steal even just a bit of bread
He's severely punished
When someone flays the skin from thousands of people
He's called a wise man

This text is written to the melody of a song called Troymende shlefer, also the underlying melody for the workers' song Vos vet zayn der sof?. I still had the bass accompaniment from that recording that song, so here it is again, and thanks again to Jim Baird the bassist!

Transliteration and translation after the jump.

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Sunday, June 28, 2020

Mentshn-freser: What tuberculosis, polio, and war have in common.

UPDATE: Until recently I was very disappointed that nobody was picking up on these fascinating songs. But three years after I wrote this blog post, Daniel Kahn and Sveta Kundish did a bangup job on this one! Have a listen: Mentshn-fresser (1916 Yiddish Pandemic Ballad) Sveta Kundish & Daniel Kahn.

And now back to the original post:

Wow, it's been three months since I put up a song. There was a time I was putting one up almost every day. Truth is, since the election I have been so disheartened I hardly ever talk, let alone sing. There are times I think music is over for me. I just can't bear the world right now. So I sound rusty but it will have to do.

This song has been in the "to-do folder" for a long time. Mark Slobin discussed it in his book, Tenement Songs, thirty-odd years ago. I recorded three of the four verses today: the first about tuberculosis, the second about polio, and the last is about war. All these things are devourers of mankind. Fresn is greedy, insatiable eating - gobbling or hoovering when it comes to food.

Solomon Smulewitz published this song, spelled Menshen-fresser, in 1916. I've given the transliteration used in the sheet music on the video because I think it's important for Yiddish students to know what wide varieties of orthography we have to endure when searching for songs. There was a word here I did not know, laykhes or leykhes. I asked on Facebook and the only two people who answered me both suggested it is a typo for laybes, so that's what I went with. Enjoy the sprinkling of Germanic words used in Yiddish songs around the turn of the century.



Words and translation after the jump

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Monday, September 16, 2019

Der man mit der nodl un di sher - Labor anthem of 1904 by Solomon Smulewitz

Here's our recording of Der man mit der nodl un di sher from the cd Yiddish Ragtime, Randy Kloko sang with me and Glenn Mehrbach is on keyboard:



This song is not from Lider magazin, I found it in the composer's own annual, Der teater zinger. I had the text for a long time and didn't think I'd be able to find the melody, but Eleanore Biezunski and Lorin Sklamberg at YIVO found me a recording of Solomon Smulewitz himself singing it. Thanks!

Although Smulewitz did not credit his source, I discovered that the verse for this song is taken from an American song, Good Bye Little Girl Good Bye by Gus Edwards (original lyrics by Will D. Cobb) published in 1904. (I don't know what war that soldier on the cover was going off to fight.)

Its somewhat martial theme fit this workers' anthem - for the hero of the tailoring trade and the nascent Garments' Union - very well. The chorus is not from the Edwards song; perhaps Smulewitz wrote it himself, or maybe he stole it from elsewhere. As often in these early labor songs, "The Red Flag" - the symbol of Communism - was seen as the solution to their woes. We discovered that wasn't the answer, but what can sustain us against the Robber Barons of our own era?

Transliteration and translation from the Yiddish after the jump.


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Tuesday, September 10, 2019

Rayst arop di shleser! (Tear down the castles) Yiddish parody of 1904 "Give My Regards to Broadway"

This one was such a pleasure. Louis Gilrod, one of the two most prolific parodists featured in Lider magazin, wrote a classic workers' anthem, stirring, furious, bitter, to the cheerful tune of a frivolous WASPy classic.

Here's our recording from the cd Yiddish Ragtime, with Randy Kloko on vocals with me and Glenn Mehrbach on keyboard:


A lot of people have told me they're surprised that "Give My Regards To Broadway" was published in 1904 - they thought it was a song from a generation or two later. Also, people only recognize the chorus, the verse has not survived in popular memory.

In Yiddish shleser usually just means locks, but in German it also means castles, and Gilrod used both meanings very cleverly in this lyric, also the idea of people being locked up and locked out.

The song rings true in our current age when robber barons are flourishing and workers are oppressed. One sad difference between now and 115 years ago is that the service industry is almost all that's left in America: after decades of decline our country's industry, home industries, the trades, the labor unions, all have fallen on hard times. Who is standing up for workers now?

Transliteration and translation from the Yiddish after the jump.


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Monday, September 9, 2019

Der zig fun di klokmeykers: The Cloakmakers' Victory (labor union history) a Yiddish waltz about a victorious strike. Also to the same tune: The Tailors' Strike

UPDATED because I recently learned (at Trip to Yiddishland) that geblibn mit di noz means very disappointed, left with nothing, deceived. But I don't know why!

garment workers strike ladies cloakmakersI love when I can find historical evidence of the events described in the Penny Songs. I'm pretty sure this lyric is referring to the Cloakmaker's Strike of 1910, known as the 'Great Revolt,' carried out by more than 50,000 workers in New York, which was preceded in November 1909 by the "Shirtwaist Strike," also known as the Uprising of 20,000, mostly young Jewish women in their teens and early twenties. The Jewish Women's Archive notes:
The young strikers' courage, tenacity, and solidarity forced the predominantly male leadership in the needle trades and the American Federation of Labor to revise their entrenched prejudices against organizing women.
Both strikes were bitterly fought by the garment companies but the second strike ended with the bosses capitulating. Click the great picture for a larger view and see the end of the article for the sheet music cover with a fine, fine picture of Morris Rund the lyricist for so many of the Penny Songs. He was a proud Union man himself, a member of Local 100, the Kosher Bakers' Union.

Here's my version of the song, recorded today, click to hear it on youtube:



Here is the cover of the Yiddish song broadside, click for a larger view:


And here is the cover of "Take a Car," the specified melody. You can find it on line and you can also find a cute period recording of it on Youtube.



Morris Rund used the same tune for a very similar strike song. I believe he could churn these out by the dozens. The second one is "The Tailors' strike" - here is the first verse and chorus, if you want more let me know.

Der shnayder strayk

Toyzender shnayder oy kempfn yetst laydn
Tsu lib a shtikl broyt
Farlaykhtn dos lebn iz yetst zeyer shtrebn
nit laydn zo fil noyt
Es kumt yetst di ende fun di boses bande
Genug shoyn geshklaft far zey
Genug shoyn gelitn fun di parazitn
Yo, endlekh vet ir vern Fray

Yo der strayk, yo der strayk!
Der groyser shnayder strayk
Kempfn atsinder darf a yeder glaykh
Genug shoyn gezoygn oy dos blut fun aykh
Yo der strayk, yo der strayk!
Oy arbeter makht nit keyn shvayg
Shteyt nit fun vayter
Tsu shmetert di kaytn
Gefrayt aykh fun der shklaferay!

Transliteration from the Yiddish and translation of Der zig after the jump

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Monday, August 26, 2019

Rayst arop di shleser (Tear down the locks) - Yiddish Labor movement song of 1904

I love this workers' song, it's a valuable addition to the canon of labor movement songs.
We recorded it for our Yiddish Ragtime cd. Here's the top of the song as printed in Lider magazin:



Here's our youtube video with the lyrics:




The song referenced, "All Aboard for Broadway," was hard to find. I had to search a long time. Finally, somebody on the Vaudeville Facebook group dug up a pixelated scan of a faded old copy of the music. I stupidly retyped the whole thing into Sibelius before checking to see if it was the right song. Nope. Next time, check first.

I couldn't shoehorn Louis Gilroad's Yiddish lyric into "All Aboard for Broadway" - when this happens I take the glass slipper in hand and go searching around to find which  foot is a fit.

I'd noticed the composer George M. Cohan wrote about 15 songs with the word "Broadway" in the title and I was ready to try them all. "Might as well start with the most famous one," I thought, and bingo, it fit, the search was over.

Lots of people know the chorus of "Give My Regards To Broadway" but the verse is unfamiliar.

Randy Kloko pointed out to me that shleser means castles as well as locks, so this song can also be translated as "Tear Down the Castles." Images of locks and castles appear throughout the song.

Transliterated Yiddish and translation after the jump.


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Saturday, July 27, 2019

Tsurik, tsurik, tsurik in shnayder shop (Back, Back, Back to Baltimore) Yiddish ragtime from 1904



Isidore Lillian (left) (also spelled Isidor Lillien or any combination) was born in 1882 in Galicia. He came to New York in 1892 and was 22 when he wrote this parody for the Katsenelenbogen music publishing company.

I've been chewing away on the parodies printed in the Lider magazin found at YIVO (but sent to me by the superlative Vivi Lachs in London). It seems to me that Yiddish vaudeville ragtime is a genre ready for revival!

A problem is that the underlying songs often had racist lyrics; nobody in their right mind would sing them any more. I'm hoping it's ok to bring the melodies back without the baggage. In this case, unusually, the Yiddish lyric has the same theme as the original: that it's not a good career choice to go into show business. Back, Back Back To Baltimore, melody by Egbert Van Alstyne and original lyrics by Harry H. Williams, was published in 1904.

It was my great fortune to have pianist Glenn Mehrbach play the accompaniment and Randy Kloko sang on the chorus. Here's the track from our cd Yiddish Ragtime:


Transliteration and translation from the Yiddish after the jump.


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Monday, April 1, 2019

Mayn skhoyre: Yiddish theater song about the efficacy of advertising

This song was written by Louis Kopelman to the tune of "My Gal is a High Born Lady," and it was sung by Bessie Thomashefsky. The tune has a cakewalk / ragtime feel to it.

Thanks to Ken Bloom (guitar) and Jim Baird (bass) for playing on it! Here's our rendition from a couple days ago:


This is yet another song teaching new immigrants about an essential part of New York: signage for flogging your product. Kopelman wisely points out that advertising can get idiots to buy all sorts of rubbish.

In the second verse we meet up with a butcher who is, as usual, crooked. Butchers were always under suspicion: were they selling treyf beef as kosher and pocketing the premium the pious paid for that precious hekhsher?

Notice in the third verse that matchmakers refered to their bachelors and single ladies as "wares." For more on matchmakers in New York at the turn of the century see GimpelBeynish.com - I translated seven books of a daily comic strip about the travails of Gimpel Beynish der shadkhn.

Transliteration and translation from the Yiddish after the jump.

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Tuesday, February 26, 2019

Dos mezuzele (The Little Mezuzah) - words and music by Hyman Altman, 1909

UPDATE: Reposting because of a conversation this past weekend in Chicago, where I had a little residency presenting the Yiddish Penny Songs to a rowdy congregation, Workmens Circle Chicago, and YIVO Chicago.

My host pointed out a cynical view of this song which I had never considered: the text says that after the anti-semites have come ravaging through, ripping everything to shreds and destroying everything we have --  even the tallit -- the mezuzah is still there to protect us. "What kind of protection is it providing," he asked rhetorically, "if it allowed all that ravaging to happen in the first place, and everything is destroyed?"


Click for a larger view of this lovely sheet music.

I bet this song was written in response to the popularity of "Dos talesl" At first I hated the tune but then I gave it the English country dance treatment and now I like it.

Hyman Altman was the composer / performer of quite a few of the American Yiddish Penny Songs, put his name in the search box to find them.

So here is me on vocals, piano, and four somewhat out of tune fiddle overdubs.


For students: don't be perplexed as I was. Di mezuze is feminine, but the diminutive, dos mezuzele, is neutral. I read carelessly and my mind became snarled.

The letter shin appears on mezuzot and stands for Shaddai, one of the more warlike expressions of the Almighty. As an acrostic its three letters (shin, dalet, and yod) stand for shomer (watching), daltot (doors), Yisra’el - watching the doors of Israel. Hence the role of the mezuzah in guarding the door of the Jewish home. [I don't know why the yod does not appear at the end of the word Shaddai on the lyric sheet!]

Text and translation after the jump.

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Thursday, November 29, 2018

Uptown, Downtown (though it really should be Fun downtown, uptown) - Jews leave the Lower East Side

UPDATE: I found a recording of this song on the Internet Archive today: Uptown and Downtown


I found this song in a little printed collection of Rumshinsky songs.



The more famous song from this 1917 show is "Fifty Fifty."

Back when I first posted this song I wrote: "This mini-description of Jewish upward mobility one is so short, it seems incomplete. Probably it led right on into another song or maybe a dance or something." If you click the link at the top of this blog post you can hear that in fact it follows speechifying and a musical prelude. The performance by Anna Hoffman, Jacob Jacobs and orchestra is really wonderful.

Boris Thomashefsky wrote the words and produced the show. The original libretto was by Zishe Kornblith.

There evidently was a Victor recording with Anna Hoffman and Jacob Jacobs singing the duet, in 1919, but I didn't find their recording.

Here's my recording from earlier today:



You'll find "Fifty Fifty" in the Milken Archive, which dutifully and correctly transliterates the title of the show as Op-to'un un da'un-to'un. Neil W. Levin's synopses of Yiddish theater shows are, in my opinion, the high point of the Milken Archive. Go read what he has to say about Uptown and Downtown here...

... but to summarize, Thomashefsky plays Khayim Yosi Plotkin, a poor cabinetmaker who invents a 'combination bed' [?], gets rich suddenly, changes his name to Gustav Plato, becomes a banker and businessman, and moves his family uptown to a mansion with maidservant and a supposedly Japanese butler.

One of his daughter is engaged to marry "Baron Geoffrey West" of London, who claims his grandmother and Queen Victoria once looked through a makhzer (prayerbook) together. The butler (actually not Jewish but instead, a Litvak in disguise) recognizes the Baron as a poor Jewish waiter he knows.

And Khayim's brother Abie is about to lead a strike at one of Khayim's businesses! Due to a life-changing nightmare of the previous night, Khayim gives in to the strikers’ demands, on condition that the workers promise to pray at the new synagogue he intends to found. And in the end, the family decides to live downtown again in their old neighborhood.

Words and translation from the Yiddish after the jump.

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Tuesday, May 29, 2018

Yiddish theater (and other) songs, new cd: Ikh bin busy

The strange name of this cd comes from one of my favorite Yiddish theater songs ever, written by Nellie Casman: Mr Malekh haMoves ikh bin busy! (Mr Angel of Death, I'm busy) in which she, a young and rising star, gets so sick she DOESN'T GO TO WORK (ie she is sick unto death because nothing kept those troupers from the stage) and subsequently tries to convince the Angel of Death she simply has too much to do to die. It's the title track of this cd, Ikh bin busy.

Only $7 and comes with a 19-page pdf file of the complete Yiddish lyrics in transliteration and my translations.

I also put two songs on this cd that I wrote as entries to the 2015 International Yidisher Idol competition in Mexico City. I won first prize with Ikh ken shoyn nit mithaltn, I was Grand Champion that year!

Click on the picture to visit the cd and have a listen.


Contents:

1. Mr Malekh haMoves ikh bin busy (Mr Angel of Death, I'm Busy) 04:58
2. Tsores iz keyn dayge nit (Trouble's Nothing to Worry About) 02:43
3. S'vet zikh shoyn oyspresn (It'll Iron Itself Out) 03:20
4. Ikh bin arayngegangen un zikh oysgedreyt (I Went In And Turned Right Around and Left) 03:02
5. Gotenyu, gib a drey dos redele (God, Turn the Wheel of Fortune) 02:33
6. Dem milshteyns faygn (The Millstone's Figs) 03:21
7. Yeder eyner straykt atsind (Everyone's On Strike Now) 02:55
8. Kompani (Company) 02:06
9. Men vet dir keyn sakh nit mitgebn in keyver arayn (You Can't Take Anything With You Into the Grave) 03:48
10. Az du kenst nit un veyst nit nemt men zikh nit unter (If You Don't Know How, Don't Try It) 02:53
11. Aza mazl afn Keyser (The Czar Should Have Such Luck) 03:50
12. Dos pastukhl (The Shepherd) from Bar Kokhba 04:17
13. Ikh ken shoyn nit mithaltn (I Can't Keep Up) 03:43


For sheet music and/or performances contact me: jane@mappamundi.com

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New digital-only cd of Yiddish Penny Songs from the turn of the twentieth century: Opgenarte velt

As you know I chug along recording rare songs as my mental state allows - since the advent of our current US regime it's been substantially more difficult and for several months I was so depressed I couldn't talk, let alone sing. Still, the pile of songs built up and yesterday I compiled two cds. Here is the first, Opgenarte Velt (Deluded World). Only $7 and comes with 18-page liner notes pdf file with the transliterated Yiddish lyrics and English translation. Click on picture to visit and listen.


Contents (all these songs have appeared on the blog):

1. Shtek arayn (Put 'er there!) 03:22
2. Uptown, Downtown 01:08
3. Mener, mener! (Men, men!) 04:14
4. Di opgenarte velt (The Deluded World) 02:58
5. A mentsh zolstu nor zayn (A mentsh zol men zayn) (Be a decent person) 03:19
6. Eylu voeylu (A Drinking Song) 02:33
7. In hundert yor arum (100 years from now) 04:08
8. A mentsh ken dokh makhn a mol a toes (A person can sometimes make a mistake) 02:32
9. Vos kh'hob gevolt hob ikh oysgefirt (What I wanted, I got) 02:35
10. Alts far gelt (Everything For Money) 02:44
11. Di zibn boarders (The Seven Boarders) 04:42
12. Mentshn-freser (Devourer of People) 05:02


For sheet music and/or performances contact me: jane@mappamundi.com

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Tuesday, May 22, 2018

Ven ikh zol vern president (If I Become President) 1904 Yiddish theater song

I couldn't find much information about this song, which is on the Library of Congress website. It's from the 1904 show "The Lodge President" דער לאָדזשען פּרעזידענט by that shund mayster Professor Horowitz, about whom I've written before.

Arnold Perlmutter and Herman Wohl wrote the song, which as usual is full of Yinglish. Lorin Sklamberg solved the oddest mystery, Fan Pleve ot dem Soine Yssrul, by pointing me to Wikipedia:

Vyacheslav Konstantinovich von Plehve 1846-1904 was the director of Imperial Russia's police and later Minister of the Interior. ... After he did nothing to prevent a bloody wave of anti-Jewish violence in 1903, the known double agent Yevno Azef decided not to inform on the SR plans to kill Plehve. He survived one attack in 1903 and two in 1904 before the Socialist-Revolutionary Combat Group succeeded. On 28 July 1904, a bomb was thrown into Plehve's horse-drawn carriage by Yegor Sazonov, on his weekly audience with the Tsar at Izmailovsky Prospekt in Saint Petersburg, killing him at 58.

So, note that von Plehve died the very year this song mentioned him!

I used the original transliteration from the sheet music in the video. You can see if you agree about the guesses I made. Here it is, recorded this morning. Something strange happened to the keyboard track.



Lyrics and translation after the jump.

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Sunday, May 13, 2018

S'vet zikh shoyn oyspresn (It will all iron itself out) a 1919 Yiddish theater hit by Ludwig Satz

This song is transliterated at the Florida Atlantic University website as S'Vet Zich Shoin Auspressen, translated "It Will Be Ironed By Itself." The sheet music has 'Svet sich shon auspresin' on the cover and 'S'wet sach shoin aus presin' on the first page. It was the hit of the 1919 play by Zalmon Libin, "Dem Schneiders Techter" (Dem shnayders tekhter) (The tailor's daughters) performed in Joseph Edelstein's Second Avenue Theater.

Libin (right) was born in 1872 in Imperial Russia, his birth name was Yisrael-Zalman Hurvits. He emigrated to England in 1891 and worked as a furrier. 6 months later he left for America. He wrote short stories and plays and was sometimes called "The O. Henry of the East Side" One of his pieces, Gebrokhene Hertzer (Broken Hearts) written in 1903 was filmed in 1926, starring Maurice Schwartz.


The star, Ludwig Satz, wrote the words of the songs. Joseph Rumshinsky claimed the melody. We've had several of Satz's later songs on my other blog, http://PolishJewishCabaret.com. This was one of his earliest hits.
Leo Yitzhok Satz was born in 1895 in Lemberg, Galicia. His father was a tailor. When he was seven he sang in the children's chorus for the local Polish opera and then, with his father's consent, he started touring in Przemysl. In 1912 he moved to London and married Lili Feinman. At the start of the first World War he moved to America and made a name as an actor and composer. He died in 1944.

Here's the song as pianist Aviva Enoch and I recorded it earlier this week:



This song starts literally with a tailor who hasn't done a good job pressing a garment. In the second verse (which I left out) there is the obligatory undesirable wife. The third verse tells us oppressed workers can vote for the Socialist party and throw out politicans who take bribes, so it's quite topical. (A wonderful word I never heard before, khabar, bribe.) The fourth verse talks about world affairs - if you want the full text get in touch. Words and translation after the jump.

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Thursday, May 3, 2018

Ellis Island - 1914 Yiddish theater song by Solomon Smulewitz

This is a dull melody but the lyrics are vivid.

I found the tune so dull and the accompaniment so boiler-plate I just sang it a capella this morning.




Words and translation after the jump.


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Wednesday, March 28, 2018

Yeder eyner straykt atsind! (Everybody is striking now!) Yiddish theater hit from 1920

The composer is Herman Wohl, the lyricist is Louis Gilrod though as usual Boris Thomashefsky gives himself credit. The song is from a show called "The Two Cantors" (the two cantors were originally played by David Kessler and Boris Thomashefsky). It says on the sheet music that Sam Kasten sang this song.

I'm sort of in love with the corrupted mish mash of language here. Gestraykt is Yinglish and look at all the other examples: paykers, straykers, kars, eleveters, sobveys, steyk, frayt petetis, "voking delegat" (a walking delegate is "a labor union representative appointed to visit members and their places of employment, to secure enforcement of union rules and agreements, and at times to represent the union in dealing with employers")...

... and union of course, and box. I assumed that "the bosses are in the box" means they are trapped. Oh, and note Gilrod rhymes "Karl Marx" with "box." Hah hah.

Here is the handsome Yiddish theater star, singer Sam Kasten.

I couldn't find his recording of this song, or any recording, though it says at the bottom of the sheet music: "Phonograph records will be issued shortly." So here is my rendition from yesterday. If the fiddle sounds strange it's because I sang the song in six flats and then realized that was not a wonderful key for the violin.





The show was written by (Hershl) Harry Kamanowitz. From the Museum of Family History:
Harry Kalmanowitz was born around 1886 in Dubrov, Polish Lithuania. His father traded in grains, but not being able to earn a living, he went off to America "searching for luck." After working four years in a shop, he returned home but that didn't work out, so he went back to America, then back to Dubrov. The third time, in 1900, he brought his son Hershel (Harry).

Harry sold newspapers and in the evening "peddled candy." Later he sewed knee-pants. He begged his father for fifteen cents every Friday, so he could visit the Yiddish vaudeville. When he was 17 he wrote a sketch for Aaron Mogenbesser, a vaudeville star, but due to a strike it was never performed. Harry wrote in his autobiography:

"In the shop I was caught in the powerful hand that oppressed me for sixteen years; thus I had the opportunity to study my brother-workers with all of their sufferings and freedoms. I have seen him laugh when his soul has wailed, I know him with all his strengths and defects, and have a deep love for him. Almost all of my children (comedies and dramas) are from worker's lives.

Lyrics and translation after the jump.

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Tuesday, December 12, 2017

Male vos men redt af dem stoop (You never know what they'll be saying on the stoop)

(Click for an enlargement)

The music you see here was published in 1917 as Malle vus men redt auf dem stoop and it was recorded by Anna Hoffman in 1918. Words and music by Louis Friedsell.

I have long confused the word male with meyle. Male, used before an interrogative word, means "who cares, go figure, there’s no telling." Male vos er zogt means "pay no attention to what he says!" So this song title could also be translated, "Pay no attention to what they say on the stoop." What a song of the Lower East Side this is!

My aunt lived in a studio apartment in Manhattan for decades and she often talked about life lived out on the front stoop (even into the 1980s she didn't have an air conditioner). She spoke approvingly of "stoop babies" - infants who were so used to being passed from hand to hand among neighbors sitting out on the stoops together that they didn't care whose arms they were in. It makes me nostalgic just thinking about it.

So here is Anna Hoffman:

Transliteration and translation from the Yiddish after the jump.

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Tuesday, October 24, 2017

Aza mazl afn Keyser! (The Kaiser should have my luck) - Yiddish theater song from 1918

Left is Samuel Rosenstein, who produced Gelebt un Gelakht (Live and Laugh) and, as the son Julius, sang this song in the show.

At the outbreak of World War I New York Jews were against the allies because their archenemy Nicholas II of Russia was one of them. However, by the time this song was written Nicholas had been overthrown and the Russians had left the war. Then they saw that Kaiser Wilhelm was no prize and by the time America threw in with the Allies, the Jews were on board, as this song shows.

Also transliterated Aza mazel aufin kaiser and Aza mazl auf'n Keiser.

I couldn't find a recording of it so I sang it myself last night.



Words (transliteration and translation of the Yiddish) after the jump.

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Monday, October 16, 2017

Guter bruder, nit gekhapt - a Yiddish song about fighting sexual harassment sung by Pepi Litmann c 1907

Also seen as Giter Bruder nicht gechapt, Giter brider nisht gechapt, and Giter Brüder nicht gechapt, this song was published in 1907 and, along with the previous song on the blog, is from the Professor Hurwitz show Malke Shvo (Queen of Sheba).

In that show it was sung by "Madame Shapiro" but I found only this 78 by Pepi Littman...

(Incidentally, the flip side is Norbert Glimer singing that weird and wonderful song Yente di Royte -- aka Jent di roiti kom, Yentl die roti kom -- which I posted on the PolishJewishCabaret.com blog.)

The song title is weirdly translated online as I Don Not Have a Good Brother.  

Khapn means to catch, grab, grasp (meaning) ... hurry, rush. So כאַפּט נישט is translated in the dictionary as "Not so fast! Take it easy!"

I found the second line odd. מיען זיך means to strive, take pains, trouble oneself, and מיִען זיך פֿאַר means "intercede on behalf of." I tentatively chose this last meaning. If the grandmother is deceased, then she can intercede in behalf of her granddaughter with the Master of the Universe.

In another Pepi Littmann song previously posted here, Mener, Mener, she sang in passing: "If a man insults me, let him not deceive himself, I'll shame him with some fine blows." Here the threats are vociferous and prolonged.

The melody of this song is fascinating, it's sort of pentatonic.

Pepi generally dressed in men's clothing onstage. She had a great voice. Here she is singing Guter bruder:


Transliteration and translation after the jump.

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Tuesday, October 3, 2017

Froyen rekht (Womens rights) sung by Gus Goldstein in 1911

Womens suffrage was not an easy sell in misogynistic America. The suffragettes struggled year after year and were not successful in getting the right to vote until 1920.

In the Gimpel Beynish cartoons, Gimpel (a matchmaker by trade) ends up working for the ladies because he needs a buck. But he isn't happy about it as you can see from this image.

I believe part of why Yiddish songs from the early twentieth century are not beloved is because they are so misogynistic.

Here's the song, from 1916, sung by Gus Goldstein. On the record the transliteration is Frouen recht.


The interesting word barayen: What I found online was "Luxembourgish / Old High German bihriuwan; regret. German bereuen regret, repent, rue.

The interesting lyrics of the song, with my translation, after the jump. Before that I just want to dump a bunch of cool images on the subject. There are multiple dissertations waiting to be written.




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