On Monday, Doug Stark wrote about the best Jewish basketball team ever. His new book, The SPHAS: The Life and Times of Basketball’s Greatest Jewish Team, is now available. His posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
Writing a book about a Jewish basketball team that had not played a meaningful game in nearly seventy years posed some challenges. The Philadelphia SPHAS were a great basketball team, but by the end of World War II, their best days were behind them. They were no longer significant players in the basketball world. So, I asked myself some questions. How do you find information about a team that no longer exists? Are any of the players still alive? Does anyone still remember them?
As I began working on this book, I realized that I needed to assemble a research plan. I figured newspapers would be a good start. Philadelphia had several papers such as the Philadelphia Inquirer and the Philadelphia Record and I felt both would be helpful. But I wanted to see what was written in the cities of their opponents. How was the team covered on the road? What was press coverage like in opposing cities? I then began tracking down newspapers in Boston, New York, New Jersey, Wilmington, Baltimore, Washington and many cities in the Midwest where they traveled. In addition to the mainstream press, I also targeted the Jewish press to see if the team was covered.
Over the course of several years, I spent many long and lonely hours in front of microfilm machines finding articles and scores. Unfortunately, none of the newspapers I needed were digitized, so I was manually cranking the microfilm reader.
French Jewish philosopher Élisabeth de Fontenay has published books on Jewish themes, such as 1973’s “The Jewish Faces of Karl Marx” (Les figures juives de Marx) from Les editions Galilée, and on animal rights, such as 1998’s philosophical inquiry “The Silence of Animals” from Les éditions Fayard or 2008’s “Without Offending Mankind” from Les éditions Albin Michel. In March though, Les éditions du Seuil published Fontenay’s “Birth Certificates” (Actes de naissance) a book of conversations with journalist Stéphane Bou, which addresses both themes.
This combination of divergent interests in one subtle mind is useful, since some animal rights advocates have crudely conflated their subject to tragedies of modern Jewish history, as in Charles Patterson’s dramatically named 2002 “Eternal Treblinka: Our Treatment of Animals and the Holocaust” from Lantern Books. Patterson’s title derives from a story by Isaac Bashevis Singer, “The Letter Writer,” in which the sickly, hallucinating Herman Gombiner, a Holocaust survivor, declares:
In relation to [animals], all people are Nazis; for the animals, it is an eternal Treblinka.
On February 24, L’École des loisirs publishing group reprinted two minor classics of French Jewish writing for young readers: “The Hand-Towel for Your Feet” (L’Essuie-mains des pieds) and “Granny’s Trip” (Le voyage de Mémé).
Originally published in 1981 and 1982, respectively, by French author, philosophy teacher, and wine merchant Gil Ben Aych, both books charmingly address the linguistic, and other, confusions of Algerian-born Jewish immigrants to France in the 1950s. The author was born Simon-Paul Gilbert de Ben Aych in 1948 at Tlemcen, a town in Northwestern Algeria nicknamed “Little Jerusalem” for its once-vibrant Jewish community.
Moving to France in 1956, in anticipation of Algeria’s 1962 independence from France, after which most Algerian Jews departed their homeland, Ben Aych’s family in this tender autobiographical tale chide each other for linguistic mistakes, such as asking for the title “hand-towel for your feet.”
It is always inspiring to see the amount of new theater being developed in New York. Though not always commercially or artistically successful, new plays are heartening; their presence suggests that there are brave artists out in the world who will continue to create, seemingly unscathed by the cruelties of “the business.” These artists make for a positive evening at the theater.
The Workshop Theater Company provides a stage for many of these bourgeoning talents, through their various reading series, workshops and mainstage productions, some specifically focused on a particular culture or subculture. Their latest venture, “I Laughed, I Cried…5 Short Plays to Make You Ferklempt” explores the heart and hardships of the Jewish faith from different angles by different writers.
First up is “A Walk in His Shoes,” which is based on a true story from author Timothy Scott Harris’s own family history. Set in modern-day Poland, we see Gabriel (Noah Keen), an escapee from his small town prior to the Nazi occupation, return home for the first time to a festival honoring those who were forced out nearly 70 years ago. Gabriel is unsettled by the showy nature of this homecoming, and voices his regret of a culture gone and forgotten from the city it built. The basis of this piece is powerful — a new and interesting look at a post-war situation on the other side of the world. Yet while Keen’s performance is strong, the would-be reconciliation that eventually comes is rushed and not fully fleshed out, leaving him with an emotional journey that lacks a real payoff.
What is the theme song for Israel’s tent protests? Although there are some brand new candidates (Mosh Ben Ari’s “Look Me In The Eyes,” and “The Good Guys Will Win,” which HaDag Nachash wrote specially for the protests), Israelis are rediscovering popular songs from the recent past that would seem to have been written with the current protests in mind. Writers of Internet posts and YouTube uploaders are hailing them as prophecies finally coming to pass.
My top five are as follows:
1: The hands-down winner for the funksters has to be from HaDag Nachash, whose entire back catalog reads like a manifesto for today’s protesters. “Lo Frayyerim” (“Not Suckers”) is the band’s early attempt to both describe and ridicule a situation that the middle classes seems to have finally chosen to reject. “Until when?” they sing with a great Sisters Sledge-like rhythm guitar, kicking bass line and lyrics of disbelief and yearning. “We’ll serve reserve duty, pay our taxes, stand in traffic, no one screws with us…” Here is the clip with a translation into English, but this is the best version I’ve heard, where the lament for h-a-r-m-o-n-y rings out in brass celebration.
The Cairo-born French Jewish ethnopsychiatrist Tobie Nathan author of a 2010 novel, “Who Killed Arlozoroff?” from Les Éditions Grasset about the 1933 murder of left-wing Israeli political leader Haim Arlosoroff, has also focused on psychiatry’s ultimate father figure, Sigmund Freud.
In a 2006 novel from Les Éditions Perrin, “My Patient Sigmund Freud, Nathan offers a psychoanalysis of Freud by Isaac Rabinovitch, a fictitious Viennese medical student. Earlier this year Nathan’s turned the tables on Papa Siggy again when Les éditions Odile Jacob published his book-length essay “New Interpretation of Dreams.”
What would have happened had there been a Jewish team in the Major Leagues? In an original novel serialized on The Arty Semite, Ross Ufberg imagines the trials and triumphs of The Lions of Zion, an all-Jewish team competing in the National League in 1933. Read the first three chapters here.
The Jewish ballplayers were staying two to a room in the Montefiore Hotel. After breakfast, we’d walk three miles along the Hillsborough River to arrive at a crude baseball diamond. We had no support system or ready facilities like the other, established teams, so the boys from the local YMHA came out to pitch balls and shag flies, while their sisters and mothers helped with the laundry.
Days in the Florida sun worked wonders on Reb Shlomo. Soon he was tan and limber, running around the field with a whistle in his mouth, instructing, correcting, shouting and, occasionally, encouraging. Clearly some men — and one woman — had come to tryouts in a delusional dream. There was the Great War veteran who was missing his arms, but begged us to take him on as a pinch runner: He claimed it was difficult to tag him when he slid. Then there was the buxom brunette who’d been playing for a Bloomer Girls team in Indiana. One of the YMHA boys who tossed balls during practice always lobbed her softies.
“She’s not much of a hitter,” he told the other infielders, “but it’d be a shame to pass up a chance to watch her round first.”
Fool’s Gold’s new album, the sophomore effort “Leave No Trace,” keeps the sun-touched Afropop sound from its critically successful debut and mostly jettisons the Hebrew language lyrics that helped that first album stand out.
The new album is a bid for a wider audience but it’s missing the combo that made their self-titled so special. On “Fool’s Gold” the band married the exoticism of the Middle East to the South African musical sounds that Paul Simon brought to the States on his 1986 “Graceland.” On “Leave No Trace” things are sunny and bright, but on only one track (the bouncy “Tel Aviv”) does Luke Top sing about Israel.
“[It] looks like something swiped from Rudy Giuliani’s presidential campaign press shop circa January 2008,” Seth Colter Walls wrote in a July 21 piece for Slate about the cover for Minimalist composer Steve Reich’s “WTC 9/11.”
Walls had no problem with “WTC 9/11” itself; he called Reich’s composition for three string quartets combined with recorded voices “a complex and intriguing achievement.” His beef was with the album cover art for the Kronos Quartet’s studio recording of the piece, which is set for release on September 1. The cover features a photograph of the second plane bearing down on the second tower of The World Trade Center as smoke billows out of the first tower. Walls noted that the image was darkened and dirtied, making the upsetting image even scarier.
An interest in family roots can appear without warning. A new biography, “Hippolyte Bernheim: a Destiny Under Hypnosis” (“Hippolyte Bernheim, un destin sous hypnose”), appeared in March from Les éditions Hugo & Cie, recounting the life of a French Jewish neurologist and pioneer of hypnotic therapy.
Its author is French novelist and essayist Cathy Bernheim, the subject’s great-grand-niece. Bernheim herself, born in 1946, admits surprise at recently feeling fascination for her Jewish ancestors, especially male ones, as her previously published works express little, if any, affection for men in general. In 2003, Les éditions du félin published Bernheim’s 1991 treatise “Almost-Perfect Love” (“L’amour presque parfait”), slating the lack of “truth or equality” in male-female relationships, and concluding:
The only way I would have been able to put up with loving men was if I were one myself.
Douglas Stark’s The SPHAS: The Life and Times of Basketball’s Greatest Jewish Team is now available. His posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
When I told friends and colleagues that I was researching and writing a book about a Jewish basketball team, I was often met with a hesitation or a stunned look. Why are you writing a book? Well, many people write books, I would often answer, and I wanted to take a crack at it myself.
No, the most common questions were the following: Did Jews play basketball? Was it a professional team? Was the team good? The answer is yes, yes, and most definitely yes.
Most sports fans today, whether they are serious or casual, hardly see any Jews participating at the highest level. But, Jews were an important part of the early history of sports in America, particularly basketball. Invented in 1891, basketball spread quickly and was soon played in YMCAs and gyms throughout the country. One place where basketball caught on immediately was urban areas.
Coming to America is normally shorthand for the opening of opportunity: apparently not for Arnold Schoenberg. Commentators on modern music have long undervalued the Vienna-born composer Arnold Schoenberg’s years in America, from 1934 until his death in 1951.
Admittedly, there were some disappointments, such as when the Guggenheim Foundation notoriously refused to grant Schoenberg a fellowship, citing a then-extant age limit for applicants. Yet overall, Schoenberg’s last years were fulfilled and productive, as “Schoenberg’s New World: The American Years” by Sabine Feisst, out in March from Oxford University Press, establishes.
Crossposted From Under the Fig Tree
I’ve been called many things in my day: Jocelyn, Jennifer, Jen, Joselit Weissman and on occasion (and hopefully in jest) even Gender Weissman Joselit, a name designed to highlight my stalwart embrace of feminism in matters large and small. Little wonder, then, that I sympathize with the fate that has recently befallen the celebrated man of Yiddish letters, Sholom Aleichem.
Thanks to Joseph Dorman’s affecting and insightful new film, “Sholem Aleichem: Laughing in the Darkness,” its eponymous subject is experiencing something of a new lease on life (though the Forward and Dorman use different standard transliterations). At the very least, his name has probably appeared in print more times in the past month than in the previous 90-odd years since his demise in 1916.
A shaggy-haired director is reclining on a couch in his parents’ home, watching the boob tube while he enjoys another bout of funemployment.
Such a description could easily apply to the beginning, middle or end of a Kevin Smith movie or to El Duderino himself, Jeff Bridge’s famous character from the cult hit “The Big Lebowski.” Instead, we are looking at the cinematic rendering of the family life of Israeli Arab filmmaker Mamdooh Afdile.
Just like Jeffrey Lebowski, Silent Bob and even Don Quixote before them, the story of “Jean Wejnoon” (“Shed Ve’Shigaon”), which screened in July at the Jerusalem Film Festival, is at its best when it focuses on the characters surrounding its hapless protagonist.
‘You shall make them known to your children, and your children’s children.’ Iillustration from a Bible card published 1901 by the Providence Lithograph Company.
Each week The Arty Semite connects the Torah reading — however tenuously — with a classic work of rock and roll.
In this week’s parsha, Va’etchanan, Moses continues his historical review with a recap of how he unsuccessfully asked God to rescind the decree barring him from entering Canaan. He then explains why it is important for the Israelites to keep the Torah and why it is he, rather than God, who is now teaching it to them.
A brief interlude in Moses’ narrative details the cities of refuge and introduces Moses’ main speech, which begins with major principles of the Torah and Jewish faith, including the opening paragraph of the Shema prayer and a repetition of the 10 Commandments.
Earlier this week, Michael Levy wrote about Jews and Chinese food and what Chinese people think about Jews. His posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
Central China is a strange place. Unlike the globalized, westernized cities on the coast, the land-locked, impoverished provinces of the interior rarely get foreign visitors. These provinces are home to the laobaixing, or “old hundred names,” a euphemism for the billion-or-so Zhou Six Packs I got to know while serving as a Peace Corps volunteer.
Among the laobaixing, foreigners are assumed to be missionaries. This is because most of them are missionaries: Mormon, Catholic, Seventh Day Adventist, you name it. There’s not much reason to visit places like Guizhou, so most people go only if God tells them to.
The result is a blanket assumption among the locals that white folks are all Christian. “Do you love Jesus?” was often the first thing a new friend would ask me. This would be followed by “can you use chopsticks?”
If you happen to be deep into Israeli gay club culture, then you probably know all about Uriel Yekutiel. If you aren’t, then prepare to meet the most fabulous drag queen in Israel today.
The host of an Israeli TV show recently presented a story on the 22-year-old Yekutiel by saying he was a cross between Dana International, Lady Gaga and Freddy Mercury, but really a phenomenon unto himself. It’s true — how many drag queens can you name who not only aim to outrage, but also specialize in lip syncing to Israeli Mizrahi music?
A while back, Yekutiel became the face of Arisa, a company that produces Mizrahi-themed parties at gay clubs. The job entails starring in elaborate music video invitations that call on Yekutiel’s acting and dancing talents. The Herzliya native (who says his father is completely supportive of his creative calling) has played a whole host of characters in these videos, from a giddy teenage girl preparing for a blind date to a Bollywood dancer to an Arab woman giving birth. He has also played a Breslov Hasid, though not the usual kind you see jumping out of those NaNach vans. His interpretation wears thick eye shadow and black leather pants and extols the greatness of God while caressing and licking the bare chests of other men.
Philip Levine was named the Poet Laureate of the United States this week, a choice that has been widely lauded. I must admit that for some years I’ve questioned the esteemed poet’s status, or more pertinently, his authenticity. My doubts, however, were dispelled by one short but memorable encounter.
From his first book on, Levine made himself known as a “blue collar” poet. Reading some of his poems, you might think that he worked at a factory all of his life. In fact, not only did he attend college, but in his mid-20s began an M.A. program and shortly thereafter became a professor of creative writing — which is what he’s been doing since.
“Jews on Vinyl,” an unusual museum exhibit focused on the recent Jewish past, has arrived at the Yeshiva University Museum after touring the West Coast for two years. The exhibit is a project of the Reboot Stereophonic non-profit record label, and is based on the 2008 book “And You Shall Know Us by the Trail of Our Vinyl: The Jewish Past as Told by the Records We Have Loved and Lost,” a glossy collection of over 500 vintage record covers collected over 15 years by guest curators (and Stereophonic Reboot founders) Josh Kun and Roger Bennett.
Unlike most museum exhibits, “Jews on Vinyl” is meant to be heard more than seen. Visitors choose from a handful of listening stations, impeccably set with period appropriate couches and chairs. Here they can sit and browse iPod playlists chosen by Kun and Bennett. Eartha Kitt singing “Sholem”? They have that. The Temptations doing a “Fiddler” medley? Yep. More versions of Hava Nagila than you dared imagine? Oh yes. Scattered on the listening station coffee tables are record covers representing some of the music featured on the playlists, as well as information cards with short blurbs about the artists and songs.
Morris Dickstein appreciates the all-too-overlooked Delmore Schwartz.
Argentine-Israeli conductor Daniel Barenboim is being nominated for a Nobel Peace Prize.
Stephen Sondheim doesn’t much like the revamped version of “Porgy and Bess.”