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“Kale lebn, kale lebn” A Badkhn Parody Performed by Dora Libson

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Kale lebn, kale lebn
A badkhn parody sung by Dora Libson
Recorded by Lionel Libson, 1977

Transcribed by Eliezer Niborski, English translation by Itzik Gottesman.

Kale-lebמ, kale-lebn
Kale-lebn, kale-lebn,
Meyn darfsti veynen un shrayen.
Az zolst hobn aza velt azoy zis
vi borsht fun klayen.
Un zolst darfn geyn borgn un layen.
Un zolst keyn mol nit aroys
funem rov un funem dayen.

Dear bride, dear bride,
You should cry and scream some more.
You should have a world so sweet
as borsht made with bran.
You should rely on borrowing and lending.
And may you never get out from 
the rabbi and his assistant.

Oy, a ber un a shver un a shlimazelnitse 
zenen dokh oykhet darbay.
A ber hot a langn veydl 
un a shver hot lib a sheyn meydl.
Un az a shlimezalnitse geyt in mark – 
fardripet zi dus kleydl.

Oy, a bear and a father-in-law and an unlucky woman
are also present. 
A bear has a long tail,
and a father-in-law loves a pretty girl.
And when an unlucky woman goes to market
she spatters her dress

Oy, a bukher un a meydl un a shlimezalnitse
zenen dokh oykhet darbay.
A bukher az er geyt avek heyst men zikh im nit (h)aylen.
un a meydl, az zi geyt avek heyst men zikh ir nit zamen.
Un az me shikt a shlimezalnitse nokh fleysh 
brengt zi plyamen.

Oy, a young man and girl and an unlucky woman
are present as well. 
A young men when he leaves is told not to hurry
and a girl, when she leaves is told not to wait.
And when you send an unlucky woman to buy meat
she comes back with stains. 

כּלה־לעבן, כּלה־לעבן
,מיין דאַרפֿסטו וויינען און שרײַען
אַז זאָלסט האָבן אַ וועלט אַזוי זיס
.ווי באָרשט פֿון קלײַען
,זאָלסט דאַרפֿן גיין באָרגן און לײַען
און זאָלסט קיין מאָל ניט אַרויס
.פֿונעם רבֿ און פֿונעם דיין

אוי, אַ בער און אַ שווער און אַ שלימזלניצע
.זענען דאָך אויכעט דערבײַ
אַ בער האָט אַ לאַנגן וויידל
.און אַ שווער האָט ליב אַ שיין מיידל
–און אַ שלימזלניצע גייט אין מאַרק
.פֿאַרדריפּעט זי דאָס קליידל

אוי, אַ בחור און אַ מיידל און אַ שלימזלניצע
.זענען אויכעט דערבײַ
אַ בחור, אַז ער גייט אַוועק, הייסט מען זיך אים ניט אײַלן, [אַרויסגערעדט „הײַלן”]
,און אַ מיידל, אַז זי גייט אַוועק, הייסט מען זיך איר ניט זאַמען
,און אַז מע שיקט אַ שלימזלניצע נאָך פֿלייש
… ברענגט זי פּליאַמען 
[“וואַריאַנט־מערצאָל פֿון „פּליאַמע“ = „פֿלעק]

Commentary by Itzik Gottesman

In the spirit of Purim this week, we present a parody of a badkhn’s bazetsns.  Before the ceremony of veiling the bride, the wedding entertainer, the badkhn, used to address the bride, reminding her of the youth that she leaves behind and how to lead an observant Jewish life with her husband. Sometimes the rhymes would be a stretch, almost non-sensical  and that is at the heart of the parodies.

I believe the repeated lines in our parody “…are also present” are mocking the lines of the badkhn when he reminds the bride that although her parents or grandparents may have died, they are with her today at this happy occassion. 

The badkhn parodies are usually of the bazetsns, the seating, and the badekns, the veiling; two emotional moments before the marriage under the khupe/canopy. The bazetsns is strickly a women’s ceremony, except for the badkhn, and a time of much weeping. I have added below two pages from Hayyim Schauss’s work The Lifetime of a Jew (1976) in which he discusses these moments at the wedding. Schauss was a Litvak from Lithuania so much of what he describes is particularly true of his region. It is worth reading.

This is a link to a “real” badekns, not a parody, as sung by Majer Bogdanski, born 1912 in Piotrkow-Tribunalsky, Poland, from the CD Yiddish songs / Yiddishe liders:

One can also see the badkhn perform in such Yiddish films “Yidl mitn fidl” “Uncle Moses” and “The Dybbuk”. The badkhn tradition has made a comeback in today’s Hasidic world and many examples can be found on YouTube. As far as I can tell, they have become mainly comics, and do not paricipate in other wedding ceremonies.

To get a feel for the type of music that might be played at the bazetsn, here is violinist Jutta Bogen playing an example (from Pete- this one has the structue of a Romanian doina):

Many such bazetsnbadekn parodies were recorded on 78 RPMs in the 1910s- 1930s, and even later. Here is Henri Gerro’s Kolomeyer badchn. The badkhones parody begins at 1:00.  

Further reading on the badkhn:

1) Article by Joel Rosenberg “Badkhones in Life and Cinema” on the website In geveb
2) “Badkhonim” in the YIVO Encyclopedia by Jean Baumgarten.
3) Book: הבדחן (in Hebrew) by Ariela Krasney

Special thanks this week to Eliezer Niborski who transcribed the recording. 

Excerpt from Hayyim Schauss’s work The Lifetime of a Jew (1976):

“Dus geboyrn finem mentshn” Performed by Frahdl Post

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 4, 2018 by yiddishsong

 Dus geboyrn finem mentshn / The Birth of Man
Sung by Frahdl Post
Recorded by Wolf Younin 1976, Workmen’s Circle Nursing Home, Bronx

Commentary by Itzik Gottesman

Usually on the blog we identify the songs by the first line, but the singer Frahdl Post called this song Dus geboyrn finem mentshn – The Birth of Man – so we will stick with that title. It is an adaptation of the first half of the poem Der malekh (The Angel), a poem by Avraham Goldfaden (1840-1908), a section bearing the subtitle “Di yunge neshome – The Young Soul”. It was first printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866). We are attaching in 4 scans the entire poem as it appeared in the 1903 Warsaw edition.

Goldfaden picAvraham Goldfaden

The poem and song are based on the midrash and Jewish folk belief that before birth the soul of the child knows the entire Torah and all about the world. But right before birth the angel flicks his/her finger hitting the lip and the newborn forgets everything as it enters this world. The indentation above our lips, the philtrum, marks where the angel struck the child.

In Goldfaden’s 25-verse poem and Frahdl Post’s 14-verse song, the angel especially points out the evils of money in Jewish society.

Henry Carrey transcribed the song as he heard his grandmother, Frahdl Post, sing it. After listening, I changed some words of his transcription. Some words remain unclear and we indicate alternatives in brackets. I would suggest that one must read Goldfaden’s original poem to make sense of some of the lines in the song.

Post’s northern Ukrainian dialect includes both turning the “oy” to “ey”, (for example “skheyre instead of “skhoyre”), a change we associate with the northeastern Yiddish dialect (Litvish), as well as vowel changes we usually associate with the southeastern Yiddish dialect – “zugn” instead of “zogn”, “arim” instead of “arum”. The transcription reflects the dialect as much as possible.

Needless to say Frahdl Post’s memory in recalling these long songs is very impressive. Thanks for help in this week’s post go to Henry Carrey and David Braun.

TRANSLITERATION

[Ge]shlufn iz ales eyn halbe nakht
kayn shim mentsh hot zikh nit gerirt.
Nor di zilberne levune aleyn
tsvishn di shtern shpatsirt.

Demolt tsit on der shluf mit makht ,
farshlefert di mentshn di oygn,
iz fin dem himl a malakh arup
[Un iz iber di dekher gefloygn.]

Er halt di hent tsugeltulyet tsu zikh;
a yinge neshume getrugn,
“Vi trugsti mikh? Vi shlepsti mikh ?”
heybt im on di neshume tsi zugn .

“Hob nit keyn meyre, neshumele mayns”
Heybt on der malakh tsu reydn,
“Ikh vel dir bazetsn in a hayzl a fayns
Du vest dortn lebn tsufridn [in freydn].”

“Vest onheybn di velt beser farshteyn
Veln mir dir gebn a kameyeh,
Azey aza zakh hostu keyn mol geyzen
Zi heyst mitn nomen matbeye.”

“Mit der matbeye darfstu visn vi azoy tsu bageyn,
Zi iz magnet, zi iz kishef, zi iz gelt.
Zi ken dir gibn di velt tsu zeyn,
Zi ken dir farvistn dayn velt.“

Dortn zitst eyner in zan tsimer
Er trinkt mit im frayntlekh un kvelt,
Zey vi er kikt im [?] same in bekher aran.
Er vil bay im yarshenen zayn gelt.

Dortn shluft eyner in zayn tsimer.
Er shluft zikh git geshmak
Zey vi er shteyt un kritst mit di tseyn
Er vil hobn dem shlisl fun dem gelt.

Dortn firt eyner ganeyvishe skheyre,
Gur farviklt, farshtelt,
Zey vi er hot di skheyre geganvet
Un er vil zi farkeyfn far gelt.

Dortn oyf dem beys-hakvures
In an ofenem keyver oyfgeshtelt,
Zey vi er tsit di takhrikhim arup
Un er vil zey farkeyfn far gelt.

“Okh! neyn, neyn, neyn, neyn, heyliker malakh
Mit aza velt kim ikh nit oys.
Fir zhe mir beser upet aheym,
Ikh ze du kayn gits nit aroys.“

“Shpatsir dir a bisl arim afn brik,
Shpatsir zikh a bisl arim,
Di vest dokh bald darfn kimen karik
Di zolst nit kimen far im [mit keyn grim.][?]”
[Goldfaden: “Zolst kumen aheym on a mum]

Der hun hot gegebn dem ershtn krey,
A kol fun a kimpeturin,
Azey hot men gegeybn bald a geshrey,
“ A yingele! – mit lange yurn.”

[Azoy vi men hot gegeybn dem geshrey.
“Mazl-tov, a yingl geboyrn”]
Der malakh hot gegebn a shnal in der lip
Un iz karik tsum himl farfloygn.

TRANSLATION

Everything is asleep at midnight.
Not a soul was stirring.
Only the silver moon
Went walking among the stars

Sleep covers all with its power
And makes drowsy all of the people’s eyes.
An angel then came down from heaven
And flew over the rooftops.

He holds his hands tucked close to himself
A young soul he was carrying.
“Where are you carrying me? Where are you dragging me?”
The soul starts saying to him.

“Do not fear, my dear little soul”
the angel begins to speak
“I will place you in a good house.
You will live there happily.”

“When you begin to understand the world better,
we will give you a charm.
Such a thing you have never seen:
It is called by the name – coin.”

“With this coin you will have to know what to do.
It’s a magnet; it’s magic, it’s money.
It can help you see the world.
It can destroy your the world.”

There sits someone with his friend in his room.
He drinks with him as friends and enjoys it.
Look how looks right in the goblet .
He wants to inherit his money.

Another sleeps in his room,
He is sound asleep.
See how he stands and grits his teeth;
He wants to have the key to the money.

Over there someone deals with stolen goods,
Completely wrapped up, disguised.
See how he stole that merchandise
And how he wants to sell if for money.

There on the cemetery
In an open grave [a body] is propped up.
See how he pulls the burial shrouds off it
and wants to sell them for money.

“Ah no, no, no, no holy angel
I cannot survive in such a world.
It would be better if you took me home.
No good do I see here.”

“Take a walk around the bridge,
take a little walk around.
You will soon have to come back
So that you don’t appear before him with make-up [?].”
[In Goldfaden’s original – “So that you return with no blemish”]

The rooster gave its first crow
The voice of a midwife,
And thus was given the first scream
A boy! May he live for many years.

As soon as the first yell was given
“Mazl-tov! A boy was born”.
The angle gave it a flick on the lip
And flew back up to heaven.
geboyrn1

geboyrn2

geboyrn3

geboyrn4

Di yunge neshome – The Young Soul, as printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866):

YungeNewshome1

YungeNeshome4

YungeNeshome3

YungeNeshome2