pepi litman: double entendres, workplace sexual assault, and khazones without theocracy

last summer, Klezcadia hosted the premiere of a new show by the great yiddish singer/scholar jeanette lewicki (no relation, as far as we know), featuring the repertoire of turn-of-the-20th-century yiddish cabaret-chantant singer pepi litman. through jeanette’s efforts over more than a decade of exploration (and those of other singer/scholars like miryem-khaye siegel), litman has become a known name again in the yiddish cultural landscape, especially among queer yiddishists. she remains, however, better known through photos showing off the sharp sartorial style she brought to her onstage menswear – shirt, tails, and top hat; or kapote, hitl, and a hint of peyes – than through the many 78rpm discs that preserve her voice. her yiddish is from the theater and street, not from YIVO or borough park, and its slangy, topical flavor can be very hard to parse even without the scatchiness of century-old grooves, which is part of why jeanette’s work is so important.

a friend asked me what i was so excited about in jeanette’s tour through litman’s repertoire, and i thought i’d write up longer versions of the three things i said, and share them a little more widely, since i think these songs are important and fascinating as well as awesome.

double entendres

first of all, litman’s songs are so inventively filthy!