Tag Archives: deep gossip

dyspepsia

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!

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signals across vast distances

i wrote this almost two years ago, and forgot about it until last month; i don’t think it’s entirely done, but it felt worth putting here today. it’s built off of brecht’s “An die Nachgeborenen”, auden’s “September 1, 1939”, and rukeyser’s “Poem (I lived in the first century of world wars)”.


signals across vast distances (the second century)
in three parts

III.

you up there, who observed the flood
in which we declined to perish,
consider
when you speak of our stubbornness
also the dark times
you arranged to avoid.

for we went out, frequently changing our appearance, bodies, shoes,
through the class warfare, knowing
there was injustice and you were outraged at home.

and yet we knew:
a passive distaste for squalor
distorts the heart.
dissent without action
is the same as support. we
who you denied everything but a kind regard
know how to be gentle with each other.

but you, when at last the time comes
that you cannot survive alone,
do you expect us to be anything
but your enemies?

[8]

can this voice
unfold the lie
the romantic lie
of everyday senses
and of authorities
groping skies and asses?

there is no such thing as the state
and no one exists alone.

it is a choice to let one hunger or another
turn you into a cop, a guard, a soldier, a man.

loving one another is all that saves us.
in the end, we die.

—--

careless stories
products to the unseen
and unborn

to let go to wake

a nameless way of living
almost unimagined values
as the lights of night brighten

about Andor: don’t piss on my leg and tell me it’s raining

piss on my leg and tell me it’s piss! how i respond will depend entirely on you, not on piss.

i just watched Andor, and now i’m having thoughts, and even opinions. i knew it was a bad idea. up til now, after a bone-deep enthusiasm that didn’t really last past 1988, i’ve been immune to the siren song of lucasville (aside from the visual design, which always looks great and makes no fucking material sense of any kind).

i know that makes me odd. but let’s get real, here.

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conflict, abuse, & lenin

today (1/9/2021) i learned that the original “bros before hos” leftist shmuck was, in fact, lenin.

like, literally. lenin.

and that him being That Guy was part of what drove the bolshevik/menshevik split.

i’m fascinated, and i think it’s actually pretty important – thus this post. be forewarned: there’s a certain amount of leftist trainspotting involved, but if you’re a movement person it will all feel very familiar.

here’s what seems to have gone down in what’s been called “the bauman affair”:

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