Fun With Kosher Recipes - Yiddish Words and Phrases

Keeping kosher with recipes for Passover and other kosher food recipes is a great way to stay linked to your Jewish heritage while instilling religious values in your children. But if you're finding to feel even closer to the old country, chances are it's going to involve some Yiddish. Read on for some excellent Yiddish words and phrases relating to food, including words that have become common among English speakers.

Bagel: Originating in Krakow, Poland, the bagel first appeared to compete with the bublik - a denser, drier ring of dough. It became tradition for observant Jews to bake bagels after the Sabbath on Saturday evenings, as bagels take less time to make than most other bread products.

Yiddish

Blintz: Crepe-like pastries with sweet filling, usually cheese. Unlike crepes, blintz pancakes are made with yeast. Blintzes are often served during Chanukah and Shavuot.

Fun With Kosher Recipes - Yiddish Words and Phrases

Challa: Bread common on Shabbat dinners, although forbidden in Passover recipes.

Chazzer: This describes a pig - or, more frequently, person that eats like a pig. There's also chazzerei (pig's feed, or junk food) and the expression a chazer bleibt a chaser ("a pig remains a pig").

Er est vi noch a krenk: "He eats like he just got over an illness."

Er frest vi a ferd: "He eats like a horse."

Essen: Part of many other phrases, essen means "to eat." We also see it in ess gezunterhait ("eat in good health") and essen mitik (to eat midday).

Fleishig: A meat product.

Fressen/fress: Fressen describes a more intense form of eating - pigging out. There's also the American-born fressing (gourmandizing) and umzitztiger fresser (a freeloader who only wants to eat your food).

Gedempte flaysh: An unknown - or "mystery" - meat.

Gelt: Though it can mean actual money, gelt is usually used to describe the chocolate coins favorite during Chanukah.

Hak flaish: Chopped meat.

Kasheh: Food-wise, kasheh is soft cereal or porridge, but it can also be used to describe a confusing mess.

Kreplach: Meat-filled dumplings reminiscent of ravioli. In other settings, kreplach can be used to mean something worthless.

Latke: Even favorite among gentiles, latkes are potato pancakes served most often during Chanukah. The pancakes are cooked using oil, which for some represents the enduring oil flame that inspired the holiday.

Lox: A historic friend of the bagel, lox is a salmon fillet cured with a brining solution. Lox was popularized in the United States by Jewish immigrants from Eastern Europe.

Milchig: A milk product.

Nosh: A widely used verb to describe snacking. Typically, you nosh on a nosherie (snack food).

Parveh: Food that isn't milchig (milk) or fleishig (meat). It's also thought about neutral.

Pesach: This is an easy one - Pesach is the Yiddish term for Passover. Because of the extra dietary restrictions, there are many Pesach recipes created specifically for the holiday.

Schmaltz: Describes a type of fat or grease, usually melted fat from a chicken. In contemporary usage, schmaltz can also describe over-the-top sentimentality.

Schmeer (or schmear): A spread on a bagel, such as cream cheese.

Shtark gehert: easily "strongly heard," this phrase is used to classify smelly food.

Traif: Non-kosher food. A traifnyak is a person who eats traif, or who is ordinarily loathsome.

Wen ich ess, ch'ob ich alles in dread: Literally, this phrase means "when I am eating, I have all things in the ground," but you can substitute "I don't care about anything else" for that last part.

Zee est vee a feigele: "She eats like a bird." Probably because she doesn't know any good kosher recipes!

Fun With Kosher Recipes - Yiddish Words and Phrases

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Fun With Kosher Recipes - Yiddish Words and Phrases

Keeping kosher with recipes for Passover and other kosher food recipes is a great way to stay linked to your Jewish inheritance while instilling religious values in your children. But if you're looking to feel even closer to the old country, chances are it's going to involve some Yiddish. Read on for some superior Yiddish words and phrases relating to food, along with words that have come to be base among English speakers.

Bagel: Originating in Krakow, Poland, the bagel first appeared to compete with the bublik - a denser, drier ring of dough. It became tradition for observant Jews to bake bagels after the Sabbath on Saturday evenings, as bagels take less time to make than most other bread products.

Yiddish

Blintz: Crepe-like pastries with sweet filling, ordinarily cheese. Unlike crepes, blintz pancakes are made with yeast. Blintzes are often served while Chanukah and Shavuot.

Fun With Kosher Recipes - Yiddish Words and Phrases

Challa: Bread base on Shabbat dinners, although forbidden in Passover recipes.

Chazzer: This describes a pig - or, more frequently, someone that eats like a pig. There's also chazzerei (pig's feed, or junk food) and the expression a chazer bleibt a chaser ("a pig remains a pig").

Er est vi noch a krenk: "He eats like he just got over an illness."

Er frest vi a ferd: "He eats like a horse."

Essen: Part of many other phrases, essen means "to eat." We also see it in ess gezunterhait ("eat in good health") and essen mitik (to eat midday).

Fleishig: A meat product.

Fressen/fress: Fressen describes a more intense form of eating - pigging out. There's also the American-born fressing (gourmandizing) and umzitztiger fresser (a freeloader who only wants to eat your food).

Gedempte flaysh: An unknown - or "mystery" - meat.

Gelt: Though it can mean actual money, gelt is ordinarily used to relate the chocolate coins favorite while Chanukah.

Hak flaish: Chopped meat.

Kasheh: Food-wise, kasheh is soft cereal or porridge, but it can also be used to relate a confusing mess.

Kreplach: Meat-filled dumplings reminiscent of ravioli. In other settings, kreplach can be used to mean something worthless.

Latke: Even favorite among gentiles, latkes are potato pancakes served most often while Chanukah. The pancakes are cooked using oil, which for some represents the enduring oil flame that inspired the holiday.

Lox: A historic friend of the bagel, lox is a salmon fillet cured with a brining solution. Lox was popularized in the United States by Jewish immigrants from Eastern Europe.

Milchig: A milk product.

Nosh: A widely used verb to relate snacking. Typically, you nosh on a nosherie (snack food).

Parveh: Food that isn't milchig (milk) or fleishig (meat). It's also determined neutral.

Pesach: This is an easy one - Pesach is the Yiddish term for Passover. Because of the extra dietary restrictions, there are many Pesach recipes created specifically for the holiday.

Schmaltz: Describes a type of fat or grease, ordinarily melted fat from a chicken. In contemporary usage, schmaltz can also relate over-the-top sentimentality.

Schmeer (or schmear): A spread on a bagel, such as cream cheese.

Shtark gehert: indeed "strongly heard," this phrase is used to classify smelly food.

Traif: Non-kosher food. A traifnyak is a someone who eats traif, or who is ordinarily loathsome.

Wen ich ess, ch'ob ich alles in dread: Literally, this phrase means "when I am eating, I have everything in the ground," but you can substitute "I don't care about anyone else" for that last part.

Zee est vee a feigele: "She eats like a bird." Probably because she doesn't know any good kosher recipes!

Fun With Kosher Recipes - Yiddish Words and Phrases

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Jewish Music

What Is Jewish Music?

Jewish music can be studied from many diversified points of view. Among them historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times (Pharaonic Egypt); religious music at the first and second Solomon's Temples; musical activities immediately following the Exodus; the seemingly impoverished religious musical activities during the early middle ages; the emergence of the conception of Jewish Music in the mid-19th century; its nation-oriented sense as coined by the landmark book Jewish Music in its Historical development (1929) by A. Z. Idelsohn (1882-1938) and finally as the art and popular music of Israel.

Yiddish

Early emergences of Jewish musical themes and of what may be called "the idea of being Jew" in European music can be first seen in the works of Salamone Rossi (1570-1630). Following that they appear somewhat shaded in the works of the grandson of the well known Jewish philosopher Moses Mendelssohn(1729-1786): Felix Mendelssohn (1809-1847).

Jewish Music

Fromental Halevy's (1799-1862) opera La Juive and its occasional use of some Jewish themes is opposed to the lack of "anything Jew" in his approximately modern fellow composer Jacques Offenbach (1819-1880) who was surely Jew and grew up in level Jewish tradition.

Interestingly the St. Petersburg community for Jewish Music led by the composer-critic Joel Engel (1868-1927) reports on how they discovered their Jewish roots. They were inspired by the Nationalistic Movement in the Russian Music personified by Rimsky-Korsakov, Cesar Cui and others, and records how set out to the Shtetls and meticulously recorded and transcribed thousands of Yiddish folksongs.

Ernst Bloch's (1880-1959) Schelomo for cello and orchestra and specially the Sacred Service for orchestra, choir and soloists are attempts to create a "Jewish Requiem".

Mario Castelnuovo-Tedesco (1895-1968)'s Sephardic upbringings and their influences on his music as they appear in his Second Violin Concerto and in many of his songs and choral works; cantatas Naomi and Ruth, Queen of Shiba and in the oratorio The Book of Jonah among others are worth noting as well.

Many scholars did not missed the Synagogue motives and melodies borrowed by George Gershwin in his Porgy and Bess. Gershwin biographer Edward Jablonski has claimed that the melody to "It Ain't Necessarily So" was taken from the Haftarah blessing and others have attributed it to the Torah blessing.

In Gershwin's some 800 songs, allusions to Jewish music have been detected by other observers as well. One musicologist detected "an uncanny resemblance" between the folk tune "Havenu Shalom Aleichem" and the spiritual "It Take a Long Pull to Get There".

Most notcied modern Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Mark Kopytman, Yitzhak Yedid.

There are also very foremost works by non-Jew composers in the Jewish music. Maurice Ravel with his Kaddish for violin and piano based on a former liturgical melody and Max Bruch's paramount arrangement of the Yom Kippur prayer Kol Nidrei for cello and orchestra are among the best known.

Sergei Prokofieff's Overture sur des Themes Juives for string quartet, piano and clarinet clearly displays its inspirational sources in non-religious Jewish music. The melodic, modal, rhythmical materials and the use of the clarinet as a foremost melodic instrument is a very typical sound in folk and non-religious Jewish music.

Dmitri Shostakovich was deeply influenced by Jewish music as well. This can be seen in many of his compositions, most notably in the song cycle From Jewish Folk Poetry, and in the Second Piano Trio. However his most outstanding gift to the Jewish culture is without doubt the 13th. Symphony "Babi Yar".

How Many Jewish Musics?

The world-wide dispersion of the Jews following the Exodus and its three main communities create the basic kayout of the world-wide Jewish music. Those communities in their geographical dispersion exterior all continents and their unique relations with local communities have given birth to discrete kinds of music as well as languages and customs.

Following the exile, agreeing to geographical settlements, Jews formed three main branches: Ashkenazi, Sephardi and Mizrahi.

Roughly they are located as follows: Ashkenazi in Eastern and Western Europe, the Balkans, (to a lesser extend) in Turkey and Greece; Sephardi in Spain, Maroc, North Africa and later in the Ottoman Empire (Turkey); Mizrahi in Lebanon, Syria, East Asia, Iraq, Yemen, Egypt.

The music of those communities naturally entered into palpate with local traditions and evolved accordingly.

Ashkenazi and the Klezmer

"Ashkenazi" refers to Jews who in the 9.th century started to rule on the banks of the Rhine.
Today the term "Ashkenazi" prescription most of the European and Western Jews.

Besides the Hebrew, Yiddish is ordinarily used in speech and songs.

The former Ashkenazi music, originated in Eastern Europe, Moved to all directions from there and created the main subject of Jewish Music in North America. It includes the paramount Klezmer music. Klezmer means "instruments of song", from the Hebrew word klei zemer. The word come to prescription the musician himself and it is somehow analogous to the European troubadour.

Klezmer is a very popular genre which can be seen in Hasidic and Ashkenazic Judaism, it is However deeply linked with the Ashkenazi tradition.

Around the 15th century, a tradition of secular Jewish music was industrialized by musicians called kleyzmorim or kleyzmerim. They draw on devotional traditions extending back into Biblical times, and their musical patrimony of klezmer continues to evolve today. The repertoire is largely dance songs for weddings and other celebrations. Due to the Ashkenazi lineage of this music, the lyrics, terminology and song titles are typically in Yiddish.

Originally naming the musicians themselves in mid-20th Century the word started to recognize a musical genre, it is also sometimes referred to as "Yiddish" music.

Sephardi

"Sephardi" surely means Spanish, and prescription Jews from in general Spain but also North Africa, Greece and Egypt.

Following the expulsion of all non-Christians, forced to convert to Christianism or to the exile in 1492, the very rich, cultivated and fruitful Jewish culture existing in Spain has migrated massively into the Ottoman Empire formed the main brach of Jews living currently in Turkey.

Their language besides the Hebrew is called Ladino. Ladino is a 15th. Century of Spanish. Much of their musical repertoire is in that language. The Sephardi music mixes many elements from former Arab, North African, Turkish idioms.

In medieval Spain, "canciones" being performed at the royal courts constitued the basis of the Sephardic music.

Spiritual, ceremonial and entertainment songs all coexists in Sephardic music. Lyrics are ordinarily Hebrew for religious songs and Ladino for others.

The genre in its spread to North Africa, Turkey, Greece, the Balkans and Egypt assimilated many musical elements. Including the North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam modes.

Woman voice is often preferred while the instruments included the "oud" and "qanun" which are not traditionally Jewish instruments.

Some popular Sephardic music has been released as market recordings in the early 20th Century. Among the first popular singers of the genre were men and included the Turks Jack Mayesh, Haim Efendi and Yitzhak Algazi. Later, a new generation of singers arose, many of whom were not themselves Sephardic. Gloria Levy, Pasharos Sefardíes and Flory Jagoda.

Mizrahi

"Mizrahi" means Eastern and refers to Jews of Eastern Mediterranean and supplementary to the East.

The music also mixes local traditions. surely a very "eastern flavored" musical tradition which encompasses Egypt, Syria, Jordan, Lebanon, Iraq and as east as India.

Middle Eastern percussion instruments share an foremost part with the violin in typical Mizrahi songs. The music is commonly high pitched in general.

In Israel today Mizrahi music is very popular.

A "Muzika Mizrahit" Movement emerged in the 1950s. Mostly with with performers from the ethnic neighborhoods of Israel: the Yemenite "Kerem HaTemanim" neighborhood of Tel Aviv, Moroccan, Iranian and Iraqi immigrants - who played at weddings and other events.

Songs were performed in Hebrew but with a clear Arabic style on former Arabic instruments: the "Oud", the "Kanun", and the "darbuka".

Classic Hebrew literature, Including liturgical texts and poems by medieval Hebrew poets constitued the main source of lyrics.

Music in Jewish Liturgy

There are a wide collection of, sometimes conflicting, writings on all aspects of using music in the Judaic liturgy. The most agreed-upon facts are that the women voice should be excluded from religious ceremony and the usage of musical instruments should be banned in Synagogue service.

However some Rabbinical authorities soften those level positions but not concerning the exclusion of the female voice. In weddings, for instance, the Talmudic statement "to gladden the groom and bride with music" can be seen as a way to allow making instrumental and non-religious music at the weddings but this was probably to be done exterior the Synagogue.

The very influential writings of the Spanish Rabbi, also a doctor and philosopher, Maimonides (1135-1204) on one hand opposed harshly against all form of music not totally at the assistance of religious worship and on the other hand recommended instrumental music for its medical Powers.

Healing Powers and mysterious formul private inside musical scores was ordinarily sought after in music scores during middle-ages, renaissance and pre-Baroque epochs. Interestingly, in a recently published fiction novel "Imprimatur" by the musicologist Rita Monaldi and co-author Francesco Solti the whole plot is built-up around a aggregate of Salomone Rossi (1570-1630), an foremost Jewish composer.

Jewish mystical treatises, like the Kabbala, particularly since the 13th. Century often deal with ethical, magical and therapeutic powers of music. The enhancement of the religious palpate with music, particularly with singing is expressed in many places.

Even though there is no unified position concerning music in the Jewish conception a base main ideas seems to emerge: that the music is the authentic expression of human feelings in religious and secular life.

Jewish Music

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Jewish Music

What Is Jewish Music?

Jewish music can be studied from many diversified points of view. Among them historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times (Pharaonic Egypt); religious music at the first and second Solomon's Temples; musical activities immediately following the Exodus; the seemingly impoverished religious musical activities while the early middle ages; the emergence of the belief of Jewish Music in the mid-19th century; its nation-oriented sense as coined by the landmark book Jewish Music in its Historical improvement (1929) by A. Z. Idelsohn (1882-1938) and ultimately as the art and popular music of Israel.

Yiddish

Early emergences of Jewish musical themes and of what may be called "the idea of being Jew" in European music can be first seen in the works of Salamone Rossi (1570-1630). Following that they appear somewhat shaded in the works of the grandson of the well known Jewish philosopher Moses Mendelssohn(1729-1786): Felix Mendelssohn (1809-1847).

Jewish Music

Fromental Halevy's (1799-1862) opera La Juive and its occasional use of some Jewish themes is opposed to the lack of "anything Jew" in his practically modern fellow composer Jacques Offenbach (1819-1880) who was beyond doubt Jew and grew up in right Jewish tradition.

Interestingly the St. Petersburg community for Jewish Music led by the composer-critic Joel Engel (1868-1927) reports on how they discovered their Jewish roots. They were inspired by the Nationalistic Movement in the Russian Music personified by Rimsky-Korsakov, Cesar Cui and others, and records how set out to the Shtetls and meticulously recorded and transcribed thousands of Yiddish folksongs.

Ernst Bloch's (1880-1959) Schelomo for cello and orchestra and specially the Sacred Service for orchestra, choir and soloists are attempts to create a "Jewish Requiem".

Mario Castelnuovo-Tedesco (1895-1968)'s Sephardic upbringings and their influences on his music as they appear in his Second Violin Concerto and in many of his songs and choral works; cantatas Naomi and Ruth, Queen of Shiba and in the oratorio The Book of Jonah among others are worth noting as well.

Many scholars did not missed the Synagogue motives and melodies borrowed by George Gershwin in his Porgy and Bess. Gershwin biographer Edward Jablonski has claimed that the melody to "It Ain't Necessarily So" was taken from the Haftarah blessing and others have attributed it to the Torah blessing.

In Gershwin's some 800 songs, allusions to Jewish music have been detected by other observers as well. One musicologist detected "an uncanny resemblance" in the middle of the folk tune "Havenu Shalom Aleichem" and the spiritual "It Take a Long Pull to Get There".

Most notcied modern Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Mark Kopytman, Yitzhak Yedid.

There are also very leading works by non-Jew composers in the Jewish music. Maurice Ravel with his Kaddish for violin and piano based on a primary liturgical melody and Max Bruch's sublime arrangement of the Yom Kippur prayer Kol Nidrei for cello and orchestra are among the best known.

Sergei Prokofieff's Overture sur des Themes Juives for string quartet, piano and clarinet clearly displays its inspirational sources in non-religious Jewish music. The melodic, modal, rhythmical materials and the use of the clarinet as a leading melodic instrument is a very typical sound in folk and non-religious Jewish music.

Dmitri Shostakovich was deeply influenced by Jewish music as well. This can be seen in many of his compositions, most notably in the song cycle From Jewish Folk Poetry, and in the Second Piano Trio. However his most superior offering to the Jewish culture is without doubt the 13th. Symphony "Babi Yar".

How Many Jewish Musics?

The world-wide dispersion of the Jews following the Exodus and its three main communities create the basic kayout of the world-wide Jewish music. Those communities in their geographical dispersion covering all continents and their unique relations with local communities have given birth to assorted kinds of music as well as languages and customs.

Following the exile, according to geographical settlements, Jews formed three main branches: Ashkenazi, Sephardi and Mizrahi.

Roughly they are placed as follows: Ashkenazi in Eastern and Western Europe, the Balkans, (to a lesser extend) in Turkey and Greece; Sephardi in Spain, Maroc, North Africa and later in the Ottoman Empire (Turkey); Mizrahi in Lebanon, Syria, East Asia, Iraq, Yemen, Egypt.

The music of those communities naturally entered into contact with local traditions and evolved accordingly.

Ashkenazi and the Klezmer

"Ashkenazi" refers to Jews who in the 9.th century started to conclude on the banks of the Rhine.
Today the term "Ashkenazi" prescribe most of the European and Western Jews.

Besides the Hebrew, Yiddish is commonly used in speech and songs.

The primary Ashkenazi music, originated in Eastern Europe, Moved to all directions from there and created the main branch of Jewish Music in North America. It includes the sublime Klezmer music. Klezmer means "instruments of song", from the Hebrew word klei zemer. The word come to prescribe the musician himself and it is somehow analogous to the European troubadour.

Klezmer is a very popular genre which can be seen in Hasidic and Ashkenazic Judaism, it is However deeply related with the Ashkenazi tradition.

Around the 15th century, a tradition of secular Jewish music was advanced by musicians called kleyzmorim or kleyzmerim. They draw on devotional traditions extending back into Biblical times, and their musical legacy of klezmer continues to evolve today. The repertoire is largely dance songs for weddings and other celebrations. Due to the Ashkenazi lineage of this music, the lyrics, terminology and song titles are typically in Yiddish.

Originally naming the musicians themselves in mid-20th Century the word started to identify a musical genre, it is also sometimes referred to as "Yiddish" music.

Sephardi

"Sephardi" beyond doubt means Spanish, and prescribe Jews from mainly Spain but also North Africa, Greece and Egypt.

Following the expulsion of all non-Christians, forced to convert to Christianism or to the exile in 1492, the very rich, cultivated and fruitful Jewish culture existing in Spain has migrated massively into the Ottoman Empire formed the main brach of Jews living currently in Turkey.

Their language besides the Hebrew is called Ladino. Ladino is a 15th. Century of Spanish. Much of their musical repertoire is in that language. The Sephardi music mixes many elements from primary Arab, North African, Turkish idioms.

In medieval Spain, "canciones" being performed at the royal courts constitued the basis of the Sephardic music.

Spiritual, ceremonial and entertainment songs all coexists in Sephardic music. Lyrics are commonly Hebrew for religious songs and Ladino for others.

The genre in its spread to North Africa, Turkey, Greece, the Balkans and Egypt assimilated many musical elements. Including the North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam modes.

Woman voice is often beloved while the instruments included the "oud" and "qanun" which are not traditionally Jewish instruments.

Some popular Sephardic music has been released as commercial recordings in the early 20th Century. Among the first popular singers of the genre were men and included the Turks Jack Mayesh, Haim Efendi and Yitzhak Algazi. Later, a new generation of singers arose, many of whom were not themselves Sephardic. Gloria Levy, Pasharos Sefardíes and Flory Jagoda.

Mizrahi

"Mizrahi" means Eastern and refers to Jews of Eastern Mediterranean and added to the East.

The music also mixes local traditions. beyond doubt a very "eastern flavored" musical tradition which encompasses Egypt, Syria, Jordan, Lebanon, Iraq and as east as India.

Middle Eastern percussion instruments share an leading part with the violin in typical Mizrahi songs. The music is ordinarily high pitched in general.

In Israel today Mizrahi music is very popular.

A "Muzika Mizrahit" movement emerged in the 1950s. Mostly with with performers from the ethnic neighborhoods of Israel: the Yemenite "Kerem HaTemanim" neighborhood of Tel Aviv, Moroccan, Iranian and Iraqi immigrants - who played at weddings and other events.

Songs were performed in Hebrew but with a clear Arabic style on primary Arabic instruments: the "Oud", the "Kanun", and the "darbuka".

Classic Hebrew literature, Including liturgical texts and poems by medieval Hebrew poets constitued the main source of lyrics.

Music in Jewish Liturgy

There are a wide variety of, sometimes conflicting, writings on all aspects of using music in the Judaic liturgy. The most agreed-upon facts are that the women voice should be excluded from religious ceremony and the usage of musical instruments should be banned in Synagogue service.

However some Rabbinical authorities soften those right positions but not with regard to the exclusion of the female voice. In weddings, for instance, the Talmudic statement "to gladden the groom and bride with music" can be seen as a way to allow making instrumental and non-religious music at the weddings but this was probably to be done covering the Synagogue.

The very influential writings of the Spanish Rabbi, also a doctor and philosopher, Maimonides (1135-1204) on one hand opposed harshly against all form of music not totally at the assistance of religious worship and on the other hand recommended instrumental music for its healing Powers.

Healing Powers and mysterious formul private inside musical scores was commonly sought after in music scores while middle-ages, renaissance and pre-Baroque epochs. Interestingly, in a recently published fiction novel "Imprimatur" by the musicologist Rita Monaldi and co-author Francesco Solti the whole plot is built-up nearby a composition of Salomone Rossi (1570-1630), an leading Jewish composer.

Jewish mystical treatises, like the Kabbala, particularly since the 13th. Century often deal with ethical, magical and therapeutic powers of music. The enhancement of the religious contact with music, particularly with singing is expressed in many places.

Even though there is no unified position with regard to music in the Jewish belief a coarse main ideas seems to emerge: that the music is the authentic expression of human feelings in religious and secular life.

Jewish Music

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Laughter Feeds the Soul

"What soap is to the body, laughter is to the soul" -Yiddish Proverb-

We all know what it feels like to take a refreshing bath/shower; it is so
Invigorating, that most of us look send to it on a daily basis. It not only cleanses us, it invigorates us and for many of us, it is the main thing that propels us out of bed in the morning. There is also the smell of coffee and the hope of that first cup of the day, now don't think that I have changed my stand on coffee, I have not, I just know that there are still a lot of you out there that look send to that first cup of coffee in the morning. For the rest of us it is a exciting cup of Green Tea brewed to perfection.

Yiddish

Back to the bath/shower, our hope to our morning ceremony of taking a bath/shower is all foremost and the setting and the items are just as important. We have the water at just the right temperature and all the foremost items all in their permissible place for our morning ritual of bathing. Our beloved soap that smells just excellent and the shampoo that enhances our hair so it looks, feels and smells just right. Then there is the critical oils that originate our mind to wonder to places of bliss and comfort. Yes, this is all what the ritual of the bath does for the soap to the body.

Laughter Feeds the Soul

Now the other part of this quotation is a dinky more abstract and a dinky harder to remember, because we can't see it and if we forget our morning spiritual practices we can't feel it right away either. Not until we ultimately realize our day just isn't going the way we want it to. Then we remember we forgot that ever foremost spiritual institution to do before we left the house and/or just got busy with things colse to the house.

It is always good to put laughter in your life as it is one of the things that feeds your soul, and when we put as much care, love and concentration into laughter in our life as you we do to the soap and details to our bath/shower we will find the soul responds with joy. Our life and presents will over flow with love and joy, yes laughter is a vital part of our day and being.

Just for the fun of it institution several belly laughs through out the day and just notice how great your days become. Happy Laughing!!

Namaste,

Darlene

Laughter Feeds the Soul

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I Love You in separate Languages

Learning a language can be a long daunting task. It takes ordinarily a baby over 2 years before they start to really grasp a langauge. So studying a new one can be quite a challenge.

This is one language though that is Universal. The language of love and dating. Here is a list of ways to say I love you in many languages.

Yiddish

Afrikaans - Ek het jou lief

I Love You in separate Languages

Afrikaans - Ek het jou liefe

Apache - Shi ingolth-a

Albanian - Te dua

Alentejano (Portugal) - Gosto De Ti, Porra!

Alsacien - Ich hoan dich gear

Amharic - Afekrishalehou

Arabic - Ana Behibak (to a male)

Arabic - Ana Behibek (to a female)

Arabic (Formal Arabic) - Ooheboki (to a female)

Arabic (Formal Arabic) - Ooheboka (to a male)

Arabic - Ib'n hebbak

Arabic - Ana Ba-heb-bak

Arabic - nhebuk

Armenian - Yes kez si'rumem

Armenian - Sirem zk 'ez

Assamese - Moi tomak bhal pau

Aztec - Nimitzlaco'tla

Bari ( A Sudanese Language) - Nan nyanyar do (I love you)

Bari ( A Sudanese Language) - Nan nyanyar do parik (I love you very much)

Batak - Holong rohangku di ho

Bavarian - I mog di narrisch gern

Bengali - Ami tomAy bhAlobAshi

Bengali - Ami tomake bhalo basi

Bicol - Namumutan ta ka

Bolivian Quechua - Qanta munani

Bulgarian - Obicham te

Burmese - Chit pa de

Cambodian - Bon sro lanh oon

Cambodian - Kh_nhaum soro_lahn nhee_ah

Cambodian - Soro lahn nhee ah

Cantonese - Kgoh oi nei

Cantonese - Moi oiy neya

Cantonese - Ngo oi ney a

Cebuano - Gihigugma ko ikaw

Catalan - T'estim (mallorcan)

Catalan - T'estim molt (I love you a lot)

Catalan - T'estime (valencian)

Catalan - T'estimo (catalonian)

Cherokee - Kykeyu

Cherokee - Gv-ge-yu-hi (formal)

Cherokee - Gv-ge-yu (conversational)

Cheyenne - Nemehot tse

Chickasaw Chiholloli (first "i" nasalized)

Chinese - Wo ai ni

Chinese - Wo ie ni

Corsican - Ti tengu cara (to female)

Corsican - Ti tengu caru (to male)

Creol - Mi aime jou

Croatian - Volim te

Czech - Miluji te

Czech - Miluju te (colloquial form)

Danish - Jeg elsker dig

Dutch - Ik hou van je

Dutch - Ik hou van jou

Egyptian - Anna bahebek

English - I love you

Esperanto - Mi amas vin

Estonian - Mina armastan sind

Estonian - Ma armastan sind

Ethiopian - Afgreki'

Farsi - Asheghetam

Farsi - Tora dust midaram

Farsi (Persian) - Doostat dAram

Filipino - Mahal kita

Filipino - Mahal ka ta

Filipino - Iniibig Kita

Finnish - Min rakastan sinua

Flemish - Ik zie oe geerne

French - Je t'aime

French - Je t'adore

Friesian - Ik hou fan dei

Gaelic - Mo ghradh thu

Gaelic - Ta gra agam ort

German - Ich liebe dich

Georgian - Me shen mikvarkhar

Greek - S'agapo

Greek - Ego philo su (ego is only needed for emphasis)

Gujrati - Hoon tane pyar karoochhoon

Hausa - Ina sonki

Hawaiian Aloha I'a Au Oe

Hawaiian - Aloha I'a Au Oe

Hawaiian - Aloha wau ia oi

Hebrew - Ani ohev atach

Hebrew - Ani ohev otach (male to female)

Hebrew - Ani ohev otcha (male to male)

Hebrew - Ani ohevet otach (female to female)

Hebrew - Ani ohevet otcha (female to male)

Hindi - Mae tumko pyar kia

Hindi - My tumko pyar karta hu

Hindi - Main tumse pyar karta hoon

Hindi - Ham Tomche Payer Kortahe

Hindi - Mai tumse peyar karta hnu

Hindi (Kannada) - Naanu ninnannu premisuththene

Hindu - My tumko pyar karta hu

Hokkien - Wa ai lu

Hopi - Nu' umi unangwa'ta

Hungarian - Szeretlek te'ged

Icelandic - Eg elska pig

India (Malayalam) - njan ninne snehiykkunnu

Indonesian - Saja tjinta padamu

Indonesian - Saja kasih saudari

Indonesian - Saya Cinta Kamu

Indonesian - Saya cinta padamu

Indonesian - Aku cinta padamu

Innuktitut - Nagligivaget

Irish - Taim i'ngra leat

Inuit - Negligevapse

Italian - Ti amo (if it's a relationship/lover/spouse)

Japanese - Ai shite imasu

Japanese - Aishiteru

Japanese - Kimi o ai shiteru

Japanese - Watakushi-wa anata-wo ai shimasu

Javanese - Kulo tresno

Kiswahili - Nakupenda

Korean - Tangshin-i cho-a-yo

Korean - Sarang Heyo

Korean - Tangsinul sarang ha yo

Korean - Nanun tongshinun sarang hamnida

Kurdish - Asektem

Kurdish - Ez te hezdikhem

Kyrgyz - Men seni suyom

Lao - Khoi huk chau

Latin - Ego Te amo (ego, for emphasis)

Latin - Te amo

Latin - Vos amo

Latvian - Es tevi Mlu (s teh-vih me-lu)

Lebanese - Bahibak

Lingala - Nalingi yo

Lithuanian - Tave myliu (ta-ve mee-lyu)
Luo - Aheri

Madrid lingo - Me molas, tronca

Malay - Saya cintamu

Malay - Saya sayangmu

Malay (Indonesian) - Aku sayang enkow

Malay (Indonesian) - Sayah Chantikan Awah

Mandarin - Wo ai ni

Mohawk - Konoronhkwa

Mohawk - Kanbhik

Moroccan - Ana moajaba bik

Navaho - Ayor anosh'ni

Ndebele - Niyakutanda

Nepali - Ma timilai maya garchu

Nepali - Ma timilai man parauchu

Nigeria - Ina sonki (Hausa)

Norwegian - Eg elskar deg (Nynorsk)

Norwegian - Jeg elsker deg (Bokmaal) (pronounced: yai elske dai)

Ojibwe - Gi zah gin

Osetian - Aez dae warzyn

Pakistani - Muje se mu habbat hai

Persian - Tora dost daram

Persian - Aseketem

Persian - Doo-set daaram

Pig Latin - Ie ovele ouye or Iay ovlay ouyay

Polish - Kocham Cie

Polish - Ja cie kocham

Polish - Kocham Ciebie

Polish - Ja Ciebie Kocham

Portuguese - Eu te amo

Pushto - Za tha sara meena kawam

Romanian - Te iubesc

Russian - Ya vas lyublyu

Russian (Malincaya) - Ya Tibieh Lublue

Russian - Y'a liou-bliou tibya

Russian - Ya vac loobyoo

Russian - Ya tebya loobyoo

Russian - Ya l'ubl'u t'ebya

Russian - Ju ljublju tebja!

Russian - Ljublju tebja

Russian - Ya lyublyu tebya

Russian - Ya polubeel s'tebya

Russian - Ya tebya ljublju

Samoan - Ou te alofa outou

Serbian - Lubim te

Serbocroatian - Volim te

Shona - Ndinokuda

Sinhalese - Mama oyata adarei

Sioux (Lakota) - Techi 'hila

Sioux (Lakota) - Techihhila

Slovak - lubim ta

Slovene - Ljubim te

Somali - Wankudja'alahai

Spanish - Te amo (I love you)

Srilankan - Mama Oyata Arderyi

Sudanese (Bari) - Nan nyanyar do ( I love you)

Sudanese (Bari) - Nan nyanyar do parik ( I love you very much )

Swahili - Mimi nakupenda

Swahili - Ninapenda wewe

Swahili - Naku penda (followed by the person's name)

Swedish - Jag alskar dig

Swedish - Iaj Alskar Dej

Swiss-German - Ch'ha di ga"rn

Syrian/Lebanes - Bhebbek

Tahitian - Ua Here Vau la Oe

Tajik - Mantodro esme deram

Tamil - Naan unni kathilikaran

Tamil - Ni yaanai kaadli karen

Taiwanese - Ngua ai di or Wa ga ei li

Tcheque - Miluji te

Telugu - Neenu ninnu pra'mistu'nnanu

Telugu (India) - Nenu Ninnu Premistunnanu

Thai - Ch'an Rak Khun

Thai - Phom Rak Khun

Thai - Pom rak khun

Thai - Charn Ruck Ter

Tibetan - Khyod-la cags-so

Tunisian - Ha eh bak

Turkish - Seni Seviyurum

Ukrainian - Ja Tebe lublu

Urdu - Mujge tumae mahabbat hai

Uzbek - Man sani sevaman

Vietnamese - Toi yeu em

Vietnamese - Anh ye u em (male to female)

Vietnamese - Em ye u anh" (female to male)

Vlaams - Ik hue van ye

Welsh - Rwy'n dy garu di

Welsh - Yr wyf i yn dy garu di (Chwi)

Yiddish - Ich libe dich

Yiddish - Ikh hob dikh lib

Zazi - Ezhele hezdege

Zulu - Ngiyakuthanda

Zuni - Tom ho' ichema

Say I love you to a extra man and make their day.

I Love You in separate Languages

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