DOCSLIB.ORG

How the Grateful Dead, Jewish Text and Worship Explain One Another and Raise Interesting Questions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How the Grateful Dead, Jewish Text and Worship Explain One Another and Raise Interesting Questions Not-Just For Dead Fans... How the Grateful Dead, Jewish Text and Worship Explain One Another and Raise Interesting Questions I believe that even those who actively dislike the Grateful Dead, or always happily ignored them, will find ideas worth considering in this comparison. “I guess they can't revoke your soul for trying.” – Robert Hunter --------------------------------PREFACE--------------------------------- Some years ago, my husband and I dragged our kids (then 11 and 13) to see the Dead. The kids asked why the folks in the parking lot were staying outside, even though the concert was scheduled to start: “How do they know when to go inside? Or, is the band waiting for them?” My husband, a non-Jew, noted that he was often similarly mystified by worship services: “How do they know when to it's time for....?” Not long after that I was part of a small havurah gathering waiting for a minyan, and we got to talking about when we might expect various regulars. This started me thinking about when, how and why Jews show up to services. I realized my husband's sentiment about worship services – like my kids befuddlement about Dead concerts – is shared by many Jews, even regular service-goers.... Over the years, I've been thinking about ways that Jewish text and worship and the Grateful Dead parallel one another. The result is this chart. This was originally presented as part of a dvar torah on parashat Shelach (Numbers 13:1-15:40) at Temple Micah in Washington, DC. Comments are encouraged. Please visit “A Song Every Day,” songeveryday.wordpress.com for more thoughts on Jewish text and prayer. --------------------------------------------------------------------- Spatz Dead Chart by Virginia A. Spatz is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. How the Grateful Dead, Jewish Text and Worship Explain One Another and Raise Interesting Questions (Grateful) Dead Jewish Text/Tradition Additional Note(s)/Questions The (Grateful) Dead frequently took the Sanhedrin 2a: In some Jewish traditions, If a prayer leader – or the stage without greeting and began such “...But how do we know that a congregation individuals participate in person in the next seat – extensive set up that the uninitiated consists of not less than ten? It is written, prayer largely on their own, announces the service might assume that A) they were how long shall I bear with this evil 'edah. expecting to join in unison progression with care and watching roadies or that B) the concert Excluding Joshua and Caleb, we have ten....” prayer only for the barchu, someone regularly tells you would consist of endless sound checks. Bible verses appear without quotation marks, kaddish, repetition of the “what page we're on,” is that Sometimes the final chords of one song discussion seems always to be already in Amidah and a few other a sufficient clue as to what flowed directly into the next; other progress. Related points follow in places; spots. A visitor unfamiliar others are doing and/or how times, stretches of equipment fiddling apparently endless digressions separate other with this worship style might you might experience and/or improvisation separated songs. points in an argument or exposition. find it hard to participate. anything in the service? Long sound checks, tendency to drift Elements of style visible in San 2a above -- Worship style is not irrele- How do we – as individuals into individual or collective equipment weaving together of biblical sources, use of vant to how participants view and as a congregation – view adjustment, and habit (at least in older narrative Torah to explain a practicality, like what is happening in the the service? How much is days) of barely acknowledging the the minimum size of a “congregation” – are service: With few exceptions internally directed? focused audience were not irrelevant to the not irrelevant to understanding either the – Humanist prayer, e.g. – the on wider concerns? relating band's purpose (cf. acid test history). Talmud or the passage from Numbers. main siddur text is part of to others present? to “Israel”? The Dead interact with one another, The ancient rabbis and the texts are in a an ancient, on-going con- to/for God, however defined? relating to an audience without conversation with one another, relating to versation between Jews and Do these elements vary by addressing music TO it. future generations but not speaking TO us. God, not written TO users. person? gathering? moment? Are extended improvs and long drumming (Sanhedrin 2a continued) It's the “digression” here that We can sing prayers, chant, sessions time for a break or the point of a “...excluding Joshua and Caleb, we have ten, proves relevant to this week's dance; re-order or re-focus concert? Is melody just a launching point for and whence do we derive the additional portion and the definition of a the prayers; write new ones; the “real,” improvisational music? Or are three?...” minyan. Similarly, moments share intentions. Sit silently. instrumentals sometimes just pauses, The passage returns to what is ostensibly the after a chant and spaces be- What is essential – for each perhaps unduly long, in the melody? Which “main discussion,” of how it is known that 23 tween words are as crucial as of us and for us as a group – is “digression” and which is essential? men are needed for a small Sanhedrin. carefully crafted siddur text. for prayer to “work”? At ticket time, many best seats for a In Shelach-lecha, the People believe the spies' Sefat Emet (R. Yehuda Aryeh Leib Alter, 1847-1905) identifies (Grateful) Dead concert were empty “evil reports” about the Land and refuse to “go the last-ditch aliyah attempt with yearning for a kind of un- while true Deadheads stayed outside, up.” This ends in death and disaster. Then, grounded, self-serving spirituality. In comparison, he urges: doing business and partying, until the after being told that they will now die in the Before doing anything, you have to offer up your soul as an concert began in earnest, and/or the desert for failure to take the Land immediately, emissary, gathering together all of your desires, in order to Dead did not really get going until the some make a last ditch effort to “go up” negate them, so that you can fulfill only the will of God. seats filled. So, one might ask: How did (14:40ff). This ends in disaster and death. How – 1998 trans. w/commentary by Arthur Green, Shai Gluskin anyone – band or fans – ever know did the People (and God) learn the right time? Can we manage this on a collective scale: In group prayer? when it “was time”? Did they? Were 40 years enough? Too much? In group decision-making? How? Spatz Dead Chart by Virginia A. Spatz is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. (Grateful) Dead Jewish Text/Tradition Additional Note(s)/Questions Despite lack of introductions on stage and Arachin 15a 1] 2nd--3rd Century CE (third More fanatical Deadheads absence of album liners, many fans could “It was taught: R. Eleazar b. Perata1 said, generation Tanna); believe(d) that being a identify current and past band members, Whence do we know [the power of an evil 2] 3rd -4th C (Fifth generation worthy listener required knew each's musical history, and often tongue]? From the spies: for if it happens Amorim, post-Tannaim); knowing, e.g., which years referred to band members by first name as thus to those who bring up an evil report 3] of priestly family, Rabbah Donna Jean and Keith though speaking of near neighbors or against wood and stones, how much more bar Bachmani 3rd-4th C, Godchaux were with the cousins... will it happen to him who brings up an evil (third generation Amora); band, who wrote and sang ...and just when you thought you had the report against his neighbour!...Perhaps it is 4] Shimon ben Lakish, 3rd C which songs, etc. Similar band identified, the person in the next seat as explained by R. Hanina b. Papa2; for R. (early Amora) former claims are sometimes would begin muttering, “I miss Donna,” or Hanina b. Papa... Rather, said Rabbah3 in the gladiator, brother-in-law of suggested about Jewish “It's not the same without Pigpen.” name of Resh Lakish4...” R. Yohanan bar Nappaha learning or prayer. Some histories of the band long known Like San. above, all Talmud tractates begin on Taking as a given that we're, On the other hand, failing to as “the Grateful Dead” might begin page 2a. The first words of the first tractate – none of us, yet on page 1 can recognize that we're jumping with the first concert in 1965, but many “From what time may one recite the evening be freeing, an invitation to into an on-going enterprise, would say you have to start with the Shema?” – assume so much that it's clear the jump in and experience extending beyond our own Warlocks or Mother McCree's Uptown conversation is already in progress. “2a” is a Jewish learning or prayer – lives and times, can narrow Jug Champions or when band members printer's convention, yes, but also a reminder or even a (Grateful) Dead the experience into nonsense met in 1962 or first learned music... that no amount of learning brings us to page 1. recording – wherever we are. and noise. “Let the words be yours. I'm done with The reader, in his own fashion, is a scribe.... Teachings at left are from a re- To enjoy the Dead, it is not mine.” – John Barlow, “Cassidy,” 1972 the Revelation [is a] word coming from..
Load more

Recommended publications
  • A Exegese Judaica E O Movimento Interior Do Coração Do Faraó Cadernos De Sion
    A EXEGESE JUDAICA E O MOVIMENTO INTERIOR DO CORAÇÃO DO FARAÓ CADERNOS DE SION A EXEGESE JUDAICA E O MOVIMENTO INTERIOR DO CORAÇÃO DO FARAÓ Fernando Gross Doutorando em Teologia pela PUC-SP, Mestre em Teologia pela PUC-SP, Especialista em Teologia e História Judaica pelo CCDEJ e, atualmente, professor no CCDEJ RESUMO Dentro das narrativas e tradições bíblicas pertencentes ao Livro do Êxodo (7-10), este artigo tem como tema o estudo de parte da exegese judaica a partir do coração do faraó. Tem como objetivo uma aproximação da teologia cristã com os ensinamentos da Igreja, desde o Concílio Vaticano II e os atuais documentos da Igreja sobre a importância de uma rica complementaridade, que nos permita ler juntos os textos da Bíblia hebraica e ajudar-nos mutuamente a desentranhar as riquezas da Palavra (Evangelii Gaudium, n° 249). Destacamos para isso a metodologia da aproximação do pensamento de sete exegetas judeus a respeito do que se reflete sobre o coração opressor do rei do Egito. Como resultados apresentamos o quanto importante é conhecermos a exegese judaica para uma melhor compreensão da exegese cristã, considerando as conclusões na necessidade do diálogo com o vasto patrimônio cultural e ético do qual herdamos em nossa identidade cristã, a partir da raiz santa da identidade judaica. Palavras-chave: Torah; Judaísmo; Cristianismo; Coração do Faraó; Narrativas do Êxodo. ABSTRACT Within the biblical narratives and traditions belonging to the book of exodus (7-10), this article has as its theme the study of part of jewish exegesis from the heart of the pharaoh. it aims to bring christian theology closer to the church's teachings since the second Vatican Council and the current church documents on the importance of a rich complementarity that allows us to read together the texts of the hebrew Bible and help each other to unravel the riches of the word (Evangelii Gaudium, n ° 249).
    [Show full text]
  • Angels and Demons: Managing Our Good & Evil Inclinations
    Shavuot 5780: Self-Guided Torah Study Experience Angels and Demons: Managing Our Good & Evil Inclinations By Rabbi Avi Heller, OU Regional Director for New Jersey In the comic books, the bad angel stands on one shoulder with a pitchfork and the good angel on the other with a halo. In Judaism, we call these two influences the “yetzer ha-tov”, the inclination to good and the “yetzer ha-ra” the inclination to evil. But those urges and desires are not imposed upon us from without; they are part of who we are and how Hashem created us. If God created us this way, there must also be a way to succeed in life with both the good and evil parts within us. With your chavruta, make your way through the following few sources. (The sources should take you around 30 minutes to read through and discuss.) STEP 1: Read these 2 verses about the creation of human beings from B’reisheet 1:27 and 2:7: ַו ִיּ ְב ָרא ֱאS ִקים ׀ ֶאת־ ָֽה ָא ָדם ְבּ ַצ ְלמוֹ ְבּ ֶצ ֶלם ֱאS ִקים ָבּ ָרא ֹאתוֹ ָז ָכר וּ ְנ ֵק ָבה ָבּ ָרא ָתֹא :םֽ (1:27) And Elokim created mankind in (h)is image, in the image of Elohim He created him, male and female He created them. ַו ִיּי ֶצר ה‘ ֱאS ִקים ֶאת־ ָֽה ָא ָדם ָﬠ ָפר ִמן־ ָה ֲא ָד ָמה ַו ִיּ ַפּח ְבּ ַא ָפּיו ִנ ְשׁ ַמת ַח ִיּים ַו ְי ִהי ָֽה ָא ָדם ְל ֶנ ֶפשׁ ַח ָֽיּה: (2:7) And Hashem Elohim formed mankind as dust from the ground and He blew a soul of life into his nostrils, and the man became a living spirit.
    [Show full text]
  • Introduction in Their Thirty Years Together, the Grateful Dead Forever
    Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement.
    [Show full text]
  • Rick Griffin's AOXOMOXOA
    Classic Posters - Rick Griffin's AOXOMOXOA Classic Posters - Rick Griffin's Hunter suggested that he put a lot of the AOXOMOXOA palindromes that Griffin had been by Michael Erlewine playing with (words like 'mom,' etc.,) together to form a larger word. [email protected] Dead Heads have speculated as to the If there is one artist who put the possible meaning of the word, with psychedelic in the psychedelic era, in thoughts like the "AO" means "Alpha my opinion that artist is Rick Griffin. And and Omega," the sacred seed syllable if there is a single poster of Griffin's that "OM" is in the center, "X" is a mysterious best sums up his psychedelic statement, number to be solved for, and so on. it has to be this one, which has been Others have speculated that this is an nicknamed the "AOXOMOXOA." Aztec or Mayan word. Beyond the word Griffin's flying eyeball (BG-105) may be is the actual imagery created by Rick the most universally recognized of all Griffin. the psychedelic era posters, but the AOXOMOXOA most perfectly Griffin's incredible sun (an egg represents what that era was all about. surrounded by sperm wriggling to get in), burning in a clear blue sky, endlessly radiating light and warmth above, warming the earth below, where the most dark womb of the earth receives that light and (also endlessly) brings forth life. Here is the mystery of life and death drawn out in psychedelic imagery worthy of Carlos Castaneda and the mysterious world of Don Juan. This poster has an immediate and a lasting impact on our consciousness.
    [Show full text]
  • For Immediate Release July 2016 Rare Jerry Garcia Band
    FOR IMMEDIATE RELEASE JULY 2016 RARE JERRY GARCIA BAND PERFORMANCE OUT AUGUST 19TH VIA TWO-DISC ARCHIVAL SERIES RELEASE GARCIALIVE VOLUME SEVEN RECORDED NOVEMBER 8, 1976 AT SOPHIE’S IN PALO ALTO, CA PREVIOUSLY UNRELEASED AND UNCIRCULATED TAPES FOUND BY FORMER GRATEFUL DEAD & JGB VOCALIST DONNA JEAN GODCHAUX Nashville, TN – On August 19, Round Records & ATO Records will release the two-disc GarciaLive Volume Seven: November 8th, 1976 – Jerry Garcia Band, a previously unreleased and uncirculated performance recorded at Sophie’s in Palo Alto, CA. The original reels, along with several other recordings, which have come to be known as the “Houseboat Tapes,” were only recently discovered by former Grateful Dead and Jerry Garcia Band vocalist Donna Jean Godchaux. The chance finding is the subject of a Q&A with Godchaux in the current issue of Relix. Pre-order for GarciaLive Vol. Seven can be found at Garcia Family Provisions (http://jerrygarcia.shop.musictoday.com/). Once a supermarket, Sophie’s was an unassuming and intimate venue where the Jerry Garcia Band played four times in 1976. The hall eventually became the Keystone Palo Alto and hosted the group many more times through the years. Palo Alto itself holds a distinctive place in Garcia’s history. After a brief stint in the Army, it was where Garcia settled and became fully committed to music in the early 1960’s when he was teaching guitar and playing in bands around the area. With former Elvis Presley drummer Ron Tutt manning the throne, longtime Garcia collaborator John Kahn on bass, Keith Godchaux on keys and Donna Jean Godchaux on backing vocals, this ensemble performed almost 70 shows that year and became known as one of the Garcia Band’s strongest lineups.
    [Show full text]
  • A Bnei Akiva Shabbaton Guide for the Whole Family
    CH G BA-bayit A Bnei Akiva Shabbaton Guide for the Whole Family Wednesday, April 8 - Sunday, April 12 2020 י״ד - י״ז ניסן תש״פ TABLE OF CONTENTS Letter from Rav Shaul Feldman .......................................................1 Wednesday .............................................................................................2 Seder Schedule ......................................................................................6 Thursday ...................................................................................................3 Friday .........................................................................................................4 Shabbat .....................................................................................................5 Resources: Wednesday ....................................................................................7 Thursday ...................................................................................... 23 Friday ............................................................................................ 34 Shabbat ........................................................................................44 Submit all rooming and seating See Packing requests by Wednesday, 12pm to List: Page 2 your madrichim: Mom & Dad LETTER FROM RAV SHAUL It’s All About Community Dear friends, In challenging times we look back to our roots and our sources to try to find a sense of direction. I feel that the days we are in, the Month of redemption, our direction is pretty clear. Yetziat Mitzraim
    [Show full text]
  • Pesahim Vol One.Indb
    Perek II Daf 34 Amud a NOTES Th is is referring to boiled and repulsive wheat,N i.e., wheat that ִּב ׁ ְש ִל ָיק ָתא ּו ְמ ִא ָיס ָתא. ָה ִכי ַנ ִמי – Tosafot ex- one boiled and then placed in a repulsive area, in which case he : ׁ ְש ִל ָיק ָתא ּו ְמ ִא ָיס ָתא – Boiled and repulsive wheat ִּב ׁ ְש ִל ָיק ָתא ּו ְמ ִא ָיס ָתא. ְו ֵה ָיכא ִא ְּית ַמר plain that this refers to wheat that was boiled and placed in a ;need not be concerned that this wheat will accidentally be eaten ְ ּדַרב ַא ׁ ִשי? ַא ָהא, ְ ּד ָא ַמר ַר ִּבי ָא ִבין ַּבר filthy area before it became impure. Others say that the wheat so too here, it is referring to boiled and repulsive wheat. Th e ַרב ַא ָחא ָא ַמר ַר ִּבי ִי ְצ ָחק: ַא ָּבא ׁ ָש ּאול was boiled before it became impure but was left in a filthy place afterward (Tosefot Rid ). Others explain Rashi’s opinion, Gemara asks: Where was Rav Ashi’s explanation stated? It was stated with regard to this: As Rabbi Avin bar Rav Aĥa said that ַּג ָּבל ׁ ֶשל ֵּבית ַר ִּבי ָה ָיה, ְו ָה ּיו ְמ ַח ִּמין that one is permitted to boil the wheat and let it become filthy -Rabbi Yitzĥak said: Abba Shaul was the dough kneader of Rab לוֹ ַח ִּמין ְּב ִח ִּיטין ׁ ֶשל ְּת ּרו ָמה ְט ֵמ ָאה even after it has become impure, in the following manner: The ,bi Yehuda HaNasi’s house,N and they would heat water for him ָל ּלו ׁש ָּב ֶהן ִﬠ ָּיסה ְּב ָט ֳהָרה.
    [Show full text]
  • Friday, November 16, 8Pm, 2007 Umass Fine Arts Center Concert Hall
    Friday, November 16, 8pm, 2007 UMass Fine Arts Center Concert Hall Unbroken Chain: The Grateful Dead in Music, Culture, and Memory As part of a public symposium, November 16-18, UMass Amherst American Beauty Project featuring Jim Lauderdale Ollabelle Catherine Russell, Larry Campbell Theresa Williams Conceived by David Spelman Producer and Artistic Director of the New York premier Program will be announced from the stage Unbroken Chain is presented by the UMass Amherst Graduate School, Department of History, Fine Arts Center, University Outreach AND University Reserach. Sponsored by The Valley Advocate, 93.9 The River, WGBY TV57 and JR Lyman Co. About the Program "The American Beauty Project" is a special tribute concert to the Grateful Dead's most important and best-loved albums, Working Man's Dead and American Beauty. In January 2007, an all-star lineup of musicians that Relix magazine called "a dream team of performers" gave the premier of this concert in front of an over-flowing crowd at the World Financial Center's Winter Garden in New York City. The New York Times' Jon Pareles wrote that the concert gave "New life to a Dead classic... and mirrored the eclecticism of the Dead," and a Variety review said that the event brought "a back- porch feel to the canyons of Gotham's financial district. The perf's real fire came courtesy of acts that like to tear open the original structures of the source material and reassemble the parts afresh - an approach well-suited to the honorees' legacy." Now, a select group of those performers, including Ollabelle, Larry Campbell & Teresa Williams, Catherine Russell, and Jim Lauderdale are taking the show on the road.
    [Show full text]
  • Bavabasra 116B2 Line 10 A8 Daf Yomi Digest
    Bava Basra 116b2 line 10 A8 Daf Yomi Digest The portion of their father, who was among those who left Egypt, and their father’s portion among his brothers in the estate of Chepher (his father). 1. From their father Tzelafchad. 2. From their grandfather Chepher.- A double portion because Tzelafchad is a Bechor. This is interesting because Tzelafchad should not have been entitled to his father’s property, nor the daughters of Tzelafchad his property since the property was not in Tzelafchad or Chepher’s possession. It was to be in their possession in the future, after the land of Israel had been conquered. But, this exception rules that regarding those who left Egypt, their possession is granted immediately. The daughters of Tzelafchad received a 4th potion from an uncle (a brother of Tzelafchad), who died childless. We learn 1. The land of Israel was divided amongst those who left Egypt, even if they were not still living at the time of the conquest. 2. A daughter of a son, received a share, even if their father’s brothers were alive. 3. That Tzelafchad was entitled to two shares, tells us the land was considered in the possession of those who left Egypt. Bava Basra 117a1 line 2 A15 Daf Yomi Digest The land was apportioned to those who left Egypt. Israel was divided- 1. Amongst those who left Egypt, who were older than 20. 2. Those who entered the land, who were above the age of 20. 3. Land was allocated to both. But land was given only to those who actually entered the land.
    [Show full text]
  • The Grateful Dead Parallax
    THE GRATEFUL DEAD PARALLAX Jim Tuedio The Grateful Dead had an uncanny ability to bring dark to light and light to dark, to blend the voices of hope and honest despair, to sing on high from the depths of lost innocence, and through this to bring us home to ourselves in the most surprising, eye- opening ways. This paper explores the phenomenon of Grateful Dead performance as a “place” of growth and challenge, that is, as a place of translation exposing us to shifting perspectives and constellations of meaning, and to a heightened awareness of the shadowy, primordial side of human existence. This awareness was manifest in many forms, but perhaps the most intriguing was how a Grateful Dead show was so often experienced as a “coming home” to where we belong, as a “place” of belonging, and at the same time as a place of exploration, and of exposure before our own alterity. I will focus here on a fundamental dimension inherent in much of the Grateful Dead’s music, one that is best explained in postmodern terms. This dimension, experienced in what can be termed a mode of spontaneous arrival, helps to account for how engaged listeners can be so easily drawn to the “place” of the song, how they can arrive so spontaneously in a place of translation intrinsic to their own unfolding life; in other words, where universal or extrinsic experience becomes personal or even uniquely emblematic— and explanatory—of their own lives and circumstances. I will focus on how the band’s signature improvisational style, embodied in their jams and trademark, free-form “Space,” sustains this field of “home” which is at the crux of the Grateful Dead experience.
    [Show full text]
  • Daf Ditty Shabbes 80: Ink, Letters and Horns
    Daf Ditty Shabbes 80: Ink, Letters and Horns Ennemoser's Geschichte der Magie ("History of the Magic"), (Leipzig, 1844). Our Daf discusses a case of carrying out enough ink to write two letters, while carrying only enough for one letter at a time. After the first drop was taken out and the letter was written, the ink dried. At this point, even with the remaining drop being taken into the public domain, the person is no longer liable, because the cumulative amount of ink, the amount dried plus the remaining drop, is no longer enough to comprise the minimum volume for culpability. בּי:וֵֹתּאאתשׁנָתּ ת ָ ְִדוֹיּ ְי,וֵֹתּאוֹיתשִׁ ְִיּ תוֹ לוּקְ בּ ,סוֹמְ תְּ שׁ יֵ תוֹא תוֹיִּ קְ בּ לַ מְ רָ .ןיִ ﬠָ בּ ֵ י בָ ר :אָ תוֹא חַ א תַ דִ בּ ,וֹיְ תוֹא חַ א תַ לוּקְ בּ ,סוֹמְ ,סוֹמְ לוּקְ בּ תַ חַ א תוֹא ,וֹיְ דִ בּ תַ חַ א תוֹא :אָ בָ ר י ֵ ﬠָ בּ .ןיִ רָ מְ לַ קְ בּ תוֹיִּ תוֹא יֵ תְּ שׁ ,סוֹמְ לוּקְ בּ תוֹ . וֹאת חַ א תַ קְ בּ לַ מְ רָ ,ןיִ ?וּהַ מ וּקיֵ תּ ?וּהַ מ ,ןיִ רָ מְ לַ קְ בּ תַ חַ א וֹאת A Tanna taught in a Tosefta: The measure that determines liability for carrying out ink is equivalent to that which is used to write two letters when he carries out dried ink, and two letters when the ink is in the quill, and two letters in the inkwell [kalmarin]. Rava raised a dilemma: What is the halakha if one carried out sufficient ink to write one letter in the form of dried ink, and sufficient ink to write one letter in the quill, and sufficient ink to write one letter in the inkwell? Do they join together to constitute the measure for liability, or is each considered separately? No resolution was found for this dilemma.
    [Show full text]
  • Book Review with TTU Libraries Cover Page (746.4Kb)
    BOOK REVIEW OF "THE GRATEFUL DEAD" The Texas Tech community has made this publication openly available. Please share how this access benefits you. Your story matters to us. Citation Weiner, R.G. (1997). [Review of the book The Grateful Dead by Goldberg, Christine]. Journal of Popular Culture, 31(1), 215-217. Citable Link http://hdl.handle.net/2346/1542 Terms of Use CC-BY Title page template design credit to Harvard DASH. Book Reviews . 215 lack sufficient empirical corroboration; however, the essay format of his expose offers him more freedom in this regard. Maase also has a ten­ dency to argue in a quasi-teleological way, suggesting that all develop­ ments within European popular culture were ultimately targeted at the basic cultural shift that he recognizes. This reader would have welcomed a more elaborate annotation, although this is partially compensated by the selected bibliography at the end. Also disappointing is the lack of an index in a work with such scholarly pretensions. Nevertheless, the book makes a valuable contribution to our understanding of European popular culture. The publisher should seriously consider an English translation, in order to reach a much broader, international audience. Tilburg University, The Netherlands Mel van Elteren Chelsea House Publisher's newest addition to their Pop Culture Legends Series (which includes books on Marilyn Monroe, Madonna, Stephen King, and Bruce Springsteen, among others) is a short history of the leg­ endary Grateful Dead (GO). These books, designed for young adult readers and the general public, provide a unique perspective on popular culture icons. Scholars of Popular Culture can study and analyze books like these in order to have a greater understanding of how such figures fit into the popular milieu and mindset of our culture.
    [Show full text]