Contemplative Shabbat Service
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Advancedaudioblogs1#1 Top10israelitouristdestinations
LESSON NOTES Advanced Audio Blog S1 #1 Top 10 Israeli Tourist Destinations: The Dead Sea CONTENTS 2 Hebrew 2 English 3 Vocabulary 4 Sample Sentences 4 Cultural Insight # 1 COPYRIGHT © 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. HEBREW .1 . .2 4 0 0 - , . , . . . , .3 . . , 21 . . , . , , .4 . ; . 32-39 . . 20-32 , . ," .5 . , ENGLISH 1. The Dead Sea CONT'D OVER HEBR EW POD1 0 1 . C OM ADVANCED AUDIO BLOG S 1 #1 - TOP 10 IS RAELI TOURIS T DESTINATIONS: THE DEAD S EA 2 2. The miracle known as the Dead Sea has attracted thousands of people over the years. It is located near the southern area of the Jordan valley. The salt-rich Dead Sea is the lowest point on the earth's surface, being 400 meters below sea level. The air around the Dead Sea is unpolluted, dry, and pollen-free with low humidity, providing a naturally relaxing environment. The air in the region has a high mineral content due to the constant evaporation of the mineral rich water. 3. The Dead Sea comes in the list of the world's greatest landmarks, and is sometimes considered one of the Seven Wonders of the World. People usually miss out on this as they do not realize the importance of its unique contents. The Dead Sea has twenty-one minerals which have been found to give nourishment to the skin, stimulate the circulatory system, give a relaxed feeling, and treat disorders of the metabolism and rheumatism and associate pains. The Dead Sea mud has been used by people all over the world for beauty purposes. -
1 Lahiton [email protected]
Lahiton [email protected] 1 Lahiton magazine was founded in 1969 by two partners, Uri Aloni and David Paz, and was funded by an investment from Avraham Alon, a Ramlah nightclub owner and promoter. Uri Aloni was a pop culture writer and rabid music fan while David Paz, another popular music enthusiast, was an editor who knew his way around the technical side of print production. The name “Lahiton,” reportedly invented by entertainers Rivka Michaeli and Ehud Manor, combines the Hebrew words for hit, “lahit” and newspaper, “iton.” Lahiton [email protected] 2 Uri Aloni cites the British fan magazines Melody Maker and New Music Express as influences; (Eshed 2008) while living in London and writing for the pop music columns of Yediot Ahronot and La-Isha, he would lift editorial content and photos from the latest British pop magazines, write articles, then find an Israel-bound traveler at the London airport to transport the articles into the hands of his editors. In Lahiton’s early days, Aloni and Paz continued this practice (Edut 2014). Eventually, however Lahiton’s flavor became uniquely secular Israeli. Although in 1965 the Beatles were famously denied permission to perform in Israel (Singer 2015), by the time Lahiton got started in 1969 there was no stemming the tide; the international pop music scene had permeated Israel’s insular and conservative culture. At the time there were no other Hebrew publications that covered what was going on both at home and in America and Europe. Lahiton began as a bimonthly publication, but within the first year, when press runs of 5000 copies sold out on a regular basis, Paz and Aloni turned it into a weekly. -
June July 2018 Bulletin
A Congregation Affiliated with the Congregation B’nai Israel United Synagogue of Conservative Judaism 6525 Sylvania Avenue Sylvania OH 43560 151 Years of (419) 517-8400 Consecrated Service to www.cbitoledo.org God, Torah and Israel 5778 1 Notes from the Cantor ………………………………………. POWER OF MUSIC V The past month in Jewish history and in our calendar has been momentous. We experienced Israel’s 70th anniversary, celebrated in several excellent events in our community, the 51st anniversary of the reunification of Jerusalem, and the relocation of the US Embassy in Israel from Tel Aviv to Jerusalem. In the midst of all this euphoria, what might have escaped your attention is Israel’s winning the prestigious Eurovision song contest on May 12th 2018 in Lisbon, Portugal. That night in our Jewish calendar - the 28th of Iyar, commemorates the reunification of Jerusalem during the Six Day War of 1967. This is the fourth time Israel has won Eurovision, one of the world’s most famous international song contests. The winning song “Toy”, a pop anthem about female independence, was performed by 25 year old Netta Barzilai, accompanied by her signature “chicken dance.” Netta had placed third by the official judges, but won thanks to tele-voters from around the world catapulting her to victory. Hours before the victory, Israeli superstar film actress Gal Gadot had urged her twenty million Instagram followers to vote for Israel’s entry. Including words like “I’m not your toy you stupid boy...,” it was influenced by the #MeToo movement. The Eurovision contest has often been embroiled in political and religious controversies, although politically tinged songs are unofficially disallowed. -
Gospel. Accounts of J's Life & Tp.Aching, There Was No Collection Of
3-26-00. Discipline. This quarter's lesson texts are from Paul's ltr to the church at Corinth, a sometimes rowdy and quarrelsome congregation who were not certain about what the good news of God incarnate meant. It was only a few yrs after the sacrificial death, and triumphant resurrec• tion, of God's Messiah, so in just about everything that pertained to living the life of the re• deemed in Christl{they were ignorant. If modern scholarship is correct, then they had none of the gospel. accounts of J's life & tP.aching, there was no collection of study-course books to instruct and to guide their behavior. Most~of them were Gentiles, non-Jewish pagans whose morality came from the philosophe-r8°;\wh~ advice was so noble that we continue to read and discuss it as the highest attainmt of the'-numan intellect. The proper study of mankind is Man, they taught; we should know ourselves and our limits, and then taste of all that the world has to offer, but noth• ing to excess. Love was not self-giving but self-serving, generosity was a way of glorifying the individual, and the greatest success came with popular acclaim for deeds well done. If any of that sounds like the morality of the mob in our day, then think seriously about the feather• weight of ch~nge from ~ncient athens to the present. But~ those early Xns ~ hafe their questions about the living of the faith that Jesus is God-with-us, to redeem us from our sin and to teach us how the redeemed should live out their days. -
Identity, Spectacle and Representation: Israeli Entries at the Eurovision
Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1 Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer- sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re- views especially about his research line ‘Identity politics at the Eurovision Song Contest’. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Abstract: Resumen: Through a sophisticated investment, both capital and symbolic, A partir de una sofisticada inversión, capital y simbólica, el Festival the Eurovision Song Contest generates annually a unique audio- de Eurovisión genera anualmente un espectáculo audiovisual en la ISSN: 1696-019X / e-ISSN: 2386-3978 visual spectacle, debating concepts as well as community, televisión pública problematizando conceptos como “comunidad”, Europeanness or cultural identity. Following the recent researches “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re- from the An-glo-Saxon ambit, we will research different editions of cientes en el ámbito anglosajón, recorreremos sus distintas ediciones the show. -
MA Thesis: Linguistics: English Language and Linguistics
MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 1 The Stylistics of Language Switches in Lyrics of Entries of the Eurovision Song Contest MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 2 Acknowledgements It did not come as a surprise to the people around me when I told them that the subject for my Master’s thesis was going to be based on the Eurovision Song Contest. Ever since I was a little boy I have been a fan, and some might even say that I became somewhat obsessed, for which I cannot really blame them. Moreover, I have always had a special interest in mixed language songs, so linking the two subjects seemed only natural. Thanks to a rather unfortunate turn of events, this thesis took a lot longer to write than was initially planned, but nevertheless, here it is. Special thanks are in order for my supervisor, Tony Foster, who has helped me in many ways during this time. I would also like to thank a number of other people for various reasons. The second reader Lettie Dorst. My mother, for being the reason I got involved with the Eurovision Song Contest. My father, for putting up with my seemingly endless collection of Eurovision MP3s in the car. -
The Join-In, Participate, Sing-Along Hagadah
Preview SPS Preview SPS The Join-In, Participate, Sing-Along Hagadah הַ ּגָדָ ה שֶׁ ל ּפֶסַ ח Preview SPS Preview SPS The Join-In, Participate, Sing-Along Hagadah הַ ּגָדָ ה שֶׁ ל ּפֶסַ ח A Hagadah for Irreverent People at Different Levels of Hebrew Literacy by Irrev. Dr.Preview Joe Lewis Prepared by The Singlish™ Publication Society 14140 Sherwood, Oak Park, MI 48237 248.842.5563 [email protected] www.singlishps.com SPS Copyright and Acknowledgements Cover art by Howard Fridson Digitized by Steve Klaper Additional art by Aaron Lewis Clip art © 1996 The Learning Company, Inc. and its licensors Fifth Edition ISBN 1-888822-44-1 Copyright © 2014 The Singlish™ Publication Society 14140 Sherwood • Oak Park, MI 48237 [email protected] • www.singlishps.com No part of this book may be copied in any form without our express written permission, but you may read and sing it to your heart’s content! Preview SPS In loving memory of Betty Lewis and Minnie Naidoff Would that they had seen our children grow! תם ולא נשלם Preview SPS Preview SPS _______________________ Preface to the Fifth Edition _______________________ We’ve reset all the type to make it easier to read found that little needed to be changed. A careful and to show when the text comes from Torah or eye corrected typos and made the text more egali- Tanach, and we’ve reconsidered some of the trans- tarian and less sexist than before. Where notes and lations, but basically this is still the same jolly references were missing, they were added. -
IMAGINING INDEPENDENCE PARK by Oren Segal a Dissertation
IMAGINING INDEPENDENCE PARK by Oren Segal A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Philosophy (Near Eastern Studies) In the University of Michigan 2012 Doctoral Committee: Associate Professor Shachar M Pinsker, Chair Professor David M. Halperin Associate Professor Carol Bardenstein Assistant Professor Maya Barzilai “Doing it in the park, Doing it after Dark, oh, yeah” The Blackbyrds, “Rock Creek Park,” City Life (Fantasy Records, 1975) © Oren Segal All rights reserved 2012 In memory of Nir Katz and Liz Troubishi ii Acknowledgements Most of all, I would like to thank my committee members: Shachar Pinsker, David Halperin, Carol Bardenstein, and Maya Barzilai. They are more than teachers to me, but mentors whose kindness and wisdom will guide me wherever I go. I feel fortunate to have them in my life. I would also like to thank other professors, members of the Jean and Samuel Frankel Center for Judaic Studies at the University of Michigan, who were and are part of my academic and personal live: Anita Norich, Deborah Dash Moore, Julian Levinson, Mikhail Krutikov, and Ruth Tsoffar. I also wish to thank my friends and graduate student colleagues who took part in the Frankel Center’s Reading Group: David Schlitt, Ronit Stahl, Nicholas Block, Daniel Mintz, Jessica Evans, Sonia Isard, Katie Rosenblatt, and especially Benjamin Pollack. I am grateful for funding received from the Frankel Center throughout my six years in Ann Arbor; without the center’s support, this study would have not been possible. I would also like to thank the center’s staff for their help. -
De'u Ki Hashirim Ha'ele Kulam Chovkim Hem Olam Nov'im Me'ahava Lechol Hakayam Vechi Eyn Bahem Davar Nigle O Ne'elam Shelo Yuchal Be'oram"
"De'u ki hashirim ha'ele kulam Chovkim hem olam Nov'im me'ahava lechol hakayam Vechi eyn bahem davar Nigle o ne'elam Shelo yuchal be'oram" Know that all these songs Encircle the world They result from love to all that is And there is nothing in them Revealed or unseen That won't be contained in their light "Ko Amar" song book (63,39) Tips for reading Transliterated Hebrew (hebrish) There are only 5 vowels: A – as in the word father E – as in egg I – as in bee O – as in for U – as in flute Words that have an appostrophe (') are to be read as two separate words. For example: Ne'elam = ne + elam – both e's are pronanunced separately. SONG LIST 1. Tip Tipa 2. Bereshit 3. Ro’im Rachok Ro’im Shakuf 4. Brosh 5. Halevay 6. Ze Kore 7. Eych Ze Shekochav 8. Layla 9. Rikma Enoshit 10. Mila Tova 11. Biglal Haru’ach 12. Adam Betoch Atzmo 13. Shir Hayona 14. Mishe’hu 15. Chofim 16. Lama Li Lakachat Lalev 17. Achrey Esrim Shana 18. Galgal Anak 19. Erev Shel Shoshanim 20. Etzlenu Bikfar Tudra 21. Shir Lelo Shem 22. Lo Tov Heyot Ha’adam Levado 23. Ima Adama 24. Yamim Levanim 25. Dvarim Sheratziti Lomar 26. Shir Ahava Bedwi 27. Kama Na’im 28. Shir Shel Yom Chulin 29. Adama 30. Masa Le’Eretz Yisrael 31. Achrey Hakol At Shir 32. Mizmor yare'ach 33. Kach Bara Otcha Hateva 34. Od Chozer Hanigun 35. Sha’ar Harachamim 36. Lakachta Et Yadi Beyadcha 37. -
Velveteen-Rabbit-Haggadah-Lindsay
2 On God-language This haggadah uses several different terms and names for God. They include Adonai (Lord), Shekhinah (a mystical name for the Divine Presence embodied in creation), ayn ha-chayyim (source of life), melech (king), and ruach (breath or spirit), among others. Jewish tradition teaches that our Creator is beyond language: our words can only approach the Infinite. May our use of different names remind us that our names are only substitutes; that God is beyond any words we can speak. Following standard Jewish practice, the Hebrew letters of the tetragrammaton are implied by the .to make it possible for you to recycle this haggadah post-Pesach if you want יְיָ abbreviation About this haggadah This haggadah is an open-source resource, available for free download at velveteenrabbi.com. Feel free to use the haggadah, or modify it and use it, or borrow parts of it, or simply be inspired by it. The only caveat is, please credit where appropriate, and please don’t sell this—it should be shared freely. The most recent edition is version 8.2. 3 Welcome / how to use this book Welcome to the Velveteen Rabbi’s Haggadah for Pesach! Here are some ‘liner notes’ to start you on your journey. (Read these before the seder, not during.) This haggadah can be used anytime during Passover. Traditionally a Passover seder is held on the first night of the holiday; in many Diaspora families/communities, seders are held on the first two nights; and some hold extra seders at other times during the week. -
Basya Schechter
UNIT 5 APPENDICES A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 5: THE TIMES THEY ARE A-CHANGIN’: PART 2 – INNOVATORS & INFLUENCERS | APPENDICES 1 APPENDIX A: TOOLS/WORKSHEETS UNIT 5: THE TIMES THEY ARE A-CHANGIN’: PART 2 – INNOVATORS & INFLUENCERS | APPENDICES 2 Group Activity Worksheet: Gerald Cohen For Gerald Cohen Background and Early Influences • Gerald’s interview emphasized the importance of education, mentorship, and being surrounded by Jewish musical culture. This is highlighted by his reflections of his own upbringing and his role as a Jewish music pedagogue vis-a-vis HUC, JTS, HaZamir Teen Choir, etc. » What does this tell you about the relationship between Jewish education and music education? » How does this reflect traditional Jewish values? • From early in his musical experiences, art music and Jewish culture were deeply intertwined, leaving little or no distinction between the two. » What does this say about the role of external cultural forces on one’s artistic output? Inspiration • Is there anything interesting about the differences between Gerald’s cantorial and art music influences? • Text » Gerald’s process is often driven by a text, whether Biblical or from a prayer. – How does this text driven process relate to Jewish values and study? – What observations can you make about the relationship between music and text? – How is the musical setting of the text a midrash on the text itself? Personal Observations • Does art music have a place in your current Jewish -
The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S.