Breaking news: Picture of Temple Mount fire from my friend Sam and Employee accused of skipping work for 15 years and Beethoven’s Kol Nidre And Peretz’s Version Of Ode To Joy By Saul Jay Singer and The ultimate guide to Tel Aviv’s 12 beaches By Tess Levy and The Origins Of My Baseball Career By Irwin Cohen and pictures from Yom Yeshalim 2021
Above is a picture of a fire on the Temple Mount sent to my by my friend Sam.
Yehuda Lave is an author, journalist, psychologist, rabbi, spiritual teacher, and coach, with degrees in business, psychology and Jewish Law. He works with people from all walks of life and helps them in their search for greater happiness, meaning, business advice on saving money, and spiritual engagement.
Many readers over the years have asked how I, an Orthodox Jew, got professionally involved in baseball. Over the course of two columns, I will answer this question.
Rewind to 1950. I attended my first major league baseball game that summer at Detroit's Briggs Stadium (renamed Tiger Stadium in 1961). I was attending Yeshiva Beth Yehudah Day Camp for the first time, and the principal was the regal talmid chacham Rabbi Simcha Wasserman, zt"l, son of the renowned Rabbi Elchonon Wasserman, Hy"d. Reb Simcha wore a vest and a big smile as we marched past his office to the bus.
At the stadium, we sat in dark green wooden seats in the lower left field grandstands. I was familiar with the names of the Tigers players as my father, ob"m, would listen to Tigers games on the radio. The name of the left fielder, Hoot Evers, connected with me, and he became my favorite player.
I saw pictures of him in the sports section of the newspaper delivered to our house, and I devoured any story and box score with his name. He was tall and slim, and had light brown hair, but what set his photo apart from that of other players is that he never smiled.
He was having his best season in 1950 and was among the league leaders in batting, doing better than any of my friends' favorite players. I often reminded my upstairs friends, the Carlebach boys, famous in later years for being on the staff of Mir Yeshiva in Jerusalem, that my guy was the best player on the Tigers and doing much better than their favorite, Vic Wertz.
I was ahead of the other boys on the block and in yeshiva when it came to baseball because of Hymie, who worked downtown at an outdoor newsstand. He was employed by a Shomer Shabbos man in our shul who asked my father, who worked in the area, to drive him to and from work. In return, my father – and we, his kids – would get comics and baseball publications.
I remember the summer we got our first television. It was almost as big as a refrigerator and had a tiny screen. The first program we watched was "The Lone Ranger." The actor who portrayed him, Clayton Moore, became my other hero. To this day, my heroes are my father, Hoot Evers, and Clayton Moore.
Evers went on to have a great season in 1950, batting .323, hitting 21 home runs, and diving in 103 runs. It was a great year. Not so much 1951, during which Evers had trouble keeping his average over .200. Evers was only 30 at the time and should have been in his prime, but he finished the '51 season with a low .224 average and 11 homeruns. How my favorite player could drop 99 points in one year puzzled me and my playmates wouldn't let me forget about it.
My world was shaken in 1952 when Evers was traded to the Boston Red Sox. The BoSox needed a left fielder as their superstar Ted Williams was serving in the air force, and Evers responded with a .264 average and 14 homers, far below Williams' worst year.
The following summer, I went to a game between the Tigers and Red Sox to see my favorite player. Evers started the game and, after going 0-3, was removed for a pinch-hitter. It was a blessing in disguise for me as players who weren't in the lineup at the end of the game were usually the first ones dressed and out of the clubhouse walking to the bus that would take the players back to their hotel.
I stood outside the visiting clubhouse even before the game ended and was armed with a pen and piece of paper. I was in luck as Evers was the first player out. Before I knew it, my skinny little body was looking up at his 6' 2" frame.
"May I have your autograph," I heard myself ask politely.
"Beat it, kid," my favorite player said gruffly.
"But you're my favorite player," I answered weakly.
"That's what they all say," he said. "Now beat it."
I beat it back about 200 feet but kept an eye on him as his teammates came out of the clubhouse and accompanied him to the team bus. I didn't know it then, of course, but 20 years later Hashem would reunite us and my writing career would be born.
I'll tell you that story next column. Stay tuned.
Flag day Yom Yershalim 051021
Now that Corona is behind us, the young people of Israel gather on the street to celebrate Yom Yerushalayim. However, the Arabs are rioting again (my my) and to avoid violence, we stand down and it is a toned-down affair only in the new city.
Employee accused of skipping work for 15 years A hospital employee in Italy has been accused of skipping work on full pay for 15 years, local media report
The man is alleged to have stopped turning up to work at the Ciaccio hospital in the city of Catanzaro, Puglia, in 2005.
He is now being investigated for fraud, extortion and abuse of office, Italian news agency Ansa reports.
He was reportedly paid €538,000 (£464,000) in total over the years he is thought not to have been working.
Six managers at the hospital are also being investigated in connection with the alleged absenteeism.
The arrests are the result of a lengthy police investigation into absenteeism and suspected fraud in the Italian public sector.
The employee was a civil servant, and was assigned to a job in the hospital in 2005. It was at this point he stopped going into work, the police said.
The police have also accused him of threatening his manager to stop her from filing a disciplinary report against him.
That manager later retired, police added, and his ongoing absence was never noticed by her successor or human resources.
Beethoven's Kol Nidre And Peretz's Version Of Ode To Joy
On December 15, 2020, Israel introduced a special stamp to mark the 250th anniversary of the birth of Ludwig van Beethoven (1770-1827), which features his characteristic stern, serious expression and burning gaze. The score to the left of the stamp is the opening motif of the 1st movement of his Symphony No.5, Op.67.
Stamp issued by the Israel in honor of Beethoven's 250th birthday.
According to the Israeli Postal Authority, "The trajectory of Beethoven's life and works is comparable to the Israeli experience of overcoming hurdles and crises, showing ambitiousness and uniqueness, creativity and innovation to create a country from its inception in a land with limited material and physical resources. All whilst marching forward with confidence and faith in the human spirit, like Beethoven, to become a leading global force."
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Although the 5th Symphony unquestionably remains one of Beethoven's seminal and best-known works, it is interesting that the Postal Authority chose it over the String Quartet No. 14 in C-Sharp Minor, Opus 131, which he composed in 1826. The Quartet was a personal favorite of Beethoven and – of particular interest to the Jewish world – there is little doubt that the adagio in its 6th movement was taken from the long-established Kol Nidre melody sung in the Ashkenazi tradition.
Critic Norman Lebrecht recently observed that various productions of the Quartet emphasize the Kol Nidre association to varying degrees. The most "Jewish-sounding" of all is the 1961 Budapest String Quartet's version of this piece, and the Juilliard Quartet version makes the association wholly unambiguous, but the Amadeus Quartet plays the 6th movement as if wholly unaware of its connection to Kol Nidre, and other orchestras seem to go to extraordinary lengths to mute entirely the Jewish nature of the 6th movement.
By Beethoven's time, Kol Nidre was perhaps the best-known melody in the Jewish cantorial oeuvre, and it was likely known even to many non-Jews in Vienna, particularly musicians. How and why Beethoven decided to incorporate the prayer into his most important string quartet is an enigma, which nonetheless continues to be examined and discussed by musicologists.
It is unknown whether he ever actually attended a synagogue, or heard it sung in one but, if he did, it would had to have been years before he wrote the Quartet because he was completely deaf by that point in time.
Yiddish Beethoven card, circa 1920s.
Some musicologists suggest that Beethoven's interest in Jewish music may have been related to the fact that he was dating a Jewish woman, Rahel Antonie Friederike Levin, when he wrote the piece. Rahel became friendly with the daughters of Moses Mendelssohn and went on to host one of the most famous 19th century salons in Berlin.
In 1814, she married the biographer Karl August Varnhagen after converting to Christianity (but only after her mother's death) and, though she was a self-hating Jew who believed that "it is so disgusting to be a Jew," the Jewish Encyclopedia (1906) notes that "she always showed the greatest interest in her former coreligionists, endeavoring by word and deed to better their position, especially during the anti-Semitic outburst in Germany in 1819."
As the story goes, the relationship with Beethoven was terminated by Rahel's father, a wealthy jeweler who ruled his family dictatorially and may have been unhappy about his daughter's relationship with a non-Jew – although, ironically, she ended up marrying a non-Jew anyway, albeit one not nearly as renowned as Beethoven.
Although the story of the Rahel-Kol Nirei connection persists, most scholars dismiss it as being of dubious authenticity. Nonetheless, there can be no question that Beethoven had some sort of relationship with Rahel and that he corresponded with her, including via one famous July 3, 1812 letter in which he confirmed a meeting with his "Immortal Beloved," a reference to another one of Beethoven's romantic interests. (One of his most renowned and discussed letters is a beautiful and passionate July 7, 1812 missive he wrote to this mysterious woman).
At the time of the quartet's composition, Beethoven had become interested in the music of George Handel's Saul (1738), which led him to study early Hebrew music. A dramatic oratorio in three acts based upon Samuel I, Saul tells the tale of the first Jewish king's relationship with David that begins with high regard, which ultimately turns to envy and then to a hatred that leads to his demise and to the institution of the Davidic dynasty. The most well-known part of the choral work is Handel's remarkable "Dead March," a funeral anthem for Saul and his son, Jonathan.
Most contemporary music historians, however, surmise that the origins of Beethoven's interest in Jewish music likely began when he was approached by the Viennese Jewish community to compose a cantata for the dedication of a new Reform Temple in the Seitenstettengasse.
Although Beethoven was born and raised in Bonn, most of his life and career unfolded in Vienna, which not only placed him in the cultural epicenter of Europe at the time but also exposed him to the unique historical and social conditions of the city's Jews. At the turn of the 19th century, there were a few hundred Jews in Vienna, but no Jewish community was officially recognized in the city until it was occupied by French forces in 1809.
By 1825, there were still only about 2,000 Jews in Vienna, but the community, led by a number of very wealthy Jews, built a Reform Temple at Seitenstettengasse and retained the renowned cantor and composer Salomon Sulzer. As "the father of the modern cantorate," Sulzer is perhaps best known for "modernizing" the cantorial ritual, introducing a choir into it, and publishing Shir Tzion, which established models for the musical service that was incorporated into nearly all the Temples across the world. Among his admirers was Franz Liszt, and Franz Schubert provided Hebrew Psalm compositions for the Temple's Friday night services, including Tov Lehodot for the temple choir.
Although Beethoven ultimately declined the commission, it is broadly believed he was offered it at the very time that he was writing his "Kol Nidre Quartet."
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Original signed sketch of Beethoven by Gur-Arie – a worthier image for the Israel Beethoven stamp?
Another image that the Israeli Postage authority could have used for its Beethoven stamp is the classic representation of the composer by Meir Gur-Arie shown here. Born Meir Horodetsky (1891-1951), he studied at the Lodz Art School (1907-09) before making aliyah to Eretz Yisrael (1909), where he became a leading Bezalel artist.
After studying at the Bezalel School of Art (1909-11), he taught painting and ivory carving there (1911-29). A member of the "Menorah group," he and Zev Raban opened the Menora workshop (1913) and later established the "Workshop for Industrial Design" (1923). His work, which remains highly popular, is exhibited worldwide, including at the Israeli Museum in Jerusalem.
Although Beethoven had many Jewish friends and supporters, his letters are replete with rank anti-Semitism. The first composer to attain financial independence by taking personal control of his publishing arrangements, he appears to have borne particular anti-Semitic animus toward his German publisher, Adolf Martin (nee Aaron Moses) Schlesinger, and his son, Moritz (Maurice) Schlesinger, who ran the Paris-based branch of Schlesinger family publishing business.
Beethoven with Manuscript for Missa Solemis (detail, 1820) by Joseph Karl Stieler, – the only portrait for which Beethoven sat in his lifetime. Beethoven hated posing for paintings and, even for the Stieler work, his patience ran out after a few sittings and the artist had to complete the work from memory.
For example, Beethoven wrote to German publisher C. F. Peters to ask him to publish his Missa Solemnis (from which, ironically, he borrowed a motif for use in the second movement of the Quartet) because "in no circumstances will Schlesinger ever get anything more from me, because he too has played me a Jewish trick" and he was allegedly cheated with "such insulting niggardliness, the like of which I have never experienced."
Beethoven agreed with Peters that "a Christian Mass composed by Beethoven cannot come into the hands of a Jew, and especially such a Jew."
In an 1823 correspondence, Beethoven did not mince words, calling Schlesinger "a beach peddler and rag-and-bone Jew." And in his negotiations with Kappelmeister Hofmeister, another publisher, he expressed optimism that a deal would ultimately be struck because the publisher was "neither Jew nor Italian."
Beethoven an anti-Semite? In the immortal words of Chuck Berry, "Roll over Beethoven, and tell Tchaikovsky the news."
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One of Beethoven's works – his Ninth Symphony (1824), arguably the principal musical composition of western civilization – was the predicate for the creation of one of the best-known Yiddish poems of all time, Alle Mentchen Zaynen Brider ("All People are Brothers"), by Isaac Leib Peretz.
The first major composer to include a choral movement in a symphony, Beethoven famously set the "Song of Joy" – his celebrated last movement of the Ninth ("Choral") Symphony – to the words of Friedrich Schiller's poem, "An die Freude," the essence of which was a general proclamation of the inevitable attainment of the unity of all men.
For centuries, the Ninth has been adopted by various political movements and ideologies to communicate political power and ideology. It became a symbol of nationalism through World War I, when it became entrenched in the German psyche as a symbol of the fatherland's aggression, and during World War II, when Beethoven became a national hero of the Third Reich.
The Nazis went through laughable contortions to convince the German public not only that Beethoven was sympathetic to Nazi race ideology but also that he used his music – specifically including his Ninth Symphony with the Schiller poem – as a means to express such views.
The Ninth Symphony was also embraced by Stalin, who directed Soviet orchestras to tour the breadth of the land to perform it. Sadly, to some people, the Nazi crematoria and Soviet work camps have forever transformed the great Ninth into just another example of unabashed Nazi and Stalinist propaganda.
Peretz signed image.
Peretz (1852-1915), along with Shalom Aleichem and Mendele Mocher Seforim, was one of the key founders of modern Yiddish literature, but he was also an important figure in Hebrew literature to which he introduced new literary forms and adapted the short story and the symbolic drama. In his polemical writings in Yiddish and Hebrew, he defended the Jews against anti-Semitic vilification, persistently fought for the national Jewish revival, and often wrote of his love for Hebrew and for Eretz Yisrael.
Peretz rewrote Schiller's text to the Ninth Symphony not as a mere translation but, rather, in the words of one commentator, as "a sardonic rejoinder to Schiller's paean to universal enlightenment in which Peretz is shouting at the hypocrisy of a Europe that sings the Ode to the tune of Beethoven but neglects its meaning."
Peretz viewed this "paean to universal enlightenment" as an exercise in rank hypocrisy by a Europe awash with anti-Semitism and nationalism. Peretz's version asserts that the brotherhood of man is not some far-off goal to be achieved one day but, rather, an inherent characteristic of the human condition.
While the Nazis hypocritically adopted the original version of the Ninth Symphony with Schiller's "humanitarian" text, their Jewish victims lovingly embraced Peretz's version. For example, when the Nazis in the Radom Ghetto permitted Jewish performances for a time, the Jewish chorus sang Peretz's Ode to Joy.
Israel Peretz stamp and two labels.
It was also the song of choice by children's choir in Auschwitz, which sang it in close proximity to the crematoria. The sarcasm and scorn underscoring Peretz's lyric and the beauty of Beethoven's stirring music combined to create a survival mechanism for the children, and for adult victims as well, and it became a sort of unofficial Jewish anthem in concentration camps across Europe.
Thus, ironically, the political appropriation of the beloved Ninth Symphony by so many diverse groups – including totalitarians and their subjugated masses; National Socialists on the right and communist governments on the left; the "Thousand Year Reich" and its Jewish victims, Soviets leaders and their citizens incarcerated in their gulags, etc. – has turned it into a mere shadow of the commanding political icon it once was.
Yet, I have always maintained that music is meant to stand on its own terms and, notwithstanding the "dark politics" historically associated with it, the glory and beauty of Beethoven's Ode to Joy – whether with the original Schiller version or Peretz's Yiddish form – will stand for all time.
The ultimate guide to Tel Aviv's 12 beaches
Israel21C via JNS By Tess Levy
With summer weather having hit Israel, and travel from abroad soon to resume, it's time to explore the White City's special spots along the coast.
There are few destinations more desirable than a beach along the Mediterranean Sea. The magnificent blue waves, white sand and upbeat energy of Tel Aviv's beaches are unmatched.
What's even better about the coastal options in Israel is the variety and unique features that each of the beaches offers. From family-friendly locations to surf spots and sport options, you can find exactly what you're looking for at one of Tel Aviv's many beaches.
Below are the key traits and attractions of each, listed from south to north.
Givat Aliyah Beach
Givat Aliyah (more commonly known as Ajami Beach) is the southernmost beach in Tel Aviv, located in the old port city of Jaffa. This beach is a favorite with locals, as it is dog-friendly and maintains a level of privacy below the boardwalk.
Givat Aliyah is also known for its natural and decorative elements, including large stone arches and palm trees. The waves are crowded with surfers, paddle-boarders and windsurfers because of the perfect tides. This beach attracts more locals than tourists and is located far from the beachside hotels.
Charles Clore Beach
Charles Clore is so much more than just a great beach. This beach offers a park that stretches behind it, complete with picnic and barbeque spots, outdoor workout equipment, and a skatepark.
In addition to the vast stretch of white sand, you'll also have plenty of grassy areas to get in a workout or spend time relaxing with friends and family. This beach is an excellent fit for families; you can grab a delicious meal at Manta Ray, a restaurant that sits just above the beach, before using the lifeguard-monitored beach (in season) with your kids and dogs.
Banana Beach/Aviv Beach
Looking for a wide range of activities to keep you entertained from early morning to late night? Start your day catching the waves at Banana Beach, where you'll find a great surf school. After a surf lesson, enjoy the relaxed atmosphere of the beach, where locals make use of the umbrellas and chairs when soaking up the sun. No matter what time you find yourself on this beach, its 24/7 bar is an accessible way to get refreshments whenever you need them.
Jerusalem Beach
If you're searching for a stunning swimming spot, look no further than Jerusalem Beach. Known as Geula Beach by locals, this site typically attracts a younger crowd. Jerusalem Beach flaunts a vast stretch of white sand and waves that are often quite surfable. If you're in the mood to stay on dry land instead of diving into the Mediterranean, cabanas along the water provide necessary shade on those sweltering Tel Aviv summer days.
Bograshov Beach
Tel Aviv is known for its vibrant, bustling atmosphere, and that's precisely what you'll find on Bograshov Beach, one of the most popular in the city. With countless food and drink options nearby and sitting just below a collection of hotels, this beach is a perfect location in central Tel Aviv.
If you're looking for a quiet beach day, though, this is not the best destination. Especially on weekends, you'll find locals and tourists alike enjoying the beautiful blue waters during the day, and hitting the nearby clubs and bars as night falls.
Frishman Beach
Tel Aviv's Frishman Beach. Credit: Shutterstock.Tel Aviv's Frishman Beach. Credit: Shutterstock.Frishman Beach is a multifaceted location. Perfect for any fitness fanatic, this centrally located beach offers volleyball courts and outdoor workout equipment. Frishman Beach is also conveniently located near the hotel strip along the boardwalk, making it very accessible for tourists. There's plenty to do and eat near this beach because of its spot on a busy promenade; just a few meters away, you'll find restaurants and cafes open day and night.
Gordon Beach
It's easy to pass a whole day and into the night at Gordon Beach. During the day, make use of this beach's unique saltwater swimming pool, ideal for those who aren't as fond of the ocean. You might also enjoy the volleyball nets set up along the beach or the grassy lawns surrounding the area, conducive to sports and tanning. This beach is a fantastic place for matkot, a classic beach sport among Tel Avivians. Into the night, you'll find many beach bars and nightlife hotspots bustling with young locals.
Hilton Beach
Hilton Beach resists being defined by just one aspect, as it hosts a multitude of enticing features. On the southern end, you'll find a swarm of surfers riding the waves. The more central section of the beach has been deemed the official gay beach of Tel Aviv. With constant energy and wildly popular nightlife, this spot has become a hub of fun for the LGBTQ+ community.
Finally, with Tel Aviv ranked as one of the most dog-friendly cities in the world, it's only fitting that the northern part of Hilton Beach is for dogs. Hilton Beach is thus one of the most popular beaches for Tel Avivians and tourists alike, and it's located next to its namesake Hilton Hotel.
The Religious Beach/Nordau Beach
This beach is by far the most unique in Tel Aviv. To be inclusive of Orthodox community members hoping to enjoy the sea and sand, the beach welcomes women exclusively on Sundays, Tuesdays and Thursdays, and men exclusively on Mondays, Wednesdays and Fridays. (On Saturdays, when religious Jews do not go to the beach, it is open to all.)
High walls protect the sunbathers and swimmers from unwanted onlookers and preserve their privacy. In addition to these special features, the Religious Beach also offers refreshments, changing rooms and a playground.
Metzitzim Beach
Tel Aviv's Metzitzim Beach. Credit: Tel Aviv Municipality.Metzitzim Beach offers services and facilities that make it a fantastic destination for families, especially for those with young kids. When headed to this beach, there's no need to worry about the logistics that may typically complicate a beach day; Metzitzim Beach offers year-round bathrooms, lockers and on-duty lifeguards. That, combined with the playground on the sand, shallow waters and nearby Tel Aviv Port, makes it ideal for a family beach day.
Tel Baruch Beach
Tel Baruch Beach is another fantastic destination for families seeking a quiet spot in which to swim and play. Located in the beautiful northern neighborhood of Ramat Aviv, this beach offers an expansive stretch of land and an on-sand café. This beach is great to take your kids to, for a swim in the warm, blue waters or find shade under the cabanas. This beach tends to stay on the quieter side, as it's a bit of a commute from central or southern Tel Aviv.
North and South Tzuk (Cliff) Beach
Both sections of this beach are located far north in Tel Aviv, near the neighboring city of Herzliya. If you're exhausted from the high energy and constant movement of the city, North and South Tzuk Beach is the perfect spot for an escape, especially with your family.
Aside from its soft sand and small waves, this beach is also quite inviting to children, with its playground, expansive lawn and volleyball courts. By coming here, you'll get away from the usual crowds of Tel Aviv beaches and find a quieter haven with a gorgeous view.
This article was originally published by Israel21c.
