The Jewish mother feels her job isn't done even after death. You're never too dead to be a Jewish mother." --Mallory Lewis, daughter of Shari Lewis * What do Steven Spielberg, Woody Allen, Barbra Streisand, Jon Stewart, Bette Midler, and Natalie Portman have in common with this book? A Jewish mother. Is there such a thing as a Jewish mother? And if so, who is she? For the first time, best-selling Jewish author and humorist Marnie Winston-Macauley examines all aspects of the Jewish mother. Chronicling biblical Jewish mothers to modern-day Yentls, she creates a compendium using celebrity interviews, anecdotes, humor, and scholarly sources to answer these questions with truth and humor. * Contributors to the book range from Dr. Ruth Gruber and Rabbi Bonnie Koppel to Jackie Mason, Amy Borkowsky, John Stossel, Lainie Kazan, and more. * "The definitive source on Jewish mothers." --Eileen Warshaw, Ph.D., executive director of the Jewish Heritage Center of the Southwest

My Yiddishe Mama is more than just a Jewish cookbook. It captures the stories of South African Jews and traces their roots back to Eastern Europe; Africa and the Middle East. These nostalgic stories are sure to make you laugh and cry, but most importantly, remember. Not only did each Yiddishe Mama share their story with me, but they gave me some of their most treasured possessions – their famous recipes. Each recipe has been tried and tested; they are delicious; uncomplicated and are guaranteed to put a smile on your face. My hope is that as you page through My Yiddishe Mama, you will remember to celebrate the past, live joyfully in the present and share in the prospect of the future. The key ingredient in this book is love, and you are sure to find it on every page! “Alts ken der mentch fargesn nor nit esn.” – A person can forget everything but eating. Yiddish Proverb

"To me, the Jews are funnier than any other group. Why? Because they have had more trouble. And trouble is often the heart of humor."-- Steve Allen (who is not Jewish) from A Little Joy, A Little Oy Not just a slice of Jewish wit and wisdom, this collection is the whole challah*. By including over 350 entries from 200 sources, Winston-Macauley has amassed a unique cross-section of Jewish quotes, anecdotes, proverbs, history, biographies, jokes, unusual facts, "Yinglish," and much more. A Little Joy, A Little Oy showcases this rich and remarkable assembly of all things Jewish through the universal language of laughter and, yes, a few tears. A must in every Jewish household, A Little Joy, A Little Oy also makes the perfect holiday gift. *A rich twisted bread

Continually revised and reinvented, the Jewish Mother archetype becomes in Antler's expert hands a unique lens with which to examine vital concerns of American Jews and the culture at large.

This is the first book-length study of the work of contemporary writer Bernard Kops. Born on November 28, 1926 to Dutch-Jewish immigrants, Bernard Kops became famous after the production of his play The Hamlet of Stepney Green: A Sad Comedy with Some Songs in 1958. This play, like much of his work, focuses on the conflicts between young and old. Identified as an “angry young man,” Kops, like his contemporaries John Osborne, Shelagh Delaney, and Harold Pinter, belonged to the so-called new wave of British drama that emerged in the mid-1950s. Kops went on to create important documentaries about the Blitz and living in London during the early 1940s. He has written two autobiographies, over ten novels, many journalistic pieces, and more than forty plays for TV, stage, and radio. A prolific poet, Kops has authored a long pamphlet poem and eight poetry collections. Now in his mid-80s, the prolific and versatile Kops still produces, his creativity undimmed by age.

You're no idiot, of course. You can serve up a mean s'il vous plaît in a French bistro, live la vida loca for a night of margaritas, and manage a sayonara! after sushi, sake, and karaoke. But when it comes to throwing around a little Yiddish, you feel like a total nebbish! Don't throw up your hands in a helpless “Oy, vey” just yet! The Complete Idiot's Guide® to Learning Yiddish is your guide to this unique tongue, whether you're tackling rules of grammar or just throwing around some key phrases so you sound a little less goyish. In this Complete Idiot's Guide® you get: --A fascinating explanation of how and why Yiddish developed. --An easy introduction to the Yiddish alphabet, as well as to the distinctive sound of Yiddish. --All the Yiddish you'll need for communicating with family and friends or for bargain-hunting on New York's Lower East Side. --A treasury of Yiddish words and phrases for everything.

This expansive three-volume set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors, directors, and movements in American cinematic history. Hollywood has always reflected current American cultural norms and ideas. As such, film provides a window into attitudes about race and ethnicity over the last century. This comprehensive set provides information on hundreds of films chosen based on scholarly consensus of their importance regarding the subject, examining aspects of race and ethnicity in American film through the historical context, themes, and people involved. This three-volume set highlights the most important films and artists of the era, identifying films, actors, or characterizations that were considered racist, were tremendously popular or hugely influential, attempted to be progressive, or some combination thereof. Readers will not only learn basic information about each subject but also be able to contextualize it culturally, historically, and in terms of its reception to understand what average moviegoers thought about the subject at the time of its popularity—and grasp how the subject is perceived now through the lens of history.

Musicals of the 1990s felt the impact of key developments that forever changed the landscape of Broadway. While the onslaught of British imports slowed down, the so-called Disneyfication of Broadway began, a trend that continues today. Beauty and the Beast and The Lion King became long-running hits, followed by more family-friendly musicals. The decade was also distinguished by a new look at revivals—instead of slavishly reproducing old shows or updating them with campy values, Broadway saw a stream of fresh and sometimes provocative reinventions, including major productions of My Fair Lady, Damn Yankees, Carousel, Show Boat, and Chicago. In The Complete Book of 1990s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1990s. This book discusses the era’s major hits (Miss Saigon, Crazy for You, Rent), notorious flops (Shogun, Nick & Nora, The Red Shoes), controversial shows (Passion, The Capeman), and musicals that closed during their pre-Broadway tryouts (Annie 2: Miss Hannigan’s Revenge, Whistle Down the Wind). In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Sandra Bernhard, Michael Feinstein, Patti LuPone, Liza Minnelli, and Mandy Patinkin. Each entry contains the following information: Plot summary Cast members Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Opening and closing dates Number of performances Critical commentary Musical numbers and the performers who introduced the songs Production data, including information about tryouts Source material Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions. A treasure trove of information, The Complete Book of 1990s Broadway Musicals provides a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

"This book concerns a cohort of ultra-orthodox Jews based in the greater New York area who, while retaining membership and close familial and other ties with their strictly observant communities, seek out secular knowledge about the world on the down low (so to speak), both online and via in-person encounters. Ayala Fader conducted her ethnographic research in these rarified social circles for years, developing relationships of trust with the mostly young married men and women who have taken to clandestine methods to find alternative social spaces in which to question what it means to be ethical and what a life of self-fulfillment looks like. Fader's book reveals the stresses and strains that such "double-lifers" experience, including the difficulty these life choices inject into relationships with wives, husbands, and one's children. Not all of these "double-lifers" become atheists. Fader's interlocutors can be placed on a broad spectrum ranging from religiously observant but open-minded at one end to atheism on the other. The rabbinical leadership of these ultra-orthodox communities are well aware of this phenomenon and of how unfiltered internet access makes such alternative forms of seeking an ever-present temptation. (Some ultra-orthodox rabbis have been sounding the alarm for years, claiming that the internet represents more of a threat to community survival today than the Holocaust did in the last century.) Fader's book examines the institutional responses of ultra-orthodox communities to the double-lifers. These include what is typically referred to as a Torah-based type of "religious therapy" conducted by trained members of these communities who as therapists and "life coaches" blend elements of modern psychiatry with ultra-orthodoxy and "treat" troubling, potentially life-altering doubt and skepticism as symptoms of underlying emotional pathology"--

Leading critics, scholars, and theater practictioners consider the most talked-about play of the 1990s