Yiddish Quotes - Page 1

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Dolly PartonPaulo CoelhoOscar WildeOprah WinfreyAldous HuxleyNiccolo MachiavelliCarl JungSaint AugustineStephen CoveyFriedrich Nietzsche
PatienceIndependenceYogaOceanNatureChangeRomanticHomeGraduationAnger

I did not grow up singing Yiddish.

True poverty does not come from God.

I never learned to speak Yiddish, ever.

Yiddish for gall, nerve, arrogance-whatever

If you want your dreams to come true, don't oversleep.

There's not one Yiddish word that is not perfectly funny.

Romanian-Yiddish cooking has killed more Jews than Hitler

He who cannot endure the bad will not live to see the good.

I am determined to give the Yiddish language a fighting chance to survive.

The songs I love to sing are story songs, from Yiddish songs to Tom Waits.

To me the Yiddish language and the conduct of those who spoke it are identical.

Well, I like how people talk. I like language. You know, Linda Richman spoke in Yiddish.

I'm Italian, but some people think I'm Jewish because I work the Yiddish. I also work the Italian, by the way.

Singing in Yiddish was a great thrill for me and came about through Joe Papp, the founder of The Public Theater.

The Yiddish language is so rich and unusual that I've always been hooked on its sounds, although I don't speak it.

It's self-effacing, it's hard-luck, the shtetl stories. All those Coasters things are an amalgam of Yiddish and black humor.

Isaac Singer always wrote in Yiddish. He was so unsure of his English at the beginning that he was easy to edit and he learned fast.

My dad knows every single accent from being an old Yiddish grandpa to being Indian or Jamaican. It was very cool to grow up with that.

I abandoned my second novel completely. Writing 'Kavalier & Clay,' I had several moments of utter collapse. Same with 'The Yiddish Policemen's Union.'

I know very little about my great grandparents, who came through Ellis Island in the early twentieth century, settled in Baltimore, and spoke only Yiddish.

At age 11, I went to a Jewish school. I speak Yiddish. I'm Church of England Protestant. My father was Catholic, and my mother was Protestant. My wife is a Muslim.

I realised a long time ago that instrumental music speaks a lot more clearly than English, Spanish, Yiddish, Swahili, any other language. Pure melody goes outside time.

I was raised to be kind. My parents were underdogs. Immigrant Jews. I spoke with an accent. I didn't speak English even - I spoke French and Yiddish mostly. I was picked on.

My dad was raised Orthodox in Atlanta. He speaks Hebrew. He speaks Yiddish. He married a Jewish woman who is not Orthodox, so I was brought up by two different kinds of Jews.

When my father came out on stage wearing a big cowboy hat and a shirt lettered 'Bar Mitzvah Ranch' to sing 'Home on the Range' in Yiddish, it was his way of saying, 'I want to be an American.'

In Yiddish, we say, 'Nisht ahin un nisht aher.' It's neither here, it's neither there. I get more nerves than on anything I do when I'm doing multi-camera. But single-camera, I love very much.

My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.

My father who in this case was an obsessive life-long storyteller, and by a very peculiar trick of my father's. My father would tell a very, very long story, and the punch line would be in Yiddish.

The prejudice is still there, but it's breaking down. You have writers like Michael Chabon and The Yiddish Policemen's Union. He's a writer who's determined to break down genre barriers. He's done amazing things.

I never publicise in advance what I'm going to be singing because I never quite know until I start. I often change my mind halfway through. I sometimes throw in stuff about politics or Shakespeare or do songs in Yiddish.

My father was Mickey Katz, who worked with Spike Jones and then went on to improvise some successful Yiddish parodies, some of which I perform. My favorite was 'Geshray of the Vilde Kotchke,' his version of 'Cry of the Wild Goose.'

The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris. You're always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they're just, you know, an imbecile.

I am a fifth-generation American, but from a young age, I went to yeshiva. I spent 12 hours a day with rabbis, and I think in Yiddish. To this day, I have to go back and unravel my writing and polish it so everyone doesn't sound like an old Jewish woman.

English is an outrageous tangle of those derivations and other multifarious linguistic influences, from Yiddish to Shoshone, which has grown up around a gnarly core of chewy, clangorous yawps derived from ancestors who painted themselves blue to frighten their enemies.

Michael Chabon has long moved easily between the playful, heartfelt realism of novels like 'The Mysteries of Pittsburgh' and 'Wonder Boys' and his playful, heartfelt, more fantastical novels like 'The Amazing Adventures of Kavalier & Clay' and 'The Yiddish Policemen's Union.'

A Jewish deli should specialize in, first and foremost, Yiddish foods, the foods of the Eastern European Ashkenazi Jews. So, if it's a place that specializes in pizza or chicken wings or diner food and then does a corned beef sandwich on the side, it's not a Jewish delicatessen.

Growing up in South London, we went to a school where there were not that many Jewish kids. I love being Jewish in L.A.; it feels really normal. The culture seems to be integrated into Hollywood. Everyone uses Yiddish words like 'schlep' and 'schmooze.' That's what I love about New York, too.

Brandeis is so fast and loose and informal, I didn't have any problem offering a history course as a biologist. The barriers would be far more formidable, unscalable, at other institutions. But this is a user-friendly place. It's 'Shmedrik University' - that's a Yiddish word for even worse than schlemiel.

Yiddish, originally, in Eastern Europe was considered the language of children, of the illiterate, of women. And 500 years later, by the 19th century, by the 18th century, writers realized that, in order to communicate with the masses, they could no longer write in Hebrew. They needed to write in Yiddish, the language of the population.

I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.

On 'Curb Your Enthusiasm,' I remember that sometime in Season 3, there was a Yiddish phrase, 'Kinahura,' and a friend of mine who was Jewish said that the closed captioning said 'Can of Hurrah.' And I thought 'Oh, God.' I never had bothered to see the transcripts but from that point on all the transcripts had to come to me and I checked them.

Share This Page