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Why are there so many Jewish sports halls of fame?
(JTA) — On one wall of the dining hall at the Indiana University Hillel sit 36 framed photographs of Jewish alumni who have made an impact in the sports industry, from athletes to executives. It’s the IU Jewish Sports Wall of Fame.
One of those pictures is of Josh Rawitch, who has had a long career as an executive in baseball. At first, Rawitch told the Jewish Telegraphic Agency, he questioned whether he was truly worthy of being honored alongside fellow Hoosiers like Mark Cuban, the billionaire businessman and owner of the NBA’s Dallas Mavericks, and Ted Kluszewski, a four-time All-Star with the MLB’s Cincinnati Reds in the 1950s.
But then Rawitch thought about the location of the wall, and who it might impact.
“You’re going to have young people, 18, 19 years old, walking in there looking at the wall, seeing all these people who are up there who have gone on to do significant things in the industry,” Rawitch said. “That’s actually pretty cool. That actually inspires them. If I was 18 and I’d have walked in and that wall had been there when I was a freshman, I would have thought, ‘that’s really cool.’ I would love to be like one of those people someday.”
Rawitch knows a thing or two about halls of fame: He’s the president of the National Baseball Hall of Fame and Museum in Cooperstown, New York. He said institutions like the one he leads are important “repositories for history.”
“I think having a hall of fame of any kind in any city essentially does two things — it honors people who are really good at what they do, and it documents the history of what’s gone on in that industry,” he said.
The Indiana University Jewish Sports Wall of Fame, located in the dining hall at Indiana University Hillel. (Courtesy)
The display that honors Rawitch in Bloomington is just one of many halls, walls and exhibits across the United States and the world — many of them small — that honor Jewish greatness in sports. From Southern California to Philadelphia, St. Louis to Washington, D.C., similar organizations and institutions recognize Jewish athletes, coaches, executives, media members and beyond.
Why so many?
“We want to call attention to that because of the antisemitic trope that Jews are not good soldiers, farmers or athletes. We need to overcome that,” said Jed Margolis, who runs the International Jewish Sports Hall of Fame in Israel, which has honored over 400 athletes since 1981 and is housed in Netanya after being founded in the United States. “It’s simply not true. And telling the stories out there will help inspire people and lay to rest some of those falsehoods which I think are important to overcome.”
In the fight against antisemitism, Steve Rosenberg, who chairs the Philadelphia Jewish Sports Hall of Fame, said “the best defense is a good offense.” The Philadelphia hall, which inducted its first class in 1997 and has moved locations multiple times, has 183 total inductees, including former NFL tight end Brent Novoselsky and longtime 76ers broadcaster Marc Zumoff.
“We shine the light on the great accomplishments of Jews in sports. And we need to do more of that in the world,” Rosenberg said.
Rosenberg added that he thinks there should be even more halls of fame, for Jewish actors, architects, poets and so on, “so that we can celebrate our accomplishments, not in the way that we pat ourselves on the back, but that we can talk about all the great things that we do as a people.”
For Craig Neuman, the chief programming officer at the St. Louis Jewish Community Center, a key feature of Jewish culture is the sense of connection Jews feel when they discover that a celebrity is Jewish. That sense of pride is clear in the work Neuman does with the St. Louis Jewish Sports Hall of Fame, which has its own hallway at the JCC.
“I can’t imagine any other place in the world where you would say, ‘I feel connected to this other country, or these other people, by sheer virtue of our religion,’” Neuman said. “There’s some pride that’s involved with that.”
Like the Baseball Hall of Fame in Cooperstown, the International Jewish Sports Hall of Fame seeks to recognize the most elite athletes — Jewish world record holders, Olympians and the like. Or, as Margolis put it: “We’re looking for the best of the best: the Hank Greenbergs, the Mark Spitzes, people like that.”
Jed Margolis, left, with former Israeli basketball star Mickey Berkowitz, back center, and his family, at the International Jewish Sports Hall of Fame in Netanya, Israel. (Courtesy of the International Jewish Sports Hall of Fame)
At the local halls of fame, the criteria are different. Rawitch likened it to the dynamic between national versus state and local politics.
“As the National Baseball Hall of Fame, I think it’s pretty clear that we are honoring the absolute greatest who ever played or worked within the game of baseball nationally,” Rawitch said. “Clearly, that should be harder to get into than, say, the California Baseball Hall of Fame or the New York Baseball Hall of Fame. But I don’t think it should diminish if you’re a recipient of that. It should be an honor for anybody who’s named to any sort of hall or wall of fame.”
Inclusivity is central to the local halls of fame.
“I think we want to, on some level, send a message that says, ‘hey, just because you’re not in Cooperstown doesn’t mean that you didn’t have an impact in the world, on your sport, in your community,’” said Neuman.
But that doesn’t mean the standards for entry aren’t high. In fact, in St. Louis, candidates for induction must possess more than just athletic accomplishments — there’s also the “mensch factor.”
“When you are in a position where people might look up to you because of some accomplishments, and whether it’s because you’re an athlete, or you’re a politician, or a lawyer or whatever the profession that puts you in the public’s eye, there’s a certain responsibility that comes along with that,” said Neuman. “It’s a great example to set that, yeah, this guy was a great baseball player, but he was also a great human being as well.”
The St. Louis Jewish Sports Hall of Fame has 84 members inducted across eight classes dating back to 1992 — including Chicago Cubs ace Ken Holtzman and basketball legend Nancy Lieberman. The last group was enshrined in 2018.
Many of those inductees represent more than the typical professional sports — baseball, basketball, football, soccer and hockey. There are racquetball and handball players, even a hot air balloonist. (Whether that counted as a sport was a topic of debate for the selection committee.)
In Philadelphia, a similar conversation was held around whether poker should qualify — in that case, poker was allowed, but it turned out the candidate in question wasn’t actually Jewish.
For Rosenberg, recognizing people from a diverse range of sports is an important part of the work, especially as he works to engage younger members of the community.
“I want the young people, particularly the young Jews, to know that there’s a place for you, no matter if you’re a golfer, a swimmer, a gymnast, a baseball player, whatever you want to do, that you can go on to achieve greatness and that greatness will be recognized,” Rosenberg said.
He added that very few people stop by the hall of fame.
“The reality is, if I stood at the hall of fame on any given day, people that are coming in just to see the hall of fame, we couldn’t get a minyan,” Rosenberg said, referencing Judaism’s 10-person prayer quorum. “Maybe over the course of a year. But we do get the sort of incidental traffic, people that are going to the JCC for other activities.”
The Philadelphia Jewish Sports Hall of Fame. (Courtesy)
The Philadelphia hall’s journey to the JCC was not a simple one. The collection used to have a permanent space at a local YMHA, featuring typical sports artifacts like bats and jerseys. Then it moved into the Jewish federation building — until September 2021, when Hurricane Ida caused severe flooding that destroyed much of the hall of fame’s memorabilia. The current exhibit at the JCC is more two-dimensional, Rosenberg said.
One of the Philadelphia inductees is Arn Tellem, the vice chairman of the NBA’s Detroit Pistons and a longtime agent who represented A-list athletes like Kobe Bryant. Throughout the 2000s, Tellem was regularly ranked among the top agents in all of sports, and he is a member of the Southern California, Michigan and Philadelphia Jewish Sports Halls of Fame.
By the time Tellem got the call from the Philadelphia hall in 2015, he had received his fair share of recognition. But that didn’t make this honor count any less for the Philadelphia native. Rosenberg said Tellem “couldn’t wait to come” to the ceremony, bringing three tables worth of supporters with him.
“Arn Tellem isn’t doing this for recognition, or for money, or for fame,” Rosenberg said. “He has that. It means something to him.”
That sentiment seems to be shared by honorees from across the halls. Rosenberg added that he has seen some inductees moved to tears by the news. When Chris Berman, the ESPN broadcaster who has anchored the network’s flagship program “SportsCenter” since a month after it launched in 1979, was honored by the International Jewish Sports Hall of Fame, he was “very touched,” said Margolis.
Lauren Becker Rubin, a former star lacrosse and field hockey player at Brown University, was inducted into the Philadelphia Jewish Sports Hall of Fame in 2018.
“It was a big honor for both me and my family,” Becker Rubin told JTA. “I think the connection of celebrating both the athletic achievement and the community makes it meaningful on another level.”
Becker Rubin, who is now a mental performance coach, is also a member of Brown’s athletic Hall of Fame for setting numerous school records in both sports during her college career. But being recognized by her local Jewish community was a particularly special honor, she said.
After her induction, Becker Rubin joined the hall’s board. “Celebrating positive achievements and putting out positive messages about Jewish athletes is a good counter to the negative rhetoric that is out there,” she said.
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The post Why are there so many Jewish sports halls of fame? appeared first on Jewish Telegraphic Agency.
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Rock legend Steven Van Zandt’s new gig: Holocaust education
(JTA) — Steven Van Zandt is worried about the Jews.
“There is that pre-Holocaust vibe,” the Rock and Roll Hall of Famer told the Jewish Telegraphic Agency recently about what he sees on social media, where he is a prolific user. “They spread lies around year after year after year, and if you say something often enough, people start to believe it.
“And that’s what happened that led to the Holocaust in the first place, and that’s what’s going on now.”
For a man equally beloved for his longtime work with Bruce Springsteen in the E Street Band and his role as Silvio on HBO’s “The Sopranos,” such a detour might seem unusual. But Van Zandt is looking to make his own mark in the world of Holocaust education, via his education initiative TeachRock, which since 2013 has provided K-12 lesson plans on a range of subjects built around popular music.
Titled “Jewish Heritage and the Holocaust: Exploring an Enduring Culture Through Music,” the initiative’s four-day lesson plan, launched this week, includes the onset of antisemitism in prewar Europe, survivor testimony and Jewish values. Anchoring the lessons are rock songs from the likes of KISS, the half-Jewish glam metal band, beloved Jewish folk singer Leonard Cohen and contemporary New York pop band Lawrence, which is fronted by two Jewish siblings.
It’s a departure from the somber tone of most Holocaust education programs, a space that the Jewish community has heavily invested in despite mounting questions about the effectiveness of such lessons in curbing antisemitism. Other contemporary Holocaust learning initiatives have employed video games, artificial intelligence and similarly novel approaches as educators struggle to adapt to a near future without living survivors to share their testimonies.
For Van Zandt, the lessons aren’t just teaching about the Holocaust, but also about highlighting positive Jewish influence in the world of popular culture. He rattled off a list of Jewish artists he admires, including Bob Dylan and the pop songwriting team Lieber and Stoller.
“I have a lot of gratitude for what they have contributed to my life, just in terms of enjoyment,” he said. “Show business doesn’t exist without the Jewish contributions.”
The guitarist founded TeachRock in 2013 alongside other big names from the world of music and the arts, including Springsteen, U2 frontman Bono, Jackson Browne and the director Martin Scorsese. On Thursday, the organization piloted its new Holocaust education lesson plan to 50 high school students at the Florida Holocaust Museum in St. Petersburg, timed to the state’s Holocaust Education Week. Florida’s Holocaust education task force is promoting the material to districts across the state.
“We always want to be educating in a way that feels like you’re not being taught. And I think this captures that,” Michael Igel, a contributing author on the TeachRock lesson plan who also chairs the statewide task force, told JTA.
For Igel, a descendant of survivors, the project fits neatly into his own efforts to bring Holocaust education into unconventional spaces. He’s planning future courses that incorporate food and theater.
“It’s still standards-based Holocaust education. But it’s being delivered to students in these different portals,” he said.
It was through Igel’s promotion of such nontraditional methods that he was approached by a member of TeachRock’s leadership council a year ago. TeachRock had recently been looking to offer lessons on Jewish heritage, and saw an opportunity to broach the subject of the Holocaust through Igel.
A huge E Street Band fan, Igel laughed as he recalled how the council member asked him if he had ever heard of Van Zandt.
The first of the curriculum’s four days opens with students listening to “Rock and Roll All Nite,” the 1975 hit by rock band KISS, before segueing into Jewish life in prewar Europe and the rise of antisemitism.
Igel noted the unique nature of the lesson. “When Gene Simmons with his tongue out is the first thing you see, you’re wondering, ‘What the heck happened to Holocaust education?’” he said.
Gradually the link becomes clear: The lesson explains that KISS frontman Gene Simmons is the son of a Holocaust survivor. Much of the curriculum is built around similar ideas of Jewish survival and resilience, as students are asked to contemplate how Simmons’ family background may have informed his outré stage persona. (Co-founder Paul Stanley is also Jewish.)
Such concepts, he said, help expand the idea of a Holocaust lesson beyond Jews as “victims in a snapshot of time.” In teacher training sessions, educators have responded well to the musical framing and excitedly discussed which songs they would want to pass down to future generations — a positive sign for Igel, who hopes to convince teachers to use the curriculum even outside of the state-mandated Holocaust Education Week lessons.
While Van Zandt, who is not Jewish, doesn’t craft the curriculum himself, he is friends with Simmons and the two have spoken before about wanting to use music to teach Jewish history. Max Weinberg, the E Street Band’s longtime drummer, is also Jewish.
The initiative comes at a moment when the world of popular music, like many other cultural sectors, has become engulfed in controversy over Israel. A recent dustup involved Ed Sheeran and Macklemore, in which Jewish venue owner Robert Kraft pressured Sheeran to drop the rapper from his tour over his onstage pro-Palestinian activism. That prompted many artists to support Macklemore, including Jewish actor Ilana Glazer, who spoke at one of his “Free Palestine” tour stops. Several leading musicians, including Lorde, Paramore and Björk, have also signed pledges to boycott Israel over its conduct in Gaza, while others including Pink and Boy George have taken opposite tracks.
All of this discourages Van Zandt, who famously led an international artist boycott of the South African resort venue Sun City in 1985 to protest Apartheid. The artists now backing the Boycott, Divestment Sanctions movement targeting Israel have cited the Sun City protests as a direct inspiration. (Sun City itself was founded by Sol Kerzner, the son of Jewish Russian immigrants.)
But Van Zandt says the two causes are different.
“Yes, I am known as the boycott king of the world,” he said. “It’s not the same situation. Trying to deny weapons for Israel to defend itself is obscene. It’s ridiculous. It’s terrible.”
He has feuded with Roger Waters, the Pink Floyd co-founder and outspoken pro-Palestinian activist, over BDS.
“I wrote him a very nice, detailed letter saying that it was misconceived, it’s a mistake, it’s not going to accomplish anything,” Van Zandt recalled. “I was very nice to him. Very diplomatic, very respectful. And then he starts just calling me names in the press.” (Waters has directed expletives at Van Zandt and other contemporaries who disagree with him about Israel in interviews.)
Igel, too, is thinking about how TeachRock’s lessons can address contemporary discourse over Israel, a subject that many Holocaust educators often are reluctant to bring up in the classroom even when students press the topic. His curriculum defines what a genocide is — “for a generation that needs to know what that word means, and what it doesn’t mean,” he said.
Following this week’s pilot program, both Igel and Van Zandt hope states beyond Florida will take an interest in their lessons. The rock star has ambitious goals for the initiative: to try to change the national conversation around Jews and Israel that has filled his social media feeds, which he describes as “lies on top of lies.”
“Eventually there’s got to be a national public conversation about this, which is not taking place,” he said. “So eventually it’s going to have to be. At that point, all bets are off.”
This article originally appeared on JTA.org.
The post Rock legend Steven Van Zandt’s new gig: Holocaust education appeared first on The Forward.
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Were Leopold and Loeb inspired by Nietzsche, or Jewish self-loathing?
Any production of Patrick Hamilton’s popular thriller Rope, like any game of Clue, can be reduced to props, setting and culprits.
The central prop is a large chest, containing a freshly-murdered body. The setting can vary: Mayfair in Hamilton’s 1929 original, Manhattan in Alfred Hitchcock’s 1948 screen adaptation starring Jimmy Stewart. The names of the players are sometimes different, but there are always two students in their finely-appointed apartment with the titular murder weapon.
Gordon Greenberg’s new adaptation, now playing off-Broadway at the New Group’s space at St. Clement’s, presents a novel clue as to what prompted the crime: a Christmas tree upstage right. In his take on this “well-made play,” which Greenberg believes has its deficiencies, the central characters, inspired by University of Chicago students Nathan Leopold and Richard Loeb, are once again Jewish, but doing their best to conceal that fact.
Hamilton, who wrote his play shortly after Leopold and Loeb’s conviction, was struck by the men’s alleged lack of motive, beyond a desire to pull off the perfect crime based on their nihilistic misreading of Friedrich Nietzsche’s philosophy. Greenberg doesn’t buy that the killing was dispassionate, and believes a crisis of identity was at play.
“What drew me to it was thinking about what the factors might have been that went into this murder that I personally find hard to believe was just theoretical,” said Greenberg, a director and playwright, who recently revived Joseph Stein and Stephen Schwartz’s The Baker’s Wife off-Broadway. “I don’t think anyone does anything for purely theoretical reasons. We can extrapolate them later, but in the moment we are going on gut impulses and human needs and sexuality and jealousy and all of these fiery emotional poles that make us human.”
Greenberg, who is gay and Jewish, had long been fascinated by the Leopold and Loeb case, wondering what led two well-bred, cerebral Jews to commit a supposedly “motiveless” murder. (In the real crime, notably fictionalized in Meyer Levin’s Compulsion, Nathan Leopold and Richard Loeb killed a 14-year-old boy, Robert Franks; in Rope, they kill a wealthy classmate.)
Hamilton’s play, which Greenberg found to be “antiseptic,” de-Judaized and stripped of queerness, is not concerned with the “why” of the killing.
His murderers, Brandon, described as “tall, finely and athletically built, and blonde” and Granillo, “a Spaniard” with the “shrug of the shoulders characteristic of his race,” are in it for the thrill. They convene a dinner party and serve the meal on the chest containing their victim, certain they won’t be caught.
In Greenberg’s version, set in 1957 Manhattan, Brandon is Garret Stern (Cameron Monahan), a working-class striver who declaims, in a break of the fourth wall, that he “wants to be mistaken for the son of assimilated German Jews, not the shtetl Jews with bent vowels and calloused hands from whom he actually descends.” (As part of the ruse, he’s abandoned his given name of Gary.)
Granillo is now Nate Singer (Corey Fogelmanis), the Yekke scion of a garment district macher who, to his upwardly-mobile mother’s delight, “can almost pass for gentile.” Both are students at Princeton and plan to drop the body back in Jersey after their macabre dinner party.
Like the real Leopold and Loeb, they are also involved sexually and sadomasochistically. Greenberg says he was partially inspired by Tom Kalin’s 1992 film Swoon, which revisited the killers through a queer lens.
Nate’s instilled self-hatred likely feeds into his desire to be dominated by Garret, whose rough upbringing as a Jew in postwar Skokie taught him the utility of violence. (His school principal praised him for breaking a boy’s nose, saying “your people aren’t exactly known for defending themselves.”)
Greenberg, who said that, as an actor he played “every Herb Gardner and Neil Simon play around,” chose to move the action up to the era Lavender Scare and a resurgence of casual, clubby antisemitism following the “chemotherapy of World War II” that briefly put it into remission.
Nate and Garret’s guests, for their post-Christmas shindig, whose centerpiece is a chest containing a corpse, include a polished, pedigreed classmate; a droll Sarah Lawrence student; their closeted professor, who will catch them in the lie; and a Mayflower-descendant judge who happens to be the father of Ronald Kentley, the deceased.
Driving the boys’ motive and cue for passion is Nate’s tormented attraction to Ronald, who he fears might out him and land him on McCarthy’s list. Garret is jealous, but sees an opportunity: In bumping Ronald off, he hopes to take his place as the judge’s surrogate son, gaining entry to the patrician world to which he aspires.
But their guests’ routine macroaggressions show the futility of trying to overcome their backgrounds. The Christmas tree is fooling no one. Greenberg is similarly unconvinced that Leopold and Loeb’s murder was merely a Nietzschean performance, undertaken to prove that morality need not apply to superior intellects.
“No one really knows what was going through their mind, and no one ever will,” Greenberg said of Leopold and Loeb’s crime. “But taking one of these fascinating true crime stories and positing what the humanity is behind it, what’s all the flesh on the bone, is to me the fascination and the fun exercise.”
The post Were Leopold and Loeb inspired by Nietzsche, or Jewish self-loathing? appeared first on The Forward.
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Documentary reveals composer Dmitri Shostakovich’s empathy for the Jews
אין רוסלאַנד איז לעצטנס אַרויס אַ דאָקומענטאַר רעזשיסירט פֿון גריגאָרי אילוגדין, מיטן נאָמען „DSCH: סימפֿאָניע נומער 13‟, וועגן דעם וועלט־באַרימטן קאָמפּאָזיטאָר דמיטרי שאָסטאַקאָוויטש און די ייִדן. כאָטש ער איז נישט געווען קיין ייִד, האָט ער געשאַפֿן מוזיק פֿאַר ייִדישע לידער און געווידמעט זײַן 13טער סימפֿאָניע דעם חורבן פֿון די ייִדן.
מיט דער אַברעוויאַטור DSCH, וואָס פֿיגורירט אינעם טיטל פֿונעם דאָקומענטאַר, פֿלעגט שאָסטאַקאָוויטש אונטערשרײַבן זײַנע נאָטן. מיינען מיינט עס D. Schostakowitsch. דאָס ווייסן, מסתּמא, אַלע מוזיקער, וועלכע שפּילן זײַנע ווערק. ווייניקער איז אָבער באַקאַנט דעם קאָמפּאָזיטאָרס שײַכות נישט בלויז צו ייִדישע טעמעס אין אַלגעמיין, נאָר דווקא צו ייִדיש. געוויינטלעך זינגט מען אויס זײַנע ייִדישע לידער בלויז אין דער רוסישער איבערזעצונג; אויף דער וועבזײַט „ייִדיש־קולטור‟ קענט איר זיי אויסהערן אויף ייִדיש.
אין פּעטערבורג איז די פּרעמיערע פֿונעם פֿילם פֿאָרגעקומען אינעם קינאָ־טעאַטער „אַווראָראַ‟, וווּ שאָסטאַקאָוויטש האָט אין די 1920ער יאָרן אָנגעהויבן זײַן מוזיקאַלישע קאַריערע ווי אַ יונגער פּיאַניסט, וועלכער האָט אַקאָמפּאָנירט שטומע פֿילמען. דער אַלטער קינאָ־טעאַטער, געעפֿנט אין 1913, האָט דעמאָלט געהייסן „פּיקאַדילי‟.
אין 1961 האָט דער רוסישער דיכטער יעווגעני יעווטושענקאָ אָנגעשריבן זײַן קורצע פּאָעמע „באַבי־יאַר‟ וועגן דעם טרויעריק־באַקאַנטן אָרט אין קיִעוו, וווּ די נאַציס האָבן אומגעבראַכט איבער 100 טויזנט מענטשן, אַרײַנגערעכנט צום ווייניקסטן 33,771 ייִדן. די פּאָעמע הייבט זיך אָן מיט די ווערטער „אויף באַבי־יאָר זײַנען קיין דענקמעלער נישטאָ‟. דאָ ציטיר איך יוסף רובינשטיינס ייִדישע איבערזעצונג, וועלכע איז דערשינען דעם 8טן אָקטאָבער, 1961, אינעם פֿאָרווערטס.
שאָסטאַקאָוויטש, דעמאָלט שוין וועלט־באַרימט, האָט באַשלאָסן צו שאַפֿן אַ סימפֿאָניע מיט אַ באַס־זינגער, אַ באַסן־כאָר און אַן אָרקעסטער, וווּ עס ווערט אויסגעזונגען די דאָזיקע פּאָעמע, און האָט עס פֿאַרענדיקט אין 1962. יעווטושענקאָ האָט ספּעציעל פֿאַר דער סימפֿאָניע אָנגעשריבן נאָך אַ ליד מיטן נאָמען „פּחדים‟. אין דעצעמבער 1962 האָט מען צום ערשטן מאָל אויסגעשפּילט שאָסטאַקאָוויטשעס 13טע סימפֿאָניע אין מאָסקווע, און אין מאַרץ 1963 אין מינסק.
דער פֿילם דערציילט, פֿאַר וואָס שאָסטאַקאָוויטש האָט זיך בײַם אָנהייב אָנגעטראָפֿן אויף גרויסע שוועריקייטן מיט אָט דעם ווערק. לויט דער סאָוועטישער שיטה איז געווען פּאָליטיש אומקאָרעקט צו דערמאָנען די טראַגעדיע פֿון באַבי־יאַר אין שײַכות באַזונדערס צו ייִדן, ווײַל דאָרטן זענען דערמאָרדעט געוואָרן – און, קוואַנטיטאַוו גערעכנט, מער ווי ייִדן – אויך סאָוועטישע געפֿאַנגענע און אַנדערע מענטשן. דערצו, האָט מען פֿאַרשוויגן די ראָלע פֿון די אוקראַיִנישע קאָלאַבאָראַנטן אין דער מאַסן־שחיטה.
די טעמע פֿונעם ייִדן־חורבן האָט מען בכלל אויסגעמיטן, ווײַל מצד דעם אָפֿיציעלן קוקווינקל זענען ייִדן געווען אַ רעלאַטיוו קליינער טייל צווישן די 26 מיליאָן אומגעקומענע סאָוועטישע בירגער. קיין דענקמעלער זענען אין באַבי־יאַר טאַקע נישט געווען ביז 1976, ווען מע האָט אויפֿגעשטעלט אַ מאָנומענט לזכּרון די דערמאָרדעטע „בירגער פֿון דער שטאָט קיִעוו און קריגס־געפֿאַנגענע‟. ערשט אין 1991 האָט זיך דאָרט באַוויזן אַ באַזונדערער ייִדישער דענקמאָל, און נאָך שפּעטער, אין 2016, אַ ציגײַנערישער.
אינעם דאָקומענטאַר ווערט דערמאָנט שאָסטאַקאָוויטשעס שײַכות צו דער ייִדישער שפּראַך. אין 1948, ווען אין סטאַלינס צײַטן האָבן אַ סך ייִדן געליטן פֿון רדיפֿות כּלומרשט צוליב זייער נאַציאָנאַליזם, האָט שאָסטאַקאָוויטש געשאַפֿן זײַן לידער־ציקל (אָפּוס נומער 79) „פֿון דער ייִדישער פֿאָלקס־פּאָעזיע‟, באַגרינדעט אויף יחזקאל דאָברושינס און אַבֿרהם יודיצקיס זאַמלונג „ייִדישע פֿאָלקס־לידער‟ (פֿאַרעפֿנטלעכט אינעם יאָר 1940 אין מאָסקווע).
איר קאָנט זיך באַקענען פּרטימדיק מיטן דאָזיקן ציקל פֿון שאָסטאַקאָוויטשן אויף ייִדיש און ענגליש אויף דער וועבזײַט „ייִדיש־קולטור‟, וועלכע האָט, ווי פֿריִער געזאָגט, אַ געוויסע שײַכות צום נײַעם דאָקומענטאַר. דער גרינדער פֿון דער דאָזיקער וועבזײַט, ד״ר מאַרק זילבערקוויט, איז אויך דער פּראָדוסער פֿונעם פֿילם. אילוגדין, דער רעזשיסאָר, האָט מיך פּערזענלעך פֿאַרבעטן אויף דער פּעטערבורגער פּרעמיערע פֿונעם נײַעם דאָקומענטאַר ווי אַ ייִדיש־שפּראַכיקן זשורנאַליסט. ער האָט מיר איבערגעגעבן, אַז ייִדיש שפּילט פֿאַר אים אויך אַ גרויסע ראָלע און ער האָפֿט ווײַטער צו פּאָפּולאַריזירן ר די שפּראַך.
וואָס שייך דער קאָמפּליצירטער באַציִונג פֿונעם ראַטן־פֿאַרבאַנד צו ייִדישע טעמעס איז כּדאַי צוצוגעבן, אַז אין 1961, דאָס זעלבע יאָר וואָס יעווטושענקאָ האָט אָנגעשריבן „באַבי־יאַר‟, האָט זיך אין מאָסקווע געעפֿנט דער ייִדישער ליטעראַרישער זשורנאַל „סאָוועטיש היימלאַנד‟. דאָרט און אין דער סאָוועטיש־ייִדישער ליטעראַטור בכלל האָט מען יאָ באַהאַנדלט דעם ייִדן־חורבן.
איין וויכטיקע זאַך ווערט נישט דערמאָנט אינעם פֿילם: ווען שאָסטאַקאָוויטש האָט געשריבן זײַן 13טע סימפֿאָניע, מיט וועלכע ייִדישע שרײַבער און דיכטער האָט ער זיך געחבֿרט? דער ענטפֿער וואָלט טאַקע געווען גוט צו וויסן.
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