Features
Einstein’s Smile: A Tale of Two Pictures
By DAVID TOPPER In my previous story in the Jewish Post & News, “Einstein & Johanna: A True Tale of Tragic Comedy,’’ I began by saying that I first heard the name “Einstein” when I was around the age of 10.

So let me begin this story when Albert himself was about that same age, and he had his class photo taken on the steps of his school. This picture is one of the earliest pictures we have of him – and it’s one of my favourites. It shows his all-boys class of 52 students lined-up in five rows. Einstein is in the front row, the third from the right, and clearly one of the smallest in the group.
The unique and utterly fascinating thing about this picture is this simple fact: all the other boys are looking grimly at the camera, while little Albert is the only one with a smile on his face. Look closely: all 51 others, with hands at their sides, appear stern, anxious, intimidated, sulky, or scared; Einstein, with hands behind his back, has a cute, little, slightly impish smirk on his face – unquestionably, a look that any parent would love. Just compare the detailed picture of him with the boys to his immediate sides : the contrast, indeed, is at once stunning and amusing.
Right here, in this astounding image (a mere class photo) is the visual manifestation of the laid-back contrarian that he would become throughout his life. In this one picture, knowing what I know about him, his whole life almost flashes forward before me. So, here, I wish to share a piece of this story with you.
As reported by those who knew him, Einstein was modest and unpretentious, without an iota of conceit or arrogance, treating all people in the same manner, independently of class or rank. He spoke the same way to a president as to a janitor. He also had a hearty laugh, with a child-like twinkle in his eye. OK, all this may be a bit of an exaggeration (sounding more like Santa Claus), but variations of these traits are persistently repeated among those who knew him and reminisce about his personality. He really was a down-to-earth guy. For example, he refused to travel first-class. Even when sent first-class tickets, he sat in third-class, driving the fastidious ticket-takers crazy.
I have a second picture to talk about. But before that, I want to see what else there is about his life that I can read into his class picture. What do we know about his early life that might help us? Best to begin at birth.
Albert Einstein (1879-1955) was born in a small town (Ulm) on the Danube River in south-western Germany to unobservant Jewish parents. Although the town today boasts of his birth, he was still an infant when the family moved to Munich, where he spent his formative years. His mother, Pauline, had a deep commitment to music, and she tried to instill that affection in her young son by forcing violin lessons on him. A love of music eventually sunk into his psyche around his transition to the teenage years, and Albert carried that commitment throughout his life. He exhibited his love of music by packing his violin on trips. Serious music, to him, was confined to the works of the “classical” period of what is called classical music, especially that of Mozart and Haydn, although he would happily dip back into the Baroque and J. S. Bach.
His father, Hermann, was a businessman who could have made a lot of money at the time because he was in the electrical business (motors and dynamos, for example), which was to the late-19th century what computer high-tech paraphernalia was to the late-20th century. But, just as the “dot.com” boom and bust resulted in some winners and many losers, most who made the effort in the electrical business did not achieve success. Hermann’s business went bust.
Albert’s sister, Marie (called Maja), was born when he was age two, and she was his only sibling. Maja, in a short memoir written in the early-1920s, is a crucial source of information about her brother’s childhood; this is important because there are many myths circulating through the media and beyond about Einstein’s youth. Today, many special interest groups wish to embrace Einstein as the poster boy for their various causes. Nonetheless, Einstein was not a slow learner, a vegetarian, left-handed, nor any of a range of idiosyncrasies that you will find in special-group websites on the Internet testifying that Einstein was one-of-them. Although his parents tutored him for his first year of school, he also was not “home schooled,” for he continued through the German school system until the age of 15, when he dropped out before graduating in his final year. Yes, Einstein was a high-school dropout, but I must confess that I have not yet come across a website of “High-School Dropouts” claiming Einstein as one-of-them.
Contrary to another myth, Maja reports that her brother was not a slow learner but was “a precocious young man” who had a “remarkable power of concentration,” such that he could “lose himself…completely in a problem.” Later, for Einstein the scientist, this youthful behavior was clearly repeated – like a leitmotif, throughout his scientific life.
It’s true that Albert detested the rigidity of the German way of teaching, but he still got good grades. Yet, he did not hide his feelings about the oppressive atmosphere of the classroom, so that one teacher went so far as to tell Albert’s parents that their son set a poor example for the other students by his overt hostility. This may cast some light on the special smile on his face in our photo, for it surely reveals the contrarian attitude on social mores that he displayed throughout his life. One obvious example: think of his lack of decorum in the grooming of his hair, which began in the 1930s.
An example of nonconformity of a different kind took place in his pre-teen years when he became extremely religious and admonished his anti-religious parents for not following the rules of Orthodox Judaism. This personal obsession lasted for a few years, to the consternation of Hermann and Pauline, only to disappear right before he would have been Bar Mitzvah. (It never happened.) In his very brief autobiography, written in 1947, he says that the reason for this quick change was his discovery of science and math, and for him the accompanying realization that the Bible was untrue. The result was an intellectual and emotional transformation. He viewed the religious outlook as subjective and solipsistic, whereas the scientific viewpoint was a route to objectivity and a liberation from what he called “the merely personal” – or subjectivity. He put it this way: “Beyond the self there is the vast world, which exists independently of human beings, and that stands before us like a great, eternal riddle, at least partially accessible to our inspection and thinking.” This statement acted as a maxim for his scientific endeavours to the end of his life.
But this is not the full story of his transformation: he added a socio-political element that is rather startling and remarkable for someone around age 12 or 13. He said he came to realize that “youth is intentionally being deceived by the state through lies” and that therefore a “mistrust of every kind of authority grew out of this experience.” These are profound and troubling views for someone at an age where most boys are more obsessed with sports and girls. Does this give us a hint at a deeper meaning of the smile in Photo 1? Maybe not, he was but 9 or 10 when the picture was taken. Nevertheless, it does give us a sense of continuity from here to the unconventional citizen we know later in life.
As we continue to pursue the question of the roots of his maverick ways, we find two episodes of interest at age 15 or 16. Both were triggered by the collapse of his father’s business, and the need for the family to move from Munich to the town of Pavia in northern Italy just south of Milan, where his father’s brother had a more successful business. Since Albert was in his last year of high school, he was placed in a boarding house in Munich while his parents and sister went on to Italy without him. Alone and feeling abandoned, he sank into a deep depression and had to leave school. But he had the wherewithal to obtain a letter from his math teacher saying that he completed that part of the curriculum. This was the first episode.
The other episode, however, might not have seemed very level-headed at the time. After crossing the German border, he applied to the government to renounce his German citizenship, making him a stateless person thereafter. Some scholars believe that in order to trigger such a desperate act, something almost elemental about German society had deeply troubled Einstein. We know he had major misgivings about the militaristic features of German society as expressed in the educational system. Or was it a reaction to his father’s loss of his livelihood, and the need to leave the country? His sister, Maja, however, had a simple answer: he was avoiding being drafted into the military.
Accordingly, as a high school dropout, Albert arrived at his parents’ residence in Italy, much to their surprise and surely their chagrin. We have no documentation about the inevitable confrontation between him and his parents, but we can be sure that there was a dispute around the question of what he was going to do with the rest of his life. We, of course, know the answer, in the long run. But even in the short run, there was some hope.
Let’s return to that letter in Albert’s pocket when he left Munich, and back up a few years to the non-Bar Mitzvah around age 12 or 13. The unperformed religious transformative rite was replaced by a different revelation – as mentioned, he developed a zeal for science and in particular the logical rigor of mathematical reasoning. Specifically, he was given a primer on geometry, and he devoured it – even trying to prove some theorems before he read the proofs in the book. The logical way that mathematical reasoning produced eternal proofs had a deep psychological impact on this young man, so much so that even when writing his autobiography around the age of 68, he referred to this early textbook as the “holy geometry book.” How revealing this metaphor is: especially when we realize that he was reading Euclid, instead of Torah, the original “holy” book. He went on to teach himself calculus and other higher mathematics, so that by the time he dropped out of school, he was well-grounded in the mathematics required for graduation and beyond. Hence, the letter in his pocket, mentioned above.
Albert’s father had plans for his son to be an engineer. This is no surprise, since he was in the electrical business, which he (correctly) believed was the wave of the future. In particular, he wanted his son to enroll in the Swiss Polytechnic Institute in Zürich, one of the best schools in Europe. As luck (fate?) would have it, a completed high school diploma was not necessarily required for enrollment in the Poly; instead, there were a series of rigorous exams administered by the Institute. It seems that the letter from the math teacher was a factor in placing him in the special category.
So, in the fall of 1895 he took the entrance exams – but flunked them. There was, however, a silver lining to this incident. He did so well on the science and math parts (no shock here) that the Institute’s director recommended that he spend a year doing some remedial studying. After all, he was applying to the Institute a year or two early for his age, since the regular age of admission was about 18 years old.
Einstein spent the next year at the Kanton Schule in the town of Aarau, just west of Zürich. The curriculum was based on the ideas of the great Swiss educator, J. H. Pestalozzi, who (among other things) emphasized using visual materials as well as written texts as educational tools, and especially stressed direct student-teacher interaction. For Einstein, it was a delightful and memorable year: he enjoyed learning in a formal setting for the first time in his life.
Indeed, it was sometime during that year of motivated learning that he came up with what would be his first great experiment in his head, what we call a “thought experiment.” This idea involved moving in space at the speed of light; essentially it was based on this question: What would the world look like if we rode on a beam of light? Perhaps the Pestalozzi emphasis on visualizing played a role here? Listen to the following remark about the school in Aarau that Einstein wrote 60 years later: “It made an unforgettable impression on me, thanks to its liberal spirit and the simple earnestness of the teachers who based themselves on no external authority.”
Ah ha, “no external authority”: such progressive and open-minded thinking was guaranteed to have an impact on Einstein who, as quoted, believed that “youth is intentionally being deceived by the state through lies” and that therefore a “mistrust of every kind of authority grew out of this experience.” This Swiss Kanton Schule was obviously nothing like the German schooling he had previously experienced. No wonder he graduated in the fall of 1896 with good grades.
The year at Aarau proved fruitful. Einstein’s admittance to the Swiss Polytechnic was based on his grades at Aarau, and although his father wanted him to study to become an engineer, he enrolled in physics and mathematics – and we know where it went from there.
One more thing about the Aarau year. There is a class photo of that small graduating class of 10 students. It’s not reproduced here, for no one is smiling. They all look relaxed, but serious too as they ponder their future. Einstein may be a bit more relaxed than the others, and he may be staring off into space much further than his fellow students – but I hesitate in reading anything more into it. Nonetheless, I do know this: once, when reminiscing about that key year in his life, he said that, while the other students at Aarau filled their spare-time by swigging copious quantities of beer, he drank from a different trough – diligently reading The Critique of Pure Reason, by Immanuel Kant. And that surely was nothing to smile about. (Incidentally, Einstein was a teetotaller all his life.)

My key argument here is essentially about the role of pictures and what we can (or cannot) read into them. And this brings me to Photo 2 from 1931, over four decades later. Here Einstein, now the celebrity, is at a reception in the German Chancellery in Berlin. From the left they are: Max Planck (the famous physicist), Ramsay MacDonald (British Prime Minister), Einstein, Hermann Schmitz (on Einstein’s immediate left), and Hermann Dietrich (German Finance Minister).
I have no idea why these five men were seated together or what they were talking about. There are several extant pictures of this table-talk scene, which were taken by the pioneering photojournalist, Erich Salomon. I have chosen this one because it captures an animated Einstein speaking to the British Prime Minister. Notice the gesture with his cupped right-hand. It is a captivating image clearly displaying Einstein’s alert and smiling face, all in stark contrast to the serious, stern, and solemn visages of the other four. “Come on, guys – lighten up!” – I want to say with Einstein. Or, put differently: what’s there not to like about this Einstein fellow trying to cheer-up a much too formal table? Is it not clear why I am juxtaposing this 1931 picture with the smiling boy in school? And so, it seems that a story that began with a smile appears to end with a smile.
But not so fast.
The second picture is from 1931, and two years later Hitler will control the country. Serious looking Hermann Schmitz was from I.G. Farben, the chemical company that would become notorious for its role in developing Zyklon B used in the gas chambers in the Extermination Camps, and for this Herr Schmitz spent time in prison after World War II for Nazi war crimes.
Planck’s son, Erwin – who was also present at this formal affair but is not in this picture – was later executed by the Nazis as part of the plot to assassinate Hitler on July 20, 1944.
And then there’s the photographer Erich Salomon (b.1886). He died in 1944 in Auschwitz, which was supplied with chemicals from I.G. Farben.
The result is that Photo 2 is deeply laden with painful meaning, and I can never again see this picture with that initial innocence I had the first time I smiled along with Einstein as he made a point to the British Prime Minister. Such is the nature of images and the interaction and interdependence of our eyes and minds. To use an analogy: pictures are as much read they are as seen. And so, knowing what we know about Photo 2, there is nothing
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.
Features
A People and a Pulse: Jewish Voices in Jazz and Modern Music
By MARTIN ZEILIG Jazz history is usually told through its most iconic names — Armstrong, Ellington, Parker, Davis — yet running alongside that familiar story is another, often under‑acknowledged one: the deep and enduring contribution of Jewish musicians, bandleaders, composers, and cultural intermediaries.
From the moment jazz emerged at the turn of the 20th century, Jews were not simply observers but active shapers of the music and the industry around it. Their influence — artistic, entrepreneurial, and cultural — has been both significant and, in many respects, disproportionately large. Jews and Jazz (171 pg. $18.75 US) a self‑published work by Laurence Seeff, brings this parallel narrative into sharp, affectionate focus.
Seeff is an ideal guide.
Born in London in 1951, he built a career that moved from statistics to energy policy in Paris, from financial markets at Bloomberg to corporate training in the City of London, all while writing poetry, songs, and humorous verse. Today he lives in Israel, where he continues to write, perform, learn Ivrit, and enjoy life with his large family. Through all these chapters runs a constant passion for jazz — a passion sparked more than fifty‑five years ago when he first heard Terry Lightfoot’s Jazzmen in a Bournemouth pub.
His writing blends clarity, humour, and genuine love for the music and the people who made it.
The musicians he profiles often came from immigrant families who brought with them the musical DNA of Eastern Europe — the cadences of synagogue chant, the urgency of klezmer, the cultural instinct for learning and artistic expression. When these sensibilities met the African American genius of early jazz, the result was a remarkable creative fusion.
Some figures, like Chico Marx, are better known for comedy than musicianship, yet Seeff reminds us that Chico was a serious pianist whose jazz‑inflected playing appeared in every Marx Brothers film and whose orchestra launched young talents like Mel Tormé. Others — Abe Lyman, Lew Stone, and Oscar Rabin — shaped the dance‑band era on both sides of the Atlantic.
Canadian readers will be pleased to find Morris “Moe” Koffman included as well: the Toronto‑born flautist and saxophonist whose “Swinging Shepherd Blues” became an international hit and whose long career at the CBC helped define Canadian jazz.
Seeff also highlights artists whose connection to jazz is more tangential but culturally revealing. Barbra Streisand, for example — a classmate and choir‑mate of Neil Diamond at Erasmus Hall High School — was never a natural jazz singer, yet her versatility allowed her to step into the idiom when she chose.
She opened for Miles Davis at the Village Vanguard in 1961 and, nearly half a century later, returned to the same club to promote Love Is the Answer, her collaboration with jazz pianist Diana Krall. Her contribution to jazz may be limited, but her stature as one of the greatest singers of all time is unquestioned.
Neil Diamond, too, appears in these pages.
Though not a jazz artist, he starred — with gusto, if not great acting finesse — in the 1980 remake of The Jazz Singer, 53 years after Al Jolson’s original. The film was not a success, nor was it truly a jazz picture, but its title and its star’s Jewish identity make it part of the cultural tapestry Seeff explores.
Diamond and Streisand recorded together only once, in 1978, on “You Don’t Bring Me Flowers,” a reminder of the long‑standing artistic ties between them.
Mel Tormé, by contrast, was deeply rooted in jazz. Nicknamed “The Velvet Fog,” he was a prodigy who sang professionally at age four, wrote his first hit at sixteen, drummed for Chico Marx, and recorded with Benny Goodman and Artie Shaw. Ethel Waters once said he was “the only white man who sings with the soul of a black man.” His story exemplifies the porous, collaborative nature of jazz.
Seeff also includes non‑Jewish figures whose lives intersected meaningfully with Jewish culture. Frank Sinatra — perhaps the greatest crooner of them all — was a steadfast supporter of Jewish causes, from protesting during the Holocaust to raising funds for Israel Bonds and the Hebrew University. His multiple visits to Israel, including a major concert in Jerusalem in 1975, underscore the depth of his connection.
Danny Kaye earns his place through his close work with Louis Armstrong, his pitch‑perfect scat singing, and his starring role in The Five Pennies, the biopic of jazz cornetist Red Nichols. Though not a jazz musician per se, his performances radiated a genuine feel for the music.
A later generation is represented by Harry Connick Jr., whose Jewish mother and New Orleans upbringing placed him at the crossroads of cultures. A prodigy who played publicly at age five, he went on to become one of the most successful jazz‑influenced vocalists of his era, with ten number‑one jazz albums.
Even Bob Dylan appears in Seeff’s mosaic — another reminder that Jewish creativity has touched every corner of modern music, sometimes directly through jazz, sometimes through the broader cultural currents that surround it.
Taken together, the concise portraits in Jews and Jazz form a lively, engaging mosaic — a celebration of creativity, resilience, and cross‑cultural exchange. They show how Jewish musicians helped carry jazz from vaudeville and dance halls into swing, bebop, cool jazz, pop, rock, and film music.
They remind us that jazz, at its heart, is a meeting place: a space where people of different backgrounds listen to one another, learn from one another, and create something larger than themselves.
For further information, contact the author at the following email address: laurenceseeff@yahoo.co.uk
Features
Jews in Strange Places
By DAVID TOPPER The Jewish contribution to 20th century popular music is well known. From Jerome Kern through to Stephen Sondheim, Jews played major roles as both composers and lyricists in the so-called Great American Songbook. (An exception is Cole Porter.) It continued in Musical Theatre throughout the rest of the century.
One very small piece of this story involves what Time magazine in the December 1999 issue called “the tune of the century.” First recorded sixty years before that, it is the powerful and haunting tune called “Strange Fruit,” which is about the lynching of black people in the southern USA. First sung by Billie Holiday in 1939, it became her signature tune.
So, why do I bring this up? Because there is a multi-layered Jewish connection to this song that is worth recalling, which may not be known to many readers.
Let’s start with the lyrics to “Strange Fruit,” which are the essence of this powerful piece:
Southern trees bear strange fruit,Blood on the leaves and blood at the root,Black bodies swinging in the southern breeze,Strange fruit hanging from the poplar trees.Pastoral scene of the gallant south,The bulging eyes and the twisted mouth,Scent of magnolias, sweet and fresh,Then the sudden smell of burning flesh.Here is fruit for the crows to pluck,For the rain to gather, for the wind to suck,For the sun to rot, for the trees to drop,Here is a strange and bitter crop.
Before becoming lyrics in a song, this poem stood alone as a potent statement about the lynchings still taking place throughout the American South at the time. The strong metaphorical imagery never explicitly mentions the lynching, which adds to the poetic power of this poem. Standing alone, I believe it’s an important protest verse from the 20th century.
Searching it on the internet, you may find the author listed as Lewis Allan. But that’s not his real name. “Lewis Allen” is the often-used pen name of Abel Meeropol, a Jewish High School teacher from the Bronx in New York. He and his wife, Anne (nee Shaffer), had two stillborn children with those names – a fact that adds a poignant element to this story.
The origin of the poem for Abel was a photograph he had seen of a lynching of black men in the South. I have seen such images, possibly even the one Abel saw: for example, a sepia photograph of two black men hanging from a long tree limb, and a large crowd of white people below (men, women and even children!), most seeming dressed in their Sunday best (some men with straw hats) looking up and gawking at the sight, some with smiles on their faces – as if attending a festive spectacle. Like Abel, I felt repelled by the picture: it turned my stomach. This communal display of horrific cruelty gave me a glimpse into Abel’s mind, and I understood how it compelled him to write about it. He thus wrote the poem, and it was published in a teacher’s magazine in 1937.
Being a songwriter too, in 1938 Abel added a melody and played it in a New York club he often attended. But here’s where this story’s documentation gets contradictory, depending upon who is recalling the events. The club owner knew Billie Holiday, and he showed the song to her. What her initial response was, we cannot know for sure. But we do know that in a relatively short time, she added it to her repertoire. It eventually became her signature tune. She initially sang it in public, but because of its popularity among her fans, there was pressure to record it too.
There were initial rejections from recording companies because of the controversial content. But Commodore Records took a chance and pressed the first recording in April 1939. This was the same year the movie “Gone with the Wind” came out; it was steeped in racial stereotyping. It was also sixteen years before Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama.
As a record, the song obviously reached a large audience. Since the content was about racism, the song was seen as politically radical; not surprisingly, many radio stations banned it from the airwaves.
Furthermore, it’s also not surprising that Abel, a schoolteacher, was called to appear before a committee of New York lawmakers who were looking for communists in the schools. Possibly they were surprised to find that the poem and the song were written by a white man – and a Jew to boot. In particular, they wanted to know if he was paid by the Communist Party to write this song. He was not. And, in the end, they let him go. But shortly thereafter he quit his teaching job.
This took place in 1941 and was a precursor to the continued American obsession with communism into the 1950s, under Senator Joe McCarthy.
Indeed, that episode had an impact on Abel and Anne too. In 1953 Julius and Ethel Rosenberg were convicted of giving information about nuclear science to the Soviet Union, and they were the first married couple to be executed in the electric chair. They left two sons, Michael (age 10) and Robert (age 6). Apparently, immediate family members were reticent to get involved with the boys, possibly afraid of being accused of sympathizing with communism.
Enter Abel and Anne. Without a moment’s hesitation they stepped in, taking and raising the boys. As Michael and Robert Meeropol they eventually went on to become college professors – and naturally were active in social issues. Anne died in 1973. Abel died in 1986 in a Jewish nursing home in Massachusetts, after a slow decline into dementia. Long before that, Billie Holiday died in 1959, ravaged by the drug addition that took her life at forty-four years of age.
See why I called this a multi-layered Jewish story that’s worth telling?
To hear Billie Holiday singing “Strange Fruit” click here: Strange Fruit
