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‘Where do I stand?’ Queer Modern Orthodox teens navigate a changing world
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
(JTA) — Until recently, Jacob Feldon considered Yeshiva University a serious candidate for his college education. As a senior at a Utah high school who has embraced Modern Orthodoxy and harbors dreams of potentially becoming a rabbi, he said he was drawn to “the idea of going to school in an observant community where I can study Torah and Talmud with some of the smartest people doing such a thing today.”
But Feldon is also bisexual and serves as a Jewish youth ambassador for Beloved Arise, a national interfaith support organization for queer youth. So Feldon took notice when Yeshiva University declined to officially recognize a Pride Alliance group on campus, and then pressed its case to the U.S. Supreme Court when mandated to do so.
“As a queer man I can’t see going into that environment right now with everything happening,” Feldon told the Jewish Telegraphic Agency. “I’m getting a pretty clear message that I won’t be welcomed, authentically welcome.”
Feldon is not the only high school student who identifies as Modern Orthodox to have complicated feelings about Yeshiva University at the moment. As the main Modern Orthodox university, the school blends secular and religious instruction and values. Its attempt to navigate a balance between being welcoming and inclusive and fighting for the right to control LGBTQ students’ official expression on campus has made national headlines — and caused some Modern Orthodox teens to question whether they would feel comfortable attending.
For LGBTQ teens, the lawsuit and other controversies around gender and sexuality in Modern Orthodoxy have created “a little hopelessness,” said Rachael Fried, executive director of the support nonprofit Jewish Queer Youth.
Fried described the mindset of Modern Orthodox LGBTQ adolescents as, “I’m trying to live an Orthodox life. I’m trying to build my future as a queer Orthodox person, and this is what the main, flagship institution of Modern Orthodoxy thinks about me. Then where is my future and what’s the hope for me and what are my dreams?”
For queer teens, the Y.U. saga is just one high-profile touchpoint in an ongoing grappling with their place within Modern Orthodoxy. Modern Orthodox communities range widely in many ways depending on their history, geography and leadership, meaning that some queer Orthodox teens say they have found acceptance and support while others say they’ve had more challenging experiences.
Rachael Fried is the executive director of the support nonprofit Jewish Queer Youth. (Courtesy JQY)
Often teens say they experience both. Like many of the queer teens interviewed for this article, Rivka Schafer and their parents first thought it best to keep their queer identity private due to the repercussions they feared with being LGBTQ in a Modern Orthodox community. When they did come out in middle school, Schafer said they received mixed reactions in their Jewish day school.
“The kids had a lot of stigma and the administration did too, but they tried to be really accepting and really supportive which was also really, really beautiful,” Schafer told JTA.
“Currently I identify as Modern Orthodox because Judaism is a really important part of my identity and I find Judaism to be really meaningful to me,” said Schafer, who is nonbinary, from their home in Teaneck, New Jersey. “So although I struggled a lot with the acceptance in the Jewish community, and stigma within the Orthodox community, I really ultimately believe it is and should be a strong part of who I am.”
But while Schafer has remained committed to their religious identity, Fried, of Jewish Queer Youth, said the Pride Alliance lawsuit and other LGBTQ-related controversies sometimes “pushes people away from Orthodoxy in a really unfortunate way.”
This is what happened to Mattie Schaffer. “I would describe it as [having] a religious identity crisis,” said Schaffer, a student at Lev Miriam Learning Studio in Passaic, New Jersey who uses he/they pronouns and identifies as queer. Schaffer, 16, said their neighborhood is a more right-wing Modern Orthodox community, colloquially called yeshivish, though his family is not.
“A part of all the alienation and isolation comes from a feeling of not having a place anywhere,” Schaffer said. “And as much as you try to conform, there just isn’t really a place for you to fit unless you want to be sticking out or be bending yourself in half.”
Modern Orthodox queer teens’ feeling “of not having a place” can be quite literal, particularly for those teens that are non-binary or transgender, said Schafer, the teen from Teaneck.
Schafer finds their nonbinary identity sometimes at odds with even the most basic rules of the Hebrew language, which assigns a gender to nearly all words, and of their synagogue. “Where do I stand? On the mechitza?” they asked, referring to the divider separating men and women in Orthodox synagogues.
The question of LGBTQ individuals in gender-separated prayer spaces recently reared up at Y.U., when one of its leading rabbis decreed that a transgender woman could not pray in either the women’s or men’s section of her university-affiliated synagogue.
But while recent months have been abundant in controversy, the last decade has shown tremendous progress for LGBTQ Modern Orthodox teens, according to multiple people in and around the community.
Rabbi Steve Greenberg, who was ordained by Yeshiva University before coming out as gay in 1999, heads the Orthodox queer advocacy group Eshel. His organization surveyed approximately 240 Orthodox synagogues and rabbis and found that 74% of interviewees were “high welcoming,” meaning that “inclusion is explicit, principled and broadly acknowledged” and queer families’ life cycle events other than marriage are celebrated. Another 22% offered “moderate welcome,” while 4% were “low welcoming/inattentive.”
Nadiv Schorer, right, married Ariel Meiri in 2020 with Orthodox rabbi Avram Mlotek officiating. (David Perlman Photography)
Approximately 10 rabbis said they were willing to perform same-sex marriages, according to Eshel’s research.
“They do their best to make it possible for LGBTQ folks to belong to Orthodox environments,” said Greenberg. “And it’s grown.”
The head of school at North Shore Hebrew Academy on Long Island, Rabbi Jeffery Kobrin, said he believed that growing conversations about LGBTQ issues in Orthodox communities has had benefits.
“I think it’s easier to be a queer teen now than it was in 2012, just because it’s more out there,” Kobrin said. “People talk about it more, people try to be more accepting of it, and people, community-wise, seem to less feel this contradiction between Orthodoxy and alternative lifestyles.”
Some teens say they have witnessed change in just the last couple of years. Benjamin Small, a gay teen who graduated from SAR High School last year and now attends Yeshivat Ma’ale Gilboa in Israel, said his rabbi, Chaim Poupko, of Congregation Avahath Torah in Englewood, New Jersey, has advocated for queer members of the Orthodox community in his synagogue.
“That would be unheard of two or three years ago,” Small said.
Few Modern Orthodox schools in the New York area have an LGBTQ support club. But Fried, JQY’s executive director, said students are learning how to organize and build community independently, in the absence of recognition from their schools and synagogues.
“That comes with people choosing themselves, feeling empowered to build their own communities and to step-up and create the groups that others are not creating for them,” she said.
Before the Y.U. court case, “the messaging that I heard from the Modern Orthodox community was ‘your identity is not wrong, and we want to support our queer members of the community,’” said Fried, whose organization gave grants to student groups affected by the Y.U. case.
But now, she said, the message that queer Modern Orthodox teens are hearing has shifted.
“Actually, your queer identity is what is problematic. It’s not just the sentence in the Torah that is about behavior, but actually your identity,” she characterized Modern Orthodox institutions as saying. “You want to gather and build community that is based around identity and that, in and of itself, is problematic, and it’s inherently a threat.”
For its part, Yeshiva University has tried to thread a narrow needle.
A person walks by the Wilf Campus of Yeshiva University in New York City, Aug. 30, 2022. (Spencer Platt/Getty Images)
“We love all of our students including those who identify as LGBTQ,” Y.U. said in a FAQ after it launched a school-sanctioned LGBTQ club. “Through our deep personal relationships and conversations with them, we have felt their struggles to fit into an orthodox world that could appear to them as not having a place for them.” (The YU Pride Alliance called the new club “a feeble attempt” at compromise and said they were not involved in its formation.)
There was no consensus among teens who spoke to JTA about how much the Y.U. saga would affect inclusion in other spaces. It’s also unclear the degree to which queer Modern Orthodox teens and their allies are incorporating the situation in their decision-making about college.
Y.U. declined to share student enrollment and admissions data, saying that the university does not generally release that information. But according to a recent Y.U. advertisement, last fall the school had “the largest incoming undergraduate class in over 20 years.”
Still, the school’s lawsuit and rhetoric has been a turnoff for 19-year-old Penny Laser, a queer student at a secular college who had envisioned possibly pursuing graduate studies in Talmud at Y.U. and grew up in a non-Orthodox household. (Laser asked to be identified using a pseudonym because she is seeking a giyur lechumra, a conversion for Jewish individuals to remove any doubt of their Orthodox Jewish legal status, and feared the Rabbinical Council of America would not grant her one if she was quoted in this article.)
“I’m not sure how I can trust or engage with Y.U. in the future,” said Laser. “A. I don’t know if it’s going to be a safe place for me, and B. I don’t want to align myself with an institution that has values like this.”
Schafer, from Teaneck, and Schaffer, from Passaic, are both not considering Y.U.
And the consequences of the Y.U. litigation goes beyond influencing the decisions of individual students, according to Fried.
“What the Y.U. situation is doing right now is forcing this conversation into the spotlight,” she said. “So different institutions and leaders are forced into having this conversation, or even thinking about where they stand. People are asking them to communicate where they stand.”
Feldon, from Utah, has hope. He thinks that the Modern Orthodox world needs queer rabbis to lead the conversation on inclusion from a halachic perspective — and he thinks that can still happen, despite the push by Modern Orthodoxy’s flagship university to block the Pride Alliance.
“I choose to believe,” said Feldon, “that we’ll get there. My dream life is where I can bring my boyfriend to minyan [prayer services] three times a day. And I choose to believe that we are on that path.”
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The post ‘Where do I stand?’ Queer Modern Orthodox teens navigate a changing world appeared first on Jewish Telegraphic Agency.
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A lost film by Israeli B-movie director Sam Firstenberg gets a new life
(JTA) — Sam Firstenberg, the Israeli-raised director behind cult B-movie staples like “American Ninja” and “Breakin’ 2: Electric Boogaloo,” is getting an unexpected career revival — thanks to one of his most overlooked films.
“Riverbend,” his little-seen 1989 action drama, will screen for one night at Alama Drafthouse theaters in five cities on April 29, offering a fresh look at a film about a group of Black Vietnam veterans who arrive in a Southern town and liberate it from a racist sheriff.
It could also revive interest in the 25 or so films Firstenberg directed between 1981 and 2002, which fans celebrate for their unironic commitment to over-the-top action, niche cultures, and pure entertainment value. In films such as “American Samurai,” “Cyborg Cop,” “Delta Force 3: The Killing Game,” and “Breakin’ 2: Electric Boogaloo,” Firstenberg has been a prolific purveyor of what some critics praise as “earnest shlock.”
It’s a career rooted in the long afternoons a young Firstenberg spent at Smadar, the movie theater in Jerusalem’s German Colony neighborhood. Firstenberg watched the best that midcentury Hollywood had to offer.
Firstenberg, whose given first name was Shmulik, was born to a Jewish family in March of 1950, in Wałbrzych, Poland. His parents had returned to Poland after fleeing east to the Soviet Union during the Nazi invasion.
The family arrived in Jerusalem when Firstenberg was 6 months old. Once in Israel, Firstenberg became immersed in cultures other than his own, which, he says, was key to his versatility behind the camera.
“I grew up in a neighborhood that consists of a lot of immigrants from all over the world,” Firstenberg said in an interview. “So, you know, we came from Poland with a Polish background, but around us, there were Hungarian Jews, Romanian Jews, Jews from Morocco, Jews from Tunisia, from Iraq, from Yemen, from all over the world, Indian Jews.
“So my neighborhood was a melting pot of all kinds of cultures from all over the world. I didn’t understand it. I’m telling you all of this [retrospectively], but I grew up in this, all kinds of different food and cooking and languages, and everybody was talking different languages,” he said. “We grew up in a kind of chaos of listening to 30, 40 different languages and cultures.”
Eventually, this led the future filmmaker to the movies. Smadar, now known as Lev Smadar, began screening films for the public in 1950. Firstenberg would spend afternoons watching double features.
“That’s where we were exposed to cinema. So from a very early age, maybe 7 or 6 years old, I would go, and every week he would change the two movies,” he said.
It was a crash course in genres.
“Those movies were mainly Hollywood movies, mainly Westerns, adventure movies, World War II movies, organized crime, gangster movies. Here and there are some musicals,” he said. The showings ranged from classics like “High Noon” and “Bridge on the River Kwai” to escapist movies like “The 7th Voyage of Sinbad.”
“This was the diet of movies that I grew up. And that’s how I was exposed,” he said, adding that Israel didn’t yet have much of a domestic film industry.
By the time he was 18 or 19, Firstenberg realized that he was interested in pursuing a career in cinema.
After finishing his Army service in Israel at age 21 — which included a stint as a projectionist when movies were shown to soldiers — Firstenberg decided to go to Hollywood.
“When I finished the military service, I decided, OK, I want to go and study how to make movies. How do you make cinema?” he said. “Now, I’m not fascinated by European movie-making. I’m not crazy about any of that French, Italian, I don’t know, Swedish movie-making. I like Hollywood. I always liked Hollywood movies. I like bullets. I like James Bond.”
In 1972, he enrolled in film school at the L.A. campus of Columbia College. He still lives in Los Angeles, although he continues to speak with a distinctly Israeli accent. He and his wife both have family back in Israel, and they try to visit annually.
While his connection to Israel remains strong, he also regards the film industry as his people.
“I immediately kind of had this feeling that I arrived at home. I was surrounded by people who all had the same language, we all wanted the same thing: ‘Let’s put a story on the screen,’” he said. He relished getting to know people from all walks of life, from Vietnam veterans to students from Japan to aspiring Black filmmakers from the South.
Eventually, his Israeli connection helped him when he met Menahem Golan, the flamboyant Israeli-born producer who helped pioneer Israel’s film industry in the 1960s and set out to conquer Hollywood in the ’70s. Golan later took over Cannon Films and produced several of Firstenberg’s films, along with Golan’s cousin Yoram Globus.
Golan invited Firstenberg to work on “Lepke,” Cannon’s 1975 film starring Tony Curtis as a Jewish gangster in New York. Firstenberg described his job on the film as a “really nothing, very low job, like bringing and taking and schlepping and nothing serious, whatever, you know, drive the car here, drive the car back.”
He ended up taking the advice of the film’s cinematographer, Andrew Davis — who went on to direct “The Fugitive” in the 1990s — to “get next to the director,” to learn how movie sets really work. So he stayed close to Golan, and “forged a connection” with Golan’s Ameri-Euro Pictures, which specialized in low-budget films. Firstenberg spent five years as assistant director on various films, both in the United States and in Israel.
Quentin Tarantino, at the Jerusalem Film Festival in 2021, described Firstenberg as “my favorite” of Cannon Films’ in-house directors, and listed Firstenberg’s “Ninja 3: The Domination” as one of his favorite Cannon pictures.
In 1979, Firstenberg went back to school to earn a graduate degree at Loyola Marymount. While there, taking advantage of his access to equipment, he set to work on his first feature, the 1981 drama “One More Chance,” which also marked the film debut of actress Kirstie Alley.
Firstenberg soon became a prolific director, churning out “Revenge of the Ninja” in 1983 — which got major distribution and was successful — and “Ninja III: The Domination” in 1984, both for Cannon Films.
In late 1984, Firstenberg directed “Breakin’ 2: Electric Boogaloo,” a sequel to the successful break-dancing movie “Breakin.’” The sequel — or its title, anyway — has earned a sort of immortality as a joking reference, in shows like “Family Guy” and “It’s Always Sunny in Philadelphia,” to any unnecessary or ridiculously named sequel. The film was released just seven months after the arrival of the first “Breakin,’” a film with which Firstenberg had no involvement.
“I had nothing to do with the title of the movie,” Firstenberg said. “It became a big deal through the years.”
Firstenberg kept up a breakneck pace in the 1980s and ‘90s, sometimes completing two or three movies in one calendar year. In 1985, he directed “American Ninja,” which he calls his most popular movie, and its sequel two years later. He continued directing movies until after the turn of the millennium.
“I was busy with other movies. I was still directing. I was getting directorial jobs,” he said. “And then at some point I stopped directing, and I started to look into the movies that I have done, what happened to them.”
Some of them are easy to find. Much of the director’s work, including “Breakin’ 2: Electric Boogaloo,” is available on the free streaming service Tubi. But other movies have proven harder to track down.
“Out of 25 movies that I directed, some of them became very famous,” he added. “But some other movies … stuff happened.”
Firstenberg came to direct “Riverbend” after he was approached by a group of private investors from Texas — a pair of married couples, one white and one Black — who weren’t experienced in the movie business. But they were familiar with his previous work, and were hoping to lure actor Steve James, who had starred in Firstenberg’s “American Ninja,” and ended up starring in “Riverbend.”
“Riverbend,” which had a minor theatrical release in 1989 and was later relegated to VHS, has been restored thanks to the efforts of Philadelphia-based archivist Michael J. Dennis. Dennis, who hosts a YouTube channel and film screenings focused on African-American-oriented film, had discovered the film in his days as a video store clerk in the early 1990s, only to find it had almost completely dropped out of sight.
“Riverbend” is “the best movie you’ll see that you never heard of,” Dennis told cinéSPEAK Journal. “One of the things we talk about on my channel is self-reliance and empowerment, and ‘Riverbend’ is a rare film in that it shows Black people standing up for one another. It shows Black people teaching and training one another to fight for their rights.”
Dennis got in touch with Firstenberg and, during the pandemic, tracked down a 35-millimeter copy of the film in South Africa. He eventually obtained the original negative, which led to a crowdfunding campaign and, ultimately, the film’s full restoration. This has led to a series of one-off screenings around the country, hosted by Firstenberg, Dennis, and actors from the film. A Blu-ray release is also planned.
“I feel very comfortable with different cultures,” Firstenberg said. “This is exactly the way I grew up when I was a kid. I grew up with many, many people. So, for me to understand, I believe so: understanding a different culture is easy. It’s no problem for me.”
This article originally appeared on JTA.org.
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Looming large over Israel’s 78th Independence Day celebrations: Argentina’s Javier Milei
(JTA) — During his three days in Israel this week, Argentinian President Javier Milei made a strong impression.
There he was, weeping again at the Western Wall. There he was, receiving the Presidential Medal of Honor for his leadership and support for Israel. And there he was, lighting a torch for the Independence Day festivities as the first foreign leader ever to do so.
There Milei was, grabbing a microphone and dancing raucously on stage to the Spanish-language song “Libre” at both the rehearsal for the national ceremony and the live event on Tuesday.
And there he was, ostensibly the reason that the far-right Israeli minister Itamar Ben-Gvir left the ceremony before it began. Ben-Gvir left after being asked to vacate his seat to make way for Milei, in an arrangement that some speculated was meant to prevent Ben-Gvir from being photographed in the same frame as Prime Minister Benjamin Netanyahu.
Milei’s presence in Israel Sunday through Tuesday offering a powerful symbol of his continued support for Israel even as so many other world leaders have distanced themselves. Milei is a longtime philosemite who has said he aims one day to convert to Judaism.
“In life there are partners and there are friends,” Milei said in Spanish during the Independence Day ceremony. “Partners come together for a moment of shared interest. Friends forge unbreakable bonds for life. I am pleased to say that Argentina and Israel are not merely partners, but friendly nations.”
The Independence Day ceremonies projected an image of resilience at a challenging time for Israel, where wars on two fronts are currently in ceasefires announced by U.S. President Donald Trump. Among the others chosen as torch-lighters, seen as one of Israel’s most significant honors, were soldiers who have participated in the years of war that followed Hamas’ Oct. 7, 2023, attack on Israel.
Two of the chosen torch-lighters drew sharp criticism. One was Rabbi Avraham Zarbiv, a rabbinical judge who has drawn scrutiny for publicly praising demolition operations in Gaza. In February, the Ombudsman of the Israeli Judiciary ruled that Zarbiv had violated a code of ethics by expressing his views on controversial issues.
“I light this torch in honor of the bulldozer and excavator operators, the trailblazers, destroyers of the enemy and the dismantlers of terrorist infrastructure who protect the lives of our soldiers,” he said at the ceremony.
A cousin of a woman killed in captivity also also denounced the selection of Gal Hirsch, Israel’s coordinator for hostages and missing persons, who faced calls for his resignation in February after telling Haaretz that demonstrations demanding the release of hostages were aiding Hamas. Gil Dickmann, a cousin of Carmel Gat, wrote in a post on Instagram that his selection was “spitting in the faces of families” of the hostages.
Last year, torchlighters for the ceremony included former Israeli hostage Emily Damari, NBA player Deni Avdija and the American Jewish conservative pundit Ben Shapiro, whose appointment was criticized by some Israeli leaders as inappropriately political.
The day’s official programming will end with a ceremony awarding the Israel Prize, the nation’s top civilian honor. Among those receiving the prize this year are the artist Yaacov Agam and Chantal Belzberg, the CEO of a nonprofit that aids the families of fallen soldiers.
Trump was also invited to receive the prize, getting a public invitation in February following an earlier announcement by Netanyahu. He will not be present.
This article originally appeared on JTA.org.
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Marx Brothers fans rejoice: There’s a recording of Harpo speaking
Harpo Marx’s wife, Susan Fleming, once remarked that, when you got him talking, you couldn’t shut him up.
The proof was there for those who chanced to see him in the 1930s and ‘40s, screening clips of the films he made with his brothers. If a crowd was good, he’d deliver what was known as “Red’s Speech,” a reference to the red wig he wore on stage.
The speech grew more verbose with each recitation, with input by Harpo’s friend, the critic Alexander Woollcott, a fount of $5 dollar words. It got so long, in fact, that Harpo would take it out in the form of a long script that spilled off the stage down the aisle.
“There’s always been this fallacy that Harpo never spoke on stage,” said Marx historian Robert S. Bader, author of Four of the Three Musketeers: The Marx Brothers on Stage and Zeppo: The Reluctant Marx Brother. When he did, he would often make a joke about the mute persona he adopted in 1914, opening his remarks with “as I was about to say in 1915.”
In 1964, Harpo was hitting the speaking circuit. He spoke at events for the United Jewish Appeal, having grown more connected to his Jewishness after a 1963 trip to Israel. On these occasions, Bader said, Harpo “might have looked like a local councilman, just wearing a business suit,” and would sneak in a line from his bar mitzvah speech: “For 13 long years, I have toiled and labored for your happiness.”
Advised to retire from performing after a number of heart attacks, Harpo reasoned that, so long as it was for charity and he didn’t get paid, it couldn’t count as work.
That rationale led to Harpo’s appearance at benefits for a number of symphony orchestras. On March 20, 1964, he gave his final performance at a concert for the Riverside Symphony Orchestra in California, playing a suite of songs about the moon, an original composition and conducting a particularly manic take on Haydn’s “Toy Symphony.”
This time, Harpo not only spoke, giving a lively recitation of Prokofiev’s Peter and the Wolf, he did something unprecedented by allowing himself to be recorded with the understanding the public might someday hear it.
On June 5, 2026 a record of the evening will be released as Harpo Speaks! The Riverside Symphony Concert. It was announced on April 1, but it was no April Fools joke. It’s an outstanding artifact, and it was discovered quite by accident.
John Tefteller, the foremost collector of rare, Marx-related records, was looking for a copy of a 1963 concert with Harpo and comedian-musician Allan Sherman, recorded by Sherman’s son Robert. Looking in the tape box for Pasadena, Sherman instead found the Riverside tape. Oddly enough, Robert Sherman had no memory of recording — or even attending — the Riverside concert.
Bill Marx, Harpo’s son and the arranger of much of his music, says the man on the recording, telling the tale of “Peeduh,” the “boid” and the “huntahs,” is the one he grew up with.
“It was very, very low key,” said Bill Marx, now a celebrated pianist and Juilliard-trained composer, recalling his father’s voice. “I think I would have to say that he was about five or six notes lower than Groucho’s. It was easy to hear him speak. I suppose you could call him soft-spoken. He rarely if ever raised his voice in our house with my two brothers and sisters.”
Instead, he would do something like wake his daughter in the middle of the night to play jacks.
Peter and the Wolf, written for young audiences, was a natural fit for Harpo, and it was his idea to do it. The version of the libretto, co-written by Harpo and Groucho, also features a topical joke for that election year of 1964: “Imagine the triumphant procession. Peeduh at the head, after him the huntahs leading the wolf, then Goldwatuh, Rockefelluh and Nixon.”
That Harpo was a patron of the symphony is no great surprise. He practiced the harp three hours a day and Bill Marx remembers his father’s love of French impressionist composers like Debussy and Ravel and Fauré. When Bill played records in his bedroom, without fail his father would knock on the door, ask what he was listening to, and commit to learning it — which he did.
“He just had a great learning thirst, and I had the privilege of watching this man appear in everybody’s life by doing things that he was compelled to do,” Bill Marx said.
As the narrator of Peter and the Wolf, Harpo is wonderfully expressive, evoking the storytelling of an old-time New York-born Zayde (dressed in his traditional costume at the concert, he donned a new accessory: reading glasses). He sounds quite a lot like Chico, his closest brother in age.
Restoring the tape took major work from audio restorer Joel Tefteller (John’s son) and audio engineer Nick Bergh. At one point, in his closing speech, Harpo walked away from the mic, making the original tape almost inaudible.
“He wasn’t used to looking for a microphone,” said Bader. “He didn’t have a lot of time in front of microphones. I don’t think anybody ever had to say ‘Harpo get closer to the microphone’ ever.”
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