tag:www.michaelsteinmusic.com,2005:/blogs/latest-newsLatest News2021-10-29T00:34:48-07:00Mike Steinfalsetag:www.michaelsteinmusic.com,2005:Post/67901782021-10-29T00:34:48-07:002024-02-05T00:32:55-08:00Day 3<p>Okay, there were six Hassidim that were on the plane. I loved seeing them in their tallaisim and tefillin as we reached the time for Shema. It was a shock to the passengers, but I think that they were counting on it. I am not sure what was going on because they would not speak to me when I met them at baggage claim. Their silence evoked several questions in my head: "were they on a covert mission (not dressed as they were!); was their silence a tool of piety?; or were they simply scared to reveal their purpose?" Who knows, but it was good to see Yidn heading to Poland. </p>
<p>I slept well last night and seemed to be on Poland time, and the breakfast was terrific. I went to the mall to find a thumb drive—it is amazing after all of the planning that I still forgot some major stuff. At least here, I can generally get what I need as opposed to Africa. </p>
<p>I had a great meeting with Joe Smoczynski, the spiritual leader of Masorti Ki Tov Centrum synagogue in Warsaw. We talked about many things, including the future of Masorti Judaism in Poland, conversion, and education. It was enlightening to say the least. After that, he brought me to the synagogue which I had been to before. But now, it has a permanent ark with three sifrei Torah, and some beautiful artwork displayed. <br>We then walked to the Nozyk Synagogue, the home of Orthodoxy in Poland, and met with Rabbi Shudrich, the Chief Rabbi of Poland. Our conversation was extraordinary--we shared familiar stories of our youth in NY, shared some Torah, and talked about the state of Jewry and the immigration situation in Poland. Rabbi Shudricha went to JTS in New York and then several years later went to Yeshiva University. I talked about my wonderful teacher, Hazzan Abe Golinkin whose brother, David Golinkin, was Rabbi Shudrich's roommate at JTS! <br>Rabbi Shudrich's concern for the immigration problems at the border of Poland was commendable, and we talked about the possibility of doing a fundraising concert to support the situation while I am in Poland. <br>All in all, a fabulous day which could not have been better! I walked many miles today, and I did okay with the help of a patch on my back. I hope to get stronger and stronger as I do more walking during my stay. <br>Tomorrow Shabbes at the Masorti Synagogue and Havdallah and Malavei Malka at the Reform Synagogue, Eitz Chayim. What a beautiful way to spend the Sabbath! Shabbat Shalom to Kelley and all of my incredible family, and many many blessings to everyone.<img src="//d10j3mvrs1suex.cloudfront.net/u/148164/13cca683103c0c2f5de74ee239f85ce5f60c9b58/original/img-0844.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/67901772021-10-29T00:33:02-07:002024-02-05T00:30:01-08:00On my way to Poland<p>I am sitting in the air terminal waiting to go to Poland about LOT Airlines. I am looking around and seeing many Hassidic Jews and wondering why they are going to Poland—perhaps on a mission? I look closely at some of them, and I see the Hassidish profile—the beard, the payis, the look of intention. I go immediately in my mind to the beautiful culture that cut down in its prime. I see these religious Jews going to Poland to support perhaps their brothers and sisters or possibly teaching at the few synagogues that remain. And then I hear the Israeli accent over the loudspeaker--"flight so and so to Tel Aviv is available for boarding." I wake up from my stupor to realize that the Hassidism I thought was returning to the birthplace of their movement was flying to the land of hope and life. </p><p>What was I doing sitting in the lounge, preparing to board the plane to Poland? A place where Yiddish phrases hung in the air like the alluring smell of honeysuckle--but not today. Where Jews walked to shul and Shabbes was strictly upheld--but not today. Where men in their Shabbes best sung Ashes Chayil to their brides. But today, Jews still live in Poland. They are not living in the past. They are not living in the shadows of what was, but in the spotlight of what could be. That's what I am doing here in the Polish Airlines lounge. I LOVE Israel--but I have also come to work in the land where my dad was born, where generations of my family lived their lives. I want to give Jews the opportunity to enjoy and love our tradition as much as I do. After the terror, after communism, Jews realize their Jewish Heritage tours and festivals are not about "those people," but about them. They need our help. We help communities all over the world to make Judaism a way of life. What happened to the source? The very place that gave birth to the most outstanding scholars, rabbis, artists, writers in Jewish history, why aren't we there to light a fire. Create a spark. Why? <br>I board in a little over an hour. I am already tired--my canceled flight this morning, forcing me to take non-direct flights that were consistently late. But I did get to see my son Jacob, and it was a great machaya!!<img src="//d10j3mvrs1suex.cloudfront.net/u/148164/e0945d93f1e802db19f0f5ad67ccffddc7fb22c2/original/tempimage8jgok3.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_" alt="" /></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65895442021-03-30T17:44:23-07:002024-02-05T00:30:55-08:00Blog #12: NYC in the late 60’s<p> </p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/37bd4516f0e1767edb2eb21b8513e3c84f6defd3/original/jason-photo.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/a12bb54481ee817802e2e42fe05641eb56928267/original/resume.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/86becd64a89c13c2b599ef1f50236429dbb9b81e/original/screen-shot-2021-03-22-at-6-49-42-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p><p> </p><p>I found myself looking back with great affection to the time that the acting bug first hit. In 1966-67, a program called "The Workshop" that the NYC Department of Parks offered. Thousands of youth auditioned, and I was one of 25 that were accepted. Attached is an article and below an excerpt from the NYC archives: </p><p><i>"The Workshop, under the direction of Gordon Duffey of the Parks Department will present two full length plays this season. The plays produced will be one musical play and two short operas for children. One play is an original musical Asterisk on the Moon! (book and lyrics by Gordon Duffey, music by Edward Mannato). This play will be for younger children. There will also be performances of two short operas for older children,. "He Who Says Yes" and "He Who Says No" (librettos by Bertholt Brecht, music by Kurt Weill). In addition, weekly sessions in creative drama, jazz forms and movement, singing and acrobatics for the stage will be held for all children who register for the Workshop. Registration for participation in the Gimbels-Parks Department Theater Workshop will take place in Gimbels 6th Floor Any school child in New York (from grades 1 through 12) may register for the Workshop and audition for one of the two productions." </i></p><p>Yes, rehearsal was on the 6th floor of the Gimbels Department store. My parents did not want me to go, but I made it work--I had to pay for the subway and bus fare. I want to think that their resistance was because rehearsals were on Shabbes, but I am confident that their wish for me to be a doctor was more substantial than their desire to make me Shabbat observant. In 1966 I was 15 and in my last year of high school. Most students would have been 17 or 18, so perhaps that was also part of the equation. Anyway, that is why I support every artistic endeavor that my three sons pursue. Even when I was on Broadway, to my parents, I was a failure. It's taken years to wipe that from my memory or at least to deal with it positively. </p><p><br>Anyway, getting into the NYC Theater Workshop was a fantastic achievement that filled me with pride. We did Bertholt Brecht's "He Who Says Yes" in the style of Japanese Noh Theater. I will never forget how we centered our bodies, crouched almost in a sitting position, and moved our legs in a stylized way. I had played Petruchio in Kiss Me Kate in high school, but this was in walking distance with Broadway, just about 20 blocks away--in the big city! </p><p><br>I started Queens College in 1968 and was hugely disappointed that I was not allowed to even apply for anywhere else (where I could get away from the rents). Tuition was free, and I lived at home and majored in drama. I got to work with Stacy Keach (who was with La Mama at that time) and director Gene Frankel (director Tony award-winning "Indians"). When I got a part in an off-broadway show, forced to decide-- school or working actor, I left school. The show was called "Heat" and workshopped at the Public Playhouse where "Hair" originated. I got my first review in a show called "Contributions," where the reviewer panned the show but loved the actor who moved the scenery with flair (me). <br>In 1969 I was accepted to the Lake Placid Playhouse Summerstock company, where I played in many shows, including a "Funny Thing Happened on My Way to the Forum" and "Showboat." The most impressive memory of that summer was watching the moon landing. What a huge step for humankind! Mind-blowing to a kid who watched a NASA representative tell us all about the project at a school assembly in 1964!</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65820572021-03-22T22:16:11-07:002024-02-05T00:32:55-08:00Blog #11: A True Feast of Freedom!!<p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/9547620da0482f49d7f06589d3781788885b4f65/original/mike-hadassah-good.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/68b58e0a7482578929ed56a00621be2c1de93d02/original/6.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/843c737836bfeacf2810739803580279796ee683/original/4.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/d63f5d2a92b66e6ec1c95211116460d61fd21fd6/original/3.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p><p>For me this year, preparing for Pesach, Passover, is not only about cleaning. It’s also about putting together the finishing touches for the Cantors Assembly "A True Feast of Freedom" Haggadah. Based on the experiences of a Cantors Assembly trip to Uganda to support the Abayudaya and celebrate the community’s 100 years of existence, it tells the story of Idi Amin's overthrow on the 14th of Nisan, the very day that Pesach begins. After eight years of terror and living underground as Jews, the Pesach of 1979 was spent in the open, a true celebration of freedom from the despotic Pharoah, Idi Amin. </p><p>Our trip was in 2019, and it has been a two-year journey to finishing this project, including spoken word and music. Every time I edit the piece, I think of something I might have left out or could improve. Sometimes you just have to let it go! (Now I hear my beautiful grandchildren singing in my head! Thank you, “Frozen.”) </p><p>Still, I worry there will not be matzah or wine at the seder table of the Abayudaya this year. Usually, they are provided by travelers who visit the area, but that is not the case in this pandemic. Flash—just got a message from Gershom that they procured what they need! I also recently heard from one of the Abayudaya’s Stern Synagogue prayer leaders, whom I teach, that he is ill and cannot get the medical care he needs. A COVID test costs 250,000 UGX, which is about $70 USD. The average salary of a Ugandan worker is $17,000 a year, which prices the COVID test at a little over 20 percent of a weekly salary! </p><p>(I keep thinking—what if they had a manufacturing business that made a finished product that could be sold to the world market? It’s done with great success in other developing countries.) </p><p>This Pesach, let us be grateful for the things we have. There is a quote from the Abayudaya’s Rabbi Gershom in our Haggadah that “food is not obvious even on this holiday.” He suggests we put aside food, give to pantries, and understand the process of farm to table. We are encouraged to plant bitter herbs for next year's seder to catch a small glimpse of what it takes to live in an agricultural society. And can you pass a 40-pound jug of water around the table? Imagine what young children and their mothers are asked to carry every day from the borehole well to the table. </p><p>This year, think of what you can give. Not just money (although that’s always helpful), but more importantly, time—the time to take action that will help bring future success to this spiritually thriving but financially struggling Jewish community and others like it that, despite their living circumstances, continue to live Jewish lives. I can't wait for you to hear the music and read our Ugandan brothers and sisters' words.</p>3:51Mike Steintag:www.michaelsteinmusic.com,2005:Post/65747752021-03-15T16:48:37-07:002023-12-30T11:21:20-08:00Blog #10: The Muse <p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/267e45e932b730dfd5429c752a189be0913f7e83/original/birds-1.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/1c7289d10c65f14d31d8621816ab663fa36aa30f/original/birds-2.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Betzalel was the artist endowed with Ruach Elohim, the spirit of God, who was tasked with using his talent to build the tabernacle in the desert. I have always understood the concept of a holy spirit, but not until now have I really looked at the name Betzalel and broken it down. </p>
<p>B'tzel, (in the shadow of) El (God). “In the shadow of God." </p>
<p>If there is one belief that I can truly grasp about the Holy One's existence, it is the universe's fluid harmony. Every minute of every day, I feel connected to this wavelength of creation that’s present in everything: the sounds of all that surround me, sometimes even images that create a vibration of being. According to Hassidism, there is life in everything, and this life creates a pulse. When I hook into this pulse -- singing, playing an instrument, even hearing the subtle hum of a fan -- I am in awe. </p>
<p>This Heschel-ian radical amazement is my channel to reaching spiritual heights. It is, for me, ruach Elohim. It happens when I close my eyes to play as my fingers find that spot on the fingerboard. It happens when I sing on behalf of the congregation to the living God. It happens when I walk outside and hear a bird sing or even the rhythm of a jackhammer. </p>
<p>When we first moved to California, my younger sons would throw jam sessions at our house that started late (and LOUD) at night. Eventually, I had to get to sleep. I would get in bed, close my eyes, and if the drummer was not playing in time, it would keep me awake -- not the loud banging but the varying interpretation of time. However, if an even louder drummer (how could that possibly be?) would play in time, I slept like a baby! </p>
<p>I remember when I realized that the music was in me. In third grade at PS 133 in Queens, I was given the choice either to take an arts and crafts class in model making or to play the violin in the orchestra. I chose the model-making class. About a month later, I came home crying because I was so bored. My parents got me into the orchestra, and my love affair with music began. </p>
<p>Attached to this blog is a picture I drew in kindergarten that my parents kept for years. Clearly, the muses had already conscripted me. </p>
<p>So it is in the shadow of God, in that ever-present pulse, that my creativity resides. It may not be God -- who really knows? -- but I do know it is a unifying force that transcends all.</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65715692021-03-11T22:38:29-08:002023-12-10T09:04:15-08:00Blog #9: Soon too Soon <p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/f4f4f5b304487e0cfb0fe96d923c6d27c90c718a/original/soon-2.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/75fc3d4e9c0f83a5e917295a2486941aa00a2966/original/soon-playbill-1.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>SOON TOO SOON </p>
<p>"Soon" is the first Broadway musical I ever appeared in. And it opened and closed soon – too soon: after three days. I had worked for the director in a theater company on East 4th Street where I literally swept the floors and did a little acting. He got a chance to direct “Soon,” and he hired me. I guess hard work pays off! It was spectacular for me to be in a Broadway show when I was still a teenager. I worked with Peter Allen, Barry Bostwick, Richard Gere, Nell Carter, Vicki Sue Robinson (Disco Fame), Joe Butler (Lovin' Spoonful), and Marta Heflin. I was in love with Marta Heflin, but she was much older than me (probably 30, but that seemed ancient). She was charming but made it clear that I was just a kid. Joe Butler and I hung around a bit. I was blown away when he invited me to his loft in the village to play music and see his recording studio. But what was truly impressive was that he had recently bought the place from John Lennon. </p>
<p>I have a funny story. I forgot that a very famous actor was in “Soon;” it was probably one of his first plays. Many years later, Kelley and I went to see the movie “Chicago.” Richard Gere walks down the stairs -- and I recognized his walk! I had seen him in many movies, but I’d never made the connection until then. I checked the “Playbill” for “Soon,” and there was his name directly above mine! </p>
<p>I was not out of work long because, lucky for me, the agent who was casting “Prettybelle” was in the audience. Word was already out that “Soon” would close, soon, so she was scouting performers. “Prettybelle” became my next show. </p>
<p>After that, I started performing in backer’s auditions for a show called “Inner City Mother Goose.” The director was the great Tom O'Horgan. (More about him later.) I will never forget being in the living rooms of very wealthy people all over the city who might be interested in funding this show. The amount of money it cost to raise a show back then is equal to the cost today for a couple of Orchestra seats to “Hamilton.” Not really, but compared to today, it was laughably cheap back then to mount a show. </p>
<p>It was actually in the first show that cost a million dollars to produce, called “Dude,” directed by the very same Tom O'Horgan. One of the singers in the troupe who was doing the backer’s auditions gave me some excellent advice. He wanted to mentor me in the art of singing pop music, so he asked, "Why do you sing with so much vibrato?" I answered that my only reference was the cantor in my synagogue. I wanted to sound like him. So this singer worked with me, and now it’s really funny: people tell me I’m a cantor who sings like a Broadway artist. Oh well, what goes around....</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65675712021-03-07T15:23:58-08:002022-05-27T12:21:42-07:00Blog #8: Prettybelle <p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/dcef271ea66e7a4f40071dc35b41b2eb471dce04/original/prettybelle-2.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/56dafe522dbf4d832539b66665507be1e101d7de/original/prettybelle-1.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Energy-we believe that we need to light the fire, wind the springs and halfway explode out of the starting gate to get things done. Once we learn that we don't need all of that extra force, we realize that we can begin less intensely, and we will go farther on less fuel. I am amazed at how much fuel I still have.</p>
<p>It was 50 years ago. My second Broadway show never made it to the Great Bright Way (thanks Whoopi) and closed out of town at the Shubert Theater in Boston. So it was Friday, and my answering service (remember those) called me to let me know that rehearsal, instead of starting at 11 am, was going to start at 9 am instead. I never checked my messages, so when I woke up at 9 am and called in, I freaked! I got dressed as quickly as I could, jumped on the subway and got to the Japanese Theater on 96th St and Broadway for rehearsal. The old movie theater had all of the seats taken out and became a rehearsal venue for Broadway shows. </p>
<p>The show, called Prettybelle, was written by my second cousin, whom I called “Uncle” Jule Styne. My Actors Equity name was Michael Jason. There was another Michael Stein in the union and two people could not have the same name. When I signed the contract for my first Broadway show, "Soon," at the Equity office, I arrived at 4:15 pm thinking that the office was open until 5. I found out at that time that I had to change my name in a couple of minutes!! I tried Michael David (my middle name), David Michaels--on and on, and no success. So I went out to the lobby and looked in the phone book--it was one of those classic wooden ones with the accordion door and hanging phone book. Then I remembered that my high school girlfriend, Beth Bender and I decided that if we had a child , we would name him Jason. So I went back to the office. "Michael Jason," I inquired. "Yes, that seems to be available," they replied and hence the name. </p>
<p>I am telling you this because when I was asked to play a role in "Prettybelle" with Angela Lansbury (I was her musical conscience), the agent who saw me in Soon hired me on the spot for the role. So my Uncle Jule at first had no idea that I was in the show. </p>
<p>Back to my story. I am running into the rehearsal hours late, crossing the vast, empty orchestra with no seats--everyone is watching--Jule Styne, Angela Lansbury, Bob Merrill, Gower Champion (choreographer), and Charlotte Rae (more about her another time). I run up the steps to the stage and fall flat on my face!! Everyone laughed--and I suppose that they felt sorry for this rookie kid. No one was upset, but boy, were they amused!! I think at first they thought that I was a fantastic slapstick artist-- no, just clumsy. BTW, the recording of Prettybelle is available on the Original Cast Recordings label. </p>
<p><a contents="https://www.amazon.com/Prettybelle-Musical-Styne-Merrill-Recording/dp/B00MVS68QE&nbsp;" data-link-label="" data-link-type="url" href="http://Prettybelle%20recording">https://www.amazon.com/Prettybelle-Musical-Styne-Merrill-Recording/dp/B00MVS68QE </a></p>
<p>Just a reminder that when you get all wound up you get all shook up. Bye for now!</p>1:43Mike Steintag:www.michaelsteinmusic.com,2005:Post/65654822021-03-04T23:56:37-08:002023-12-10T08:41:33-08:00Blog #7: Theodore Bikel z"l<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/ecbd4eda871001a67736677c30b8243d38f82e26/original/10868141-10153384030822004-5511722383198692833-n.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>
<p>Today was an exceptional day. I was invited to be part of a panel that celebrated the legacy of Theodore Bikel z"l, called Remembering Theodore Bikel sponsored by the UCLA Milliken Center for Music of American Jewish Experience and Hillel. Theo and I become very close after I moved to LA. I met him at a Jewish festival in Chicago when I was playing fiddle with Craig Taubman. The morning after the festival was over, I came down to breakfast, and Theo was sitting all alone. I had played fiddle with him the day before, and we spoke musician talk--but now I would have to talk with him in another language. I was very nervous because he was my hero, an icon to me--and I really don't like to talk that much anyway. But he invited me to sit with him, and we had a lovely talk. What a warm and wonderful man. That was about 1995. In 2000 when I moved to LA, I was invited to a jam session at Severyn Ashkenazy's home, and Theo was there. We not only resumed our musical conversation but we became very close friends. He loved my wife Kelley and the boys, and we started to have regular jam sessions. He even came to my house for a bluegrass jam. We also did a concert at the American Jewish University called Jewgrass!! Anyway, at the soirees at Severyn's and other places, we would stay till all hours of the night, and Theo would tell stories that kept us in stitches--it was like a dream come true for me. When I first got to LA, I gave him a call. He wasn't home but left me a voice message. I did not erase that message for many years--My idol was speaking to me, and that voice---THAT voice warmed my soul. </p>
<p>When Theo met Aimee, she made sure that I continued to be involved in his life, and as his health deteriorated, I was there with him more and more. I sang at his wedding to Aimee--and my sons played as well. For his 90th birthday, I produced a concert at the Saban Theater with Aimee. It was spectacular--with Peter Yarrow, Arlo Guthrie, Frank London, Lorin Sklamberg, Craig Taubman, Tom Paxton, Cathy Fink & Marcy Marxer, the Life Choir and of course the Stein boys! </p>
<p>Theo and I felt like father and son. He said some very touching things to me and I knew that our relationship was extraordinary. He love my wife Kelley and my sons, and he wanted to become an honorary "Rolling Stein." </p>
<p>In the year before he died, I produced a two-CD set-one spoken word the other music, including two new pieces that we recorded in his home. I co-produced this with Cathy Fink and Marcy Marxer for Red House Records. I spent hours in his living room, asking him questions and recording his story. He let me use his very special guitar which was made for him in Spain. This instrument had been silent for years. I tuned it up, but the nylon strings didn't want to cooperate. I did my best to keep it tuned, and as Theo sang, I sat in front of him and prompted him. Here was my idol, a master guitarist and singer, and I was his guide. I was playing guitar for him! I was counting the beats and reminding him of the words. It was an act of love on both of our parts--it was like taking his hand and walking him on the path. It is one of the fondest memories of my life. </p>
<p>Years back, I had traveled to NYC to the funeral of his wife, Tamara Brooks. I sang the memorial prayer, and I know that he loved me being there to honor her memory. I think that I was the only person from the west coast to come. When our beloved Theo passed, I officiated at his funeral. His faithful friend, Peter Yarrow, sang, and I did my best to eulogize the most incredible human being, performer, writer and activist, that the world has ever known. It has been challenging to tell this story since his death. I still listen to the tapes of our interviews, and I get choked up. Today's event felt different, magical, and freed me up to move on. I will listen to his voice, and I will not feel sad, only grateful and joyful for knowing this great man who lived every minute of life to the fullest and graced mine.</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65630222021-03-02T12:23:39-08:002023-12-10T09:09:45-08:00Blog #6: God Neither Sleeps nor Slumbers<p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/38df3f597aaf63f665d5420ae66bb0dbb8d01722/original/mom-dad-wedding.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Guess I'll try anything to find spirituality. When I was younger, so much younger than today, I searched for meaning in different worship and meditation forms. I became what is known as a Jew-boo, finding spirituality in chanting and soaring towards nirvana. When I was young, even though I loved Judaism, it left me with a lot of information and no skills to find God. So I chanted Nam Myoho Renge Kyo, with my legs crossed in the lotus position. I also really loved Ram Dass' Be Here Now ("We're fascinated by the words--but where we meet is in the silence behind them.").</p>
<p>So after years of searching, I went to Danbury, Conn., where my parents had a little cabin and where my mother spent her last days of life. I went down to the lake, swam to a rock, got in the lotus position, and started chanting. I guess in facing my mother's imminent death, I wanted some way to enter a place of calm and connection with the universe. As I was chanting, I realized that the Buddhist mantra's quick chanting was really no different from davening--(speedily saying the Hebrew liturgy), and a light bulb went off. Why was I chanting in a language and adopting a culture that I did not truly understand? All of a sudden, like Forrest Gump, I stopped (remember him running across the country?), climbed off the rock, abandoned my search, and went back to square one--my Jewish roots. When my wife Kelley converted, her learning vaulted me further on my Jewish journey. I would go to the hospital in those times and would sing at her bedside. Eventually I had to leave and go back to DC, and she passed a week later. I was at the ocean and the moon was full, and as I walked on the beach near Rehobeth, Del., I felt her soul begin her journey. I wrote a song about her and I am including it in this blog. </p>
<p>Sometimes when the moon is full <br>I remember the night you passed <br>Standing at the edge of the ocean <br>Like the waves my heart had crashed </p>
<p>In the moon's soft glow I steal a glimpse of <br>The mother I could never replace <br>I hear your song in the voice of the sea <br>How I love this place </p>
<p>God neither sleeps nor slumbers <br>Hinei lo yanum v'lo yishan <br>Neither does a memory fade <br>In the darkness of night or the stillness of dawn! <br>Esa einai I lift my eyes <br>To the Holy One Blessed Be He to the skies <br>The light of your love………..never dies </p>
<p>Every year I light a candle <br>Place it in the sand <br>When the full moon paints a line <br>From horizon to the land </p>
<p>I tell your story to my children <br>They sense your presence here <br>I see your beaming face shine down <br>As moonbeams draw you near…..chorus </p>
<p>As waves of memory wash over us <br>Your help is ever flowing <br>Ezri Maim Hashem <br>We're comforted in knowing</p>
<p>God neither sleeps nor slumbers <br>Hinei lo yanum v'lo yishan <br>Neither does a memory fade <br>In the darkness of night or the stillness of dawn! <br>Esa einai I lift my eyes <br>To the Holy One Blessed Be He to the skies <br>The light of your love………..never dies <br>(Tag) I can feel it in the moonlight I can feel it in the ocean <br>You live inside my heart. </p>
<p>I remember when uncle Jule died. It was a fantastic send-off with the world's greatest composers like Marvin Hamlisch and Stephen Sondheim telling humorous stories and relating fond memories. And I went to the private graveside ceremony. I wanted to make sure that someone who knew how to say Kaddish would be there. Margaret (Jule's wife) and Nicky (Jule's son) turned to me and said they were glad that I was there. I remember Nicky's wedding Jule saying the motzi prayer over bread. He sounded like everyone else in my Eastern European family. My dad, first-generation, my mom, second-generation--aunts, uncles, cousins--I guess the tie that binds us all together is our history and our religion that God-willing will carry on. God neither sleeps nor slumbers!</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65615102021-02-28T23:54:13-08:002023-12-10T08:51:22-08:00Blog #5: In the Navy<p><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/ef09440869a4726dfb433f922533870ed74a6863/original/67a3268a-adeb-478f-9c1d-6abc40c31451.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />One of my students from many years ago sent an email that she has graduated OTS and will now head to Pensacola for more training. Of course, this reminded me of my days in the US Navy and my many trips to Naval Air Station Pensacola. I remember buying a 12 string Takamine guitar there, in one of the many pawn shops which lined the boulevard on the way to the gate. I brought it home and made it into a six-string. I wrote a song about the guitar because I gave it to Jacob to bring to college in New Haven. I wrote a song about him going away, and I didn't realize how affected I was by his leaving home. So I start to cry pretty heavily, and as I was bawling my heart out, my friend Michele called, and she asked what was going on? I had just written the words "every turn of the key is another year gone by," and the idea that Jake was leaving broke my heart. Where did the time go? I was gone so much when I was in the Navy. Some weekends the kids asked on Sunday night--was dad home this weekend? It was constant travel up to 275 dates a year. </p>
<p>Back to Pensacola, I replied to the young woman who wrote to me and told her the story about one of my experiences flying there. We were transported on a DC 3, and I remember sitting in the plane on the tarmac, looking out the window and seeing pieces of the aircraft. All of that activity is hidden when you fly commercial (it does not inspire confidence!) Then we were flying in a terrible storm, and because the plane was old, it could not fly above 10,000 feet--so we swayed back and forth, bumped up and down and every which way. I realized then, that I shouldn't worry about flying on a commercial jet--if that plane could fly in that weather, so could anything! <br>Anyway many more Broadway, Navy, and hilarious stories to come! Tune in next time!!</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65608032021-02-27T20:51:53-08:002023-12-10T09:22:17-08:00Blog #4: Broadway and Purim<p>Purim Day what a happy holiday. Something happened when I was a kid on Purim, either my costume was the problem or the food --I don't have the answer. I only know that it wasn't such a merry time for me. Maybe it is costumes. When I played Peter in Jesus Christ Superstar, I was asked to understudy one of the Pharisees. The backstage crew flew us in standing in the skeleton of some kind of animal--I guess it represented what was past and needed to be updated. The priests wore a very heavy hat, and when I wore it a few times, the hippy, anti-establishment kid in me said, "no, I don't want to do this!" Even though I knew quite well that whoever played this particular role became Judas' understudy. </p>
<p>It reminded me of when my dad's first cousin Jule Styned said to me, "darling if you want to use the spelling of my name to help your career, you are welcome to do that." Of course the hippy, non-establishment long-haired freak in me said, "No, I want to be real and use the real spelling." More about my wonderful relationship with "uncle" Jule Styne in another segment. </p>
<p>So this Purim, I felt great! Maybe it was the Zoom feel---meaning not much pressure--I did most of it in advance! It was really lovely. Kelley and I had our Seudah (meal) and drank an entire bottle of wine. I did not know the difference between Haman and Mordechai, and I also did mind wearing a wig and a funny hat. It was a blast. Maybe I have turned a corner in my old age--my hat it has three corners............</p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65586592021-02-25T12:23:16-08:002022-04-05T01:07:46-07:00Blog #3: Dogs<p>I vividly remember the day I went to the animal shelter in the SFV to look at a poodle that a friend of mine said I had to see. I went there absolutely sure that I would not take the dog home--it was during the Aseret Y'mei Tshuvah, the days in between Rosh Hashana and Yom Kippur. I was pretty sure that I did not want to deal with a new pet during the most stressful time of the year for cantors. I often joke that it is our tax time for accountants. Now, as I think about it, we are reviewing the last year and taking an accounting. Hmmm. Anyway, I went into the shelter, and this little white poodle immediately jumped up onto my legs and put his paws in my hand. That was it! Against all rational thinking, Kelley and I brought this little puppy home. It was one of the best decisions of our life--well, maybe besides having Jacob, Justin, and Jared. </p>
<p>We had trouble naming this little guy. We wanted to name him Napoleon because he scared our 50-pound standard poodle into submission as soon as he entered our home. But we did not want to have him called Nappy for short. Then we thought about the character Shorty from de Bronx and, with a little change in the spelling, named him Shortie. Still not very politically correct, but that name seemed to stick. <br>Why am I writing about him? Because he is sitting in my lap with his snout on my laptop keyboard. He is my "therapy dog" because he senses when I need comfort and is right there for me all of the time. What a blessing. It feels like a gene in these animals is like a missing link that connects them to human beings. It reminds me of when we lived in Temple Hills, MD. In the parking lot behind our little synagogue, Shaare Tikvah, an entire litter of cats were living on the platform on top of the playground sliding board. One little kitten got on the sliding board and slid down, landing with a plop on the ground. Once again, Kelley and I said, "no more cats!' But we went back to the shul a few days later. The same kitten got on the sliding board and slid down in the exact same way. Elliot found his way to enter our hearts and the rest was history. <br>When I was a child I wanted a dog more than anything in the world. I will never forget the black lab that we got from the ASPCA who I named Colonel. Unfortunately, training him was too much for my parents and they could not tolerate his barking and needs. Why they brought him home in the first place puzzles me to this very day. They were well intentioned but also short-sighted. They took him back and it completely broke my heart. If you ever wonder why I had up to three dogs living in my house, now you know. As soon as I lived on my own, I got a dog from the ASPCA and named her Mushmouse--more on that another time! <br>As I write this, I am hearing that Lady Gaga had her dogs stolen. That is cosmic and I am going to keep real good tabs on Shortie and Uncle Jasper!<img src="//d10j3mvrs1suex.cloudfront.net/u/148164/8fcc02aa13b10206da3ae64ac1feba6390cedf96/original/photo-on-2-25-21-at-11-28-am-2.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65580042021-02-24T19:12:09-08:002022-01-10T00:08:10-08:00Blog #2: Mom and my work<p><span class="font_regular"><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/16f8004324667e02da68b16985fb0c5303819a1f/original/mom.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />I am thinking today about when I went to the hospital to get my tonsils out at the age of four, and it seems like the next memory that I had was waking up on my first day of school at PS 133. I can clearly see the gates of the school and feeling my mother’s hand holding mine. She was a kindergarten teacher in NYC, and the very first time I played guitar in public was in her classroom over the summer. She was one of the earliest teachers to participate in the Head Start program in 1965, and she insisted that I come to her classroom to play for the children. Children of all races and economic status. Two things resulted from those trips—a love of teaching and the practice of giving back to the community. My mom worked in that Head Start classroom after an entire year of teaching. There was no money (or very, very little), just the satisfaction of helping kids who needed a “head-start.” In high school, she encouraged me to take my folk music group to play for the patients at Creedmoor Psychiatric Hospital in Queens. Once again, her encouragement led to a love of working with neuro-diverse individuals. I remember very clearly the sights and sounds of that visit, and while a little scary for a young person, I was not discouraged. It was, in fact, the catalyst for the passion I feel today about advocating for those in need or who do not have a voice. Thanks, mom—you passed away 43 years ago this summer, but you are still alive in the work that I do. And your grandchildren have taken up the torch!!</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/65566292021-02-23T11:15:47-08:002022-08-17T21:47:18-07:00Blog #1: The Miracle of Sight<p><span class="font_regular"><img src="//d10j3mvrs1suex.cloudfront.net/u/148164/1895fe370315a754935a0b30396d180b44dbf0c7/original/jazzy.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />Sitting with my beautiful granddaughter, who is almost 5 months old. Took her outside to see if the sounds, the sights, and the feel of the wind would stop her fussing. Instantly the world around her was the distraction that took her mind off of whatever was bothering her. I sat with her and looked out across the backyard to the mountains, looked up to the palm trees blowing in the wind. We listened to airplanes, and as she looked up in the sky, I remembered. I remembered that when I was born at Kings County Hospital, I was a premie. The doctors had to decide whether to put me in the incubator, but my active and healthy little self convinced them that I did not need it. As it turns out, all the children in incubators at that time had become visually impaired because the temperature was not monitored correctly. What a blessing for me—and as I watch my little Jazz Glory look at the world around her, I have her to thank for reminding me that the gift of sight is miraculously beautiful. Every day let's take account of the blessings that accompany us through life. Today the sky never looked bluer, the mountains clearer and the trees greener. Baruch HaShem, thank you God!</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/58444782019-08-01T14:25:24-07:002023-12-30T12:14:35-08:00Release of Lemba CD<p>From the CD cover:</p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/148164/4f48a8a92f8e170a05ebb9d9098cbd4096281806/original/screen-shot-2019-07-30-at-5-08-08-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>The Lemba Jews of Zimbabwe by Modreck Maeresera (President of the Harere Lemba Synagogue, educator and shochet) Excerpts: </p><p>Our ancestors migrated from Judaea soon after the destruction of the Second Temple. Their first stop was Sena,Yemen (perhaps modern day Sana), then to Mozambique, and eventually to Zimbabwe, where they settled in the area of what is today Masvingo Province near the Great Zimbabwe, an historic archaeological site from which the country takes its name. </p><p>The Lemba believe in one G-d who we call Musiki (The Creator) and we pray directly to Him. Lemba cultural traditions like dietary laws, circumcision and the observance and celebration of holidays are strongly linked to the belief in one G-d. (and are the same as found in the Torah) </p><p>Over the years, many writers have recorded the claims of Jewish descent by Lemba leaders from Zimbabwe and South Africa; they have pointed to Lemba religious observances as proof of their Jewish origins. But without written documentation by the Lemba, or anyone else, much of this was discounted. In the last few years, advanced DNA research has found the same “Cohen modal haplotype" among the Lemba, as is found among Jews worldwide, both Ashkenasic and Separadic. </p><p>More than 52% of all males in the Buba clan, who in Lemba oral tradition, served as the Lemba priests and had a leadership role in bringing the Lemba out of Israel, have the Cohen modal haplotype. These results appear to validate our oral tradition. </p><p>The Nusach Project:</p><p>In the summer of 2017, Kulanu board member and activist Sandy Leeder and I were wading in Yam Kinneret, the Sea of Galilee. We talked about the Lemba and Kulanu “Nusach Project” created to compose melodies for the Lemba synagogues. He sent me some recording by composer Hamlet Zhou and I was deeply moved--by the emotion and the African sound. With the help of donations from Kulanu, myself and my dear friend, Sandy Perlo z’’l, I was able to coordinate the recording process in Zimbabwe and in Los Angeles. Hamlet and his choir recorded at Black Identity studios in Harare. His engineer, Kuda Maestro sent the files (songs 1, 3, 4, 5, 6 & 7) to me and I worked with Palo Henderson (son of famed guitarist Marlo Henderson) to add tracks--my son Justin played bass and I played violin and mandolin. Palo masterfully recorded and mixed those tracks. The others were completely recorded and mixed at Black Identity in Harare--with Hamlet playing mbira and guitars with his choir. This project is a magical fusion of African Lemba music with a sweet taste of western funk. But the ingredient that ties it together is it’s magnificent Jewish character!!!! HMS</p><p> </p><p>BACK PANEL: </p><p>1. Oseh Shalom (May the Holy One create peace) </p><p>2. Ahava Rabba (We are loved with a great love) </p><p>3. Birchot HaShachar, (Morning Blessings) </p><p>4. Ein Kamochah (There is none like You) </p><p>5. Halleluyah Psalm 150 </p><p>6. Dayenu (It would have been enough) </p><p>7. Sim Shalom (Make peace) </p><p>8. Amidah (The “standing prayer”) </p><p>9. Ein Keloheinu (There is none like our G-d) </p><p>10. Adon Olam (Master of the World) </p><p>All songs written by Hamlet Zhou based on siddur liturgy </p><p>Guitar: Hamlet Zhou </p><p>Rhythm Guitar (cut #1 only): Hazzan Mike Stein </p><p>Mbira: Hamlet Zhou </p><p>Keyboards: Palo Henderson </p><p>Bass: Justin Stein (except #9) </p><p>Percussion: Palo Henderson </p><p>Mandolin: Hazzan Mike Stein </p><p>Violin: Hazzan Mike Stein </p><p>Choir: Nomsa Hwingwiri; Brenda Maeresera; George Zvakavapano; Brighton Zhou; Hamlet Zhou; Sheron Zhou </p><p>Executive Producer: Hazzan Mike Stein </p><p>All songs recorded at Black Identity Studios in Harare. </p><p>1, 3, 4, 5, 7 & 10 Mixed, arranged and programmed in Los Angeles at PЯH Studios by Palo Henderson. </p><p>Violin, mandolin and guitar on song #1 recorded at Eilat Studios. Bass recorded at Justin Stein Music.</p><p>All songs mastered at SwanSound Studios, Brad Swanson engineer</p><p>For more information about the Lemba go to kulanu.org</p><p>Visit the Harere Lemba Syngagogue at facebook.com/hararelembasynagogue </p><p>For more information on Hazzan Mike Stein go to michaelsteinmusic.com</p><p> </p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/58322332019-07-22T08:09:41-07:002022-03-23T09:49:59-07:00Last Week in Zimbabwe<p><span class="font_large">Zimbabwe Monday and Tuesday</span> </p>
<p><span class="font_large">After a long trek to the Great Zimbabwe and meeting with Dr Rabson Wuriga, I spent most of Monday relaxing and catching up on sleep and much needed rest. On Monday evening I was picked up by a man named Pastor Gary Cross who grew up with my dear friend and congregant Amir Harnoy. It is a small world! I went to dinner at the pastor’s home and had a wonderful home cooked meal with great conversation. We talked about our spiritual paths and how we both work in our own communities to achieve the same thing. It was fascinating to hear about his work—placing orphans in homes rather than institutions, ministering to people in need and supporting causes that help the under-served. He has a wonderful wife and four daughters, one of whom is at Calvin University in Michigan. It used to be Calvin College, but now with the name change I told Gary that it just means that they can charge more—we had a good laugh. A beautiful family living in a city that is stricken with poverty, lack of electricity and in places running water and very high unemployment. But each one of Gary’s family is committed to the work of the church and that is a machaya. </span></p>
<p><span class="font_large">On Tuesday we had lessons at 11:00 am. We reviewed the Ma’ariv service for Shabbat, and then went on to the Birchot Hashachar, Psukei D’zimra and the Shaharit services for Shabbat morning. Hamlet wrote a fantastic melody for the Birchot HaShachar, the morning blessings—we talked about the blessings and how they relate to starting our day. We got to one of my favorite parts of the service which is a metrically compelling wording that through repetition of the word Mah (what) asks the questions: What are we? What are our lives? What is our loving-kindness? What is our righteousness? What is our salvation? What is our strength? What is our might? What shall we say before You Lord our God and God of our ancestors? In the words of my teacher Hazzan Abe Golinkin this is like a mini tachanun— a cry out to God for answers and a wake up call on how we should live our lives. </span></p>
<p><span class="font_large">We looked at the sections for study and particularly at the principles for understanding and interpreting the Torah and the Talmud. And then, of course the Kaddish d’Rabbanan. Oh and I taught them the Sheyebane Beit HaMikdash. Then we got to psalm 30, mizmor shir hanukkat habayit—the song of the dedication of the Temple—and it’s relation to the holiday of Hanukkah. Baruch She’amar we learned Craig Taubman’s melody and I pointed out that this among other prayers were written by the Men of the Great Assembly. The rest of psukei d’zimra we talked about the different prayers and how we deviate from the weekday on Shabbat and Holidays. Hoshea et amecha has ten words which we use to count a minyan instead of counting people as numbers—which is dehumanizing. I talked about how particularly evil and calculated Hitler was to brand numbers on Jews in concentration camps. We learned a few melodies, my Y’hiu l’ratzon and mi ha’ish among others. We talked about the halleluyah psalms 145-150 and that the word halleluyah means praise God. Most wonderfully, the sound of the hey with the dot (dagesh) in it creates a breathy sound so that Yah, one of God’s names has in it the source of life—-our breath which was breathed in to us when we were born. It is so that we can sing kol haneshama t’hallel-ya. All of our soul (breath) praises God. </span></p>
<p><span class="font_large">We talked once again about the ayin and dalet being large in the shema, particularly to remind us that the word eid means witness— when we say the shema we should all feel that we were there receiving Torah—all Jews even those not yet born were there including Lemba, Abayudaya, Jews of Choice, Jews by birth—everyone. I also pointed out that the aleinu prayer has the same formula—the beginning of each paragraph starts with ayin and the ending is a dalet. </span></p>
<p><span class="font_large">Oh and BTW we talked about the Shema appearing early in the siddur, so that those listening for the shema, a forbidden part of the service in some periods of history, soldiers would not be expecting it so early in the service and miss the recitation—also the same reason is used for the shema in kedusah in the music service. </span></p>
<p><span class="font_large">Kol haneshama t’hallel-Yah is repeated at the end of ps 150 to indicate in ancient times to a public without siddurim that the section of psalms was over. We also talked about ps 145 is in alphabetical order, without the nun—taken out because of its negative implications. </span></p>
<p><span class="font_large">The next section includes paragraphs from Tanach and so we stand in honor of those sections. The first is from Divrei Yamim which is Chronicles. I pointed out the section of the Torah service which is from that paragraph—it is fun to realize where specific prayers come from—Tanach and piyutim, religious poems. </span></p>
<p><span class="font_large">We came to the Shirat Hayam, song of the sea and I pointed out that the melody that the shul sings is from the Portuguese tradition. It also contains the mi chamocha and we talked about Nachshon’ mouth being filled with water and only able to say CHamocha instead of Kamocha. And the Macabees name taken from the men, chaf, bet and mud first letters of the phrase. Once again Adonai Yimloch L’Olam Va’ed is repeated to indicate the end of that section. </span></p>
<p><span class="font_large">Barechu we reviewed the meaning of the word and its many forms and we also talked about yotzer or uvorei choshech, Blessed are you God who created light and darkness. However the words from Isaiah read “created light and evil.” This did not sit well with the sages and thus here is another example of changing the wording to suit intent of the prayer. </span></p>
<p><span class="font_large">There are many beautiful melodies that Hamlet has written for this section of the siddur, the blessings before the shema. especially the Eil Adon—I thought that it was from somewhere else, it sounded so beautiful. That surely brought a smile to his face. I pointed out that Eil Adon is in alphabetical order, and yes, the nun is there as Moderick pointed out. Once again we have the prayer for creation, and the prayer for revelation leading to the shema and the prayer of redemption before the Amidah. Also I talked about the Kadosh kadosh kadosh section before the shema, that section being called the “kiddushah d’yeshiva.” This is literally the “sitting kedushah.” Comprised of many of the same verses that we read in the Kedushah of the Amidah, it is a recreation of the angels appearing before Hashem in Isaiah and Ezekiel in the Prophets. There is also the kedusha d’sidra found at the end of the morning service on weekdays, the mincha for Shabbat and other places. All have in common this dramatic scene from the Prophets. </span></p>
<p><span class="font_large">The word Amida I pointed out is like the word yeshiva. It is the noun form of the verb to stand as yeshiva is the noun form of the word to stand yoshev. Hence the Amidah can be called the Standing Prayer, Ha’tefillah THE prayer or the shemoneh esrei (the 18 blessings—really 19). The Amidah for shabbat has 7 blessings representing the seventh day, Shabbat. There are a standard three in the beginning and three at the end, with the middle being the “holiness of the day,” and ends with Mikadesh HaShabbat. </span></p>
<p><span class="font_large">We learned where to bow and how to do it and going back three steps at “Adonai S’fati Tiftach,” and three forward at “ufi yagid t’hilatecha.” The idea is to approach the space of prayer and also to remember that we carefully approach the King. </span></p>
<p><span class="font_large">We sang some melodies for the repetition including Hamlet’s v’shamru and my L’dor Vador. We also recorded vshamru this week. We went on to the Torah service—Hamlet, once again has written some beautiful melodies for that section as well. You have to get a copy of the Lemba Jews of Africa—Ancient roots—new traditions. Let me know if you want to buy one—all monies go back to the Lemba. </span></p>
<p><span class="font_large">Side note—we recorded five new songs with my little MacBook Air and Studio One. Hamlet is an amazing musician and composer and it was a delight. The only drawback was some tech difficulties, but we managed to record mbira, lead voice (Hamlet) and harmony voices (George, Sharon and Nomsa). Can’t wait to mix and see what we have. I left Hamlet with my audio interface in the hopes that he will be able to create his own studio in Harare. </span></p>
<p><span class="font_large">I let Moderick know the standard form of the Torah service—calling up aliyot, misheberach, hatzi kaddish, maftir, etc. Also to be aware of when we do the Birchat HaChodesh, the blessing for the new month, the community needs some Hebrew calendars! I sent out printable calendars to Moderick when I returned. I loved reading in Dr. Rabson’s book about a bowl of water’s reflection of the moon indicating the new moon in Lemba history. The new moon was a festival and a very important part of Lemba life. </span></p>
<p><span class="font_large">We went through the musaf service and learned melodies for the kedushah and others. We talked about ein keloheinu being an acronym (first letters of each verse) for AMeN and Baruch Atah Adonai. We are at the end of the service and say amen but always we continue on with our worship, represented but the Barach Atah… </span></p>
<p><span class="font_large">Next blog will be about the trip home and the continuing work going on her in the USA.</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/58248912019-07-15T05:28:51-07:002022-04-22T10:17:48-07:00Zimbabwe Shabbat <p><span class="font_large">Zimbabwe Friday to Sunday </span></p>
<p><span class="font_large">So much to tell it is hard to know where to begin. I will do it chronologically. </span></p>
<p><span class="font_large">Friday we had class at the place that I am staying in Emerald Hill. A wonderful BnB that has electricity, hot water and meets all of my needs. </span></p>
<p><span class="font_large">We began with a review of our last lesson—and so we started with the barechu. We discussed the meaning of the word baruch whose three letter root, beit reish chaf takes many forms. Berech, knee; braycha, pool; Barach, kneel; and b’racha, blessing. Usually translated “blessed are you, God,” but how can we, mere mortals bless God? God who has bestowed everything upon us? Perhaps “Praise you God, source of all blessings.” When we look at the word braycha, meaning pool, and knowing that water is the absolutely necessary for our existence—at the same time knowing that the Torah is like water—vital to our survival and ever-flowing in its nourishing enrichment of our world. </span></p>
<p><span class="font_large">I sang for them the Ashkenazic melody—Hamlet the musician understanding the concept of raising the leading tone a half step. I love his musical abilities—he wrote all of the melodies for the Lemba prayer service. We joked because one of the melodies is actually in a minor key—not commonly found in most African music. Anyway I also recorded for them one of my melodies with a niggun as part of it—Irene, Brenda’s sister told me that she really loves the idea of the niggun—melodies without words. Note—I was so pleasantly surprised that every concept that I taught in my first lesson was remembered by the group! </span></p>
<p><span class="font_large">We then talked about the blessings leading up to the shema. The first for the blessing of creation, how Hashem formed the world and how the world is kept in order. The second blessing of revelation, God revealing Her Torah. I sang several versions of Ahavat Olam and at each step BTW I asked what the congregation knows—most were what you would hear in a shul in the US, but that is great. At each opportunity I ask Hamlet to write a Lemba melody. He agrees each time, so we will see how much new beautiful music will come out of this project. </span></p>
<p><span class="font_large">Then of course the Shema—I talked about the large Ayin and Dalet there so that the correct spelling of the words Shema (hear) is not read as “perhaps” and Echad (one) is not read as acheir, “another.” We discussed the words Eil Melech Ne’eman at the beginning, said if there is not a minyan—it means God is a faithful King. It also is an acronym for AMEN. Aleph, mem and nun. They three words serve the same purpose as the three words at the end, Adonai Eloheichem Emet—the shema has 245 words. If we add three more we come to 248, known to be the total parts of the body in the ancient world—there are also 248 positive commandments, </span></p>
<p><span class="font_large">We then went to mi chamocha—I spoke about Nachshon ben Aminadav—who when he had the faith in God to take the first steps in to the Sea of Reeds, had water in his mouth and pronounced Mi CHamocha, because his words were garbled. After the waters receded he then was able to say Mi Kamocha with a clear sound. (mi KamoCHa ba’Elim Adonai, Mi Kamocha nedar ba’kodesh). Also those words are an acronym for MaKaBee. </span></p>
<p><span class="font_large">We talked about why the amidah for the evening prayer was not said out loud—a compromise since the prayers that replaced the sacrificial service were based on when the sacrifices were done—there was no evening sacrifice, but yet it was felt that there should be an evening service—based on the Avot section of the Amidah—Avraham—morning (When he arose early for the Akeida); Yitzchak (afternoon)—when he saw Rivka and prayed that this is his future wife; and Yaakov (evening) who wrestled with the angel in the evening. So the compromise was to have the evening service but NOT chant the Amidah out loud. This is like the idea of the mezuzah—one rabbi thought it should point straight up to God, another said it should point forward in the direction of the inside and how the tablets were laid in the ark. Compromise?—make it slanted! </span></p>
<p><span class="font_large">We concluded with the ma’ariv service for Shabbat, took a break, and Hamlet and I then did some recording on my MacBook Air. He is an amazing Mbira player! He did take after take perfectly. What a cool guy. </span></p>
<p><span class="font_large">Then I had a few minutes to shower and get ready for Shabbat which I spent in the synagogue which is also Moderick’s house. It was very comfortable and I felt very much at home. </span></p>
<p><span class="font_large">The Lemba in Harere have their erev Shabbat at home—it is too hard and too expensive to get to the synagogue. And so we lit candles, sang and discussed Torah. It was absolutely lovely. </span></p>
<p><span class="font_large">The next morning services began at about 10:30 am. I met several new people and Moderick led the psukei d’zimra masterfully with a strong, confident voice. The shul is in good hands! </span></p>
<p><span class="font_large">I was asked to read the Torah and so, with the Tikkun that I brought with me I chanted all of the alliyot and gave a brief explanation of each section that I read. I realize that there is going to have to be some training in trope—but I have already begun that work in our lessons—the same is true for the congregation in Ol Kalou. Moderick read the Haftarah in English and I then led the musaf service—teaching some new melodies and giving everyone a “taste” of hazzanut. </span></p>
<p><span class="font_large">We then had lunch which was delicious and then were plied with mango wine—I took one sip and realized that it was almost 100% alcohol. whew!!! Took a good nap and we chanted havdallah. Of course there was no electricity so the candle took on a new meaning. It was beautiful seeing the faces of Moderick’s family lit up by the candlelight. What a blessing. </span></p>
<p><span class="font_large">The next day George procured his friend Atwell who is a good driver with a smaller car that is good on fuel and we traveled to the ancient home of the Lemba near Mazvingo, about 310 kms from Harare. We went from there to the Great Zimbabwe, about 20 kms from there. The Great Zimbabwe, for which Zimbabwe was named after independence, is a world heritage cultural site. It was designed and built by the Lemba which is a part of the larger Shona tribe in about the 11th century CE—the Shona culture began about 300 CE. There is much written about it, but not much being able to be confirmed. It is a spectacular structure made of hand hewn granite stones laid one atop the other without mortar and set in spectacular mountain terrain. The technology and the back breaking dangerous labor, makes it a major accomplishment of mankind. It is a proud reminder that great and advanced civilizations in ancient Africa have existed contrary to the claims of Europeans that only others could have built this magnificent structure. </span></p>
<p><span class="font_large">I did not have a chance to go to Mapakomhere, in Masvingo District where there is one of the Lemba villages. We had several mishaps along the road, including a flat tire which delayed our progress. But I did have time to have a meeting with a great man, Dr. Rabson Wurigo who works at the Great Zimbabwe University. It was my opportunity to speak with a man who, as a Lemba, has written the story of the Lemba culture and it’s connection to Judaism with an academic slant that is most enjoyable to read. We discussed where we all stand in terms of Jewish identity, what it means to be Jewish and how we mix ancient tradition with the post biblical changes that identify modern Judaism. What can be changed, what needs to be changed—for instance, Dr. Wurigo encouraged the Lemba to resume observing the Passover festival—so they did what their ancestors and verbal history demanded—they sacrificed the pascal lamb and sat down to eat as a community. Rabson had to tell them that the said sacrifice was not being done anymore since the Temple was destroyed. The Lemba circumcise at 8 years old. Do we make it happen at 8 days? One thing we certainly do not do, according to Rabson, is practice ha’tafat ha dam—the drawing of a speck of blood from the penis, which “legitimizes” in the Jewish faith a circumcision that was not kosher. To do that he says, is to deny the entire foundation of Lemba culture. It is a legitimate brit milah not in need of perfection—it is perfect already. We talked about Jewish organizations from religious institutions to NGO’s. I really look forward to further discussions with him and possibly working with him, his community, and the Harare community to bring not only create an understanding with world Jewry, but a united front to have the Lemba embraced by Jews everywhere. </span></p>
<p><span class="font_large">I returned on Sunday night quite exhausted, but quite thrilled to have had the experience of visiting the Great Zimbabwe and meeting with Rabson. This is a rest day for me. My host at the BnB just made a wonderful Indian brunch and tonight I have dinner with a friend of the Harnoy’s in Harare.</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/58212702019-07-11T11:24:28-07:002022-06-01T18:14:44-07:00Zimbabwe Day 2<p><span class="font_large">I woke up at 09:30 this morning after getting at least 10 hours of sleep which I badly needed. Went to the Lemba Synagogue to teach around 11:00 am. George picked me up—he had waited for gas from 3-6 am. I had 8 students, three women and five men. We discussed the idea that as community prayer leaders it was vital to know about the meaning and context of prayers. They learned that the siddur literally means “order,” and is written in the order of our daily prayers. They are using the Koren siddur which is very nice. I taught that the siddur contains sections of Tanach (acronym for Torah, Nach-Prophets, and Ketuvim, the Writings—includes tehillim which are the psalms of David). But also there are piyutim which are poems written and added to the prayer book in addition to biblical quotations. </span></p>
<p><span class="font_large">We talked about what Kabbalat Shabbat means literally and in the spiritual sense. The basic piece was learning that Kabbalat Shabbat in Hebrew means receiving Shabbat and that is what we are doing--it started with the Kabbalists dressed in white in Tsfat Israel in the 16th century standing on the mountain receiving Shabbat. So the first prayer in their siddur is “y’did nefesh” pretty much a love poem to God. They know the “traditional melody” which includes the niggun at the end. At that moment I discussed the word niggun (melody without words) and taught about the Baal Shem Tov (BESHT) who founded Hassidism. The poor were not able to study because of time and monetary obligations, so the BESHT taught that we did not necessarily need to be a scholar and if we didn’t the words we could use our hearts to sing God in a melody. I challenged Hamlet Zhou, the composer laureate of the Lemba to write their own niggun! I pointed out that y’did nefesh was a piyyut written in the 16th century in Tsfat. The first letter of each of the verses spells “yud-hey-vav-hey” God’s holiest name. It also is a love poem, and so I talked about our relationship with God. I spoke about the verse from Hoshea that says “I will betroth you to me forever, in justice, in kindness, in mercy and faithfulness..and then I will know God.” When we are able to emulate those above mentioned qualities then we become “btzelem Elohim” in the image of God. God in Her love gave us the Shabbat the greatest gift of all. </span></p>
<p><span class="font_large">We continued by noting that the beginning of Kabbalat Shabbat is six psalms, representing the six days of the week, follow by Lcha Dodi and then the psalm for Shabbat and the psalm for Friday. </span></p>
<p><span class="font_large">For L’chu Neranana (psalm 95) I taught them the Abayuday version—they LOVED it and were singing it pretty instantly. I taught about the chatima the final “signature” of the prayer, which in their siddur has an arrow. The role of the sheliach tzibbur (literally messenger of the community—to God) is to start of the prayer and end with the last few lines—although there are exceptions to this rule. Also in the Koren siddur the number of the psalm is written at the end of the first line. It is in Hebrew so we discussed the concept that each letter of the Hebrew alphabet is assigned a number—we talked about 18, which consists of chet (8) and yud (10)—the word chai is life —just like when we say l’chaim! </span></p>
<p><span class="font_large">For Psalm 96 everyone Carlebach’s melody to Ki Va Moed and so we sung it—but utilized the niggun — so we started at the beginning and skipped down to the hatima. In between we sang the niggun and at the end. I asked everyone “how did it feel singing the niggun—did it have more meaning and spirit than the words?” and all answered a resounding “yes!”. </span></p>
<p><span class="font_large">Pslam 97 we sang my reggae version of Or Zarua—the group picked it up very quickly and we had a blast!!!! </span></p>
<p><span class="font_large">Psalm 98 we learned Craig Taubman’s Romemu—note here—when I asked do they have a melody for Romemu the response was the melody from the Torah service. it was a perfect opportunity to say that the source for the romemu words in the Torah service are from Psalm 98—we learned Craig’s version and it was, once again, a blast!! Everyone sings so beautifully and intuitively! </span></p>
<p><span class="font_large">You will note that there is a pattern with the psalms—95-98. The next psalm in 29. Why is that? The very mystical and numerically minded Kabbalists liked the idea that Psalm 29 has God’s name mentioned 18 times —representing chai the word for life (see above). Also the word “kol” voice is mentioned seven times in honor of the seventh day, Shabbat. I taught that the poetic nature of psalms means that all of nature “sings” to God, and that God’s voice speaks to nature. This occurs many times especially in the psalms that begin “sing a new song unto God, sing a new song all the earth.” </span></p>
<p><span class="font_large">We went to Lcha Dodi and people knew several melodies. I taught the Abayudaya version. I also pointed out that this piyyut was written by Shlomo Ha’Levi, spelled out in the first letters of the verses. We also talked about Shamor v’Zachor—two different ways the fourth commandment was written in Shemot and Dvarim. How can this be? The Kabbalists say the these two words were spoken “b’dibor echad” as one word—something that only Hashem can do. </span></p>
<p><span class="font_large">We sang Carlebach’s mizmor mizmor shir for the 92nd psalm and for the hatima we sang the Israeli melody for Tzadik Katamar. </span></p>
<p><span class="font_large">Pslam 93 for Friday we sang Nava Tehilla’s Mikolot Mayim Rabim. </span></p>
<p><span class="font_large">Then we discussed the sections of Mishna that are studied at this point. The rabbis knew that since we had everyone in shul, we could get in some Torah learning. Also the sages said that even five minutes of Torah learning is better than not studying at all. Hence in several places in the siddur a section is there for study. I pointed out that also on Saturday’s musaf has such a place. At the conclusion of the study there is the Kaddish d’Rabanan. We talked about the five different kaddishim—Kaddish d’Rabanan; Hatzi Kaddish (between sections of the service); Kaddish Shalem (between sections were there is ha-tefilla, the Amida); Kaddish Yatom, the mourner’s kaddish and Kaddish D’etchadatah (at a funeral and the conclusion of study of a tractate of Talmud). Musaf for Shabbat is a perfect example. We looked at the Hatzi Kaddish before the Amidah. The Kaddish Shalem after the Amdah. The Kaddish D’Rabanana after studying Mishna and Talmud and the Mourner’s kaddish after aleinu. Four out of five of the kaddishim in one short span. </span></p>
<p><span class="font_large">We took a break, and agreed that we did a lot of learning and we would continue tomorrow Friday. However the women would have to be home preparing for Shabbat—so we would meet at 11:00 am, just the men. After that Hamlet and I will lay down some tracks for new recording. </span></p>
<p><span class="font_large">The learning session was fantastic—I told them that they would have to be sponges, and that them teaching others what I taught them would be my greatest joy—just as I have learned from others and was teaching them. </span></p>
<p><span class="font_large">But more fantastic was having a jam session with Hamlet on guitar and Moderick and his wife Brenda on mbira. It was truly a global blend!! </span></p>
<p><span class="font_large">Tomorrow night I spend Shabbat at Moderick’s home. Erev Shabbat is spent at the home celebrating with family—it is too hard and expensive to come to synagogue two days (just like in Ol Kalou). Saturday morning I will get to hear how the Lemba do their services. </span></p>
<p><span class="font_large">I probably will not write again until at least Sunday. Shabbat Shalom.</span></p>3:48Mike Steintag:www.michaelsteinmusic.com,2005:Post/58201682019-07-10T11:58:06-07:002021-06-01T04:15:14-07:00Zimbabwe Harare Lemba Synagogue<p><span class="font_large">Wednesday 10 July 2019 </span></p>
<p><span class="font_large">In one evening I am in heavenly shock. To learn from Moderick about the Lemba. They have circumsicion at 8 years old. They do as many other tribes—many young boys together. Then they learn the Lemba ways—-including how to shecht (slaughter) in the ancient ways which are the actual laws of kosher slaughter. They are given three knives, for chickens, small animals like goats and larger animals like cows which they keep for their entire lives. Being brought in to the Lemba tribe means learning how to be a shochet. This blows my mind. This is an ancient practice that goes back to beyond anyone’s memory. The Lemba combine Rosh Hashana and Yom Kippur in to one holiday. They choose two goats. They pour a liquid on their back and the first one to shake it all off (you know goats hate water) has expiated the tribe for their sins. The second goat is sent away. The first goat is slaughtered and there is a feast to celebrate the new agricultural season. </span></p>
<p><span class="font_large">The elders of the tribe are living in the countryside where it is possible to be tribal and stay together as a group—oh and by the way—there are 12 tribes! Moderick and the Harare Congregation are there to be a hub and to be a place of learning. He wants to train leaders so that they can go out in to the countryside and lead congregations. Will they accept the rabbinic changes in their practice? Moderick feels that they need to be in contact with the world-wide Jewish population so that they can ensure that their ancient traditions and new traditions are recognized as valid. He was thinking about whether to align with the orthodox, conservative or reform and said that all you need to be is Lemba. We laughed and he whole-heartedly agreed. That is why the Nusach Project begun by Kulanu is so important—the Lemba have their own unique music. I gave Moderick a box of CD’s and he is blown away as is his nephew George. George has been driving me around town. He is a great young man and is being groomed to be one of the leaders. </span></p>
<p><span class="font_large">Conditions in Zimbabwe are difficult. There is no electricity all day except from 10 pm until 5 am. The home that I am staying in, an Air BnB has solar and a well so I have water and electricity.—and internet. But there is huge unemployment and the prices in the market are very high. More on that later. </span></p>
<p><span class="font_large">Anyway, I am going to teach tomorrow and I am thinking about how to make it work—I will just see where everybody is—I know that Hamlet (who composed all of the Lemba melodies) and Moderick are very high level, but they are happy to review and learn some new angles on prayer. This is fantastic!</span></p>3:03Mike Steintag:www.michaelsteinmusic.com,2005:Post/56504802019-02-19T13:25:28-08:002023-12-10T08:33:07-08:00Fifth Day home <p><span class="font_large">Fifth day home: </span></p>
<p><span class="font_large">I woke up this morning at the highly unusual time of 0700 am (but with jet lag, this is the new me—until I stop going to bed at 10 pm) and realized that I have to read three aliyot for minyan which includes a bar mitzvah. My first thought was, where is Jeremy Stein? (Jeremy did most of the Torah reading in UG) Then I started thinking about what I was going to say about the Torah portion. The bar mitzvah is a young man who is part of our special needs program (I prefer extraordinarily talented)—is not extremely vocal and I know will not stay in one place very long. I put together a program with his family for this wonderful day and it will be, as his parents say, “what it will be.” But he will know how special the day is simply by all of the fuss and love coming his way. </span></p>
<p><span class="font_large">Then I thought about the Torah portion (Ki Tissa) and how the word tissa besides its meaning of “taking” also means to carry or to raise. So that in that context everyone of a certain age will “raise up their head” to be counted. Meaning of course that each one of us is important, counts and makes an impact on this world. And each one gives a half shekel—rich and poor alike so that no one is counted as something less than who they are. The bar mitzvah will do that today, and I am so proud of him and his family for stepping forward, raising their heads and saying that yes, he matters and can never be marginalized. Such love is inspiring. </span></p>
<p><span class="font_large">I think that we felt that from the Abayudaya communities. In the face of poverty and conditions that make life more difficult than any of us can imagine, each one seems to stand up and say “count me amongst the Jews of the world.” I think that, (as Jack Chomsky pointed out in a recent article), is one of the things that make their story so inspiring. </span></p>
<p><span class="font_large">Also in this parashah, when the Israelites give the half shekel for the census, the word used is ונתנו (to give) which is a palindrome. When we give, it goes both ways—both the giver and the receiver are benefactors. I am so inspired by how much each one of our participants gave to go on this trip to Uganda and Kenya. Besides the substantially more than half shekel that each one spent, there was the worry of traveling the roads, dealing with immunizations, and so much more—everyone traveled, as we often say about going to Israel when someone asks, as an act of faith--knowing the dangers involved but still doing it to support Am Yisrael, the people of Israel wherever they are. </span></p>
<p><span class="font_large">Oh, and BTW, the bar mitzvah’s brother plays banjo—you guessed it, we are going to play music as people enter the sanctuary. He felt shy about doing it, but after we rehearsed yesterday he is psyched. </span></p>
<p><span class="font_large">Later in the day: <br>— the bar mitzvah ceremony was among the most beautiful services that I have ever done. The young man was active, and at times his parents had to get on the floor to speak with him (their speech to him was done on the floor). He did say “amen” to several prayers, and most of all—he got it!! Tears and laughter characterized the morning, but most of all a deep sense of knowing that we all matter—we all can stand up and be counted and make a difference in the world. And in stead of a closing hymn, like adon olam, his brother played the banjo beautifully while I played guitar and sang “Lcha Dodi” to “She’ll Be Coming Round the Mountain When She Comes” <br>'She' being the Shabbat Queen. Okay so it isn’t Shabbat, but each day is meant to be in preparation for that special day—and today ranks as one of the most special that I have ever experienced.</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/56504792019-02-19T13:24:18-08:002019-02-19T13:24:18-08:00Uganda Day 6<p><span class="font_large">DAY SIX <br>On one of my trips to Uganda Dr. Scott Calig, a member of Temple Aliyah, gave me a centrifuge to bring to the newly built Tobin clinic in Mbale—built by the Jewish community and serving the entire community of Mbale. The clinic said that they needed a centrifuge, so Scott and his wife Holly, graciously donated one. I carried it in my suitcase (it was pretty heavy, but my back was good back then). It is still working perfectly 10 years later and has been an important tool to diagnose disease and save peoples lives. I am so proud to have been part of that process, and so very proud of our wonderful Dr. Scott and Holly Calig, who are always so generous in spirit and delightful to be around. </span></p>
<p><span class="font_large">There is a young woman who works at the clinic’s birthing center, called the Puah and Shirfrah Birthing Clinic at the Tobin facility. Her name is Susan. When I was in Uganda many years ago, she was ill and had to have dialysis. I was carrying donations from our shul and had the exact amount of money that was needed for her treatment. She told me yesterday that the dialysis saved her life. Today she has three beautiful children <br>and is a vibrant member of the Abayudaya community. Her sisters, Bina and Boya, Dafnah and Igaal Sizomu recalled with genuine love and heartfelt words the times that I visited them through the years and sang songs that they never ever forgot—including I’m So Happy, Today is Shabbat! I recall them dancing in the small living smiling and laughing. One of things that make life so meaningful. </span></p>
<p><span class="font_large">Speaking of meaningful, after davening a beautiful fusion shaharit (morning service) filled with Ashkenazi and Abayudaya music. We realized that today was the World Wide Wrap—a day that Conservative Jews from all over the world celebrate the mitzvah of tefillin. And there we were in Africa!!!!! How perfect. </span></p>
<p><span class="font_large">Then we presented a Torah to the community, brought by Cantor Jerry Berkowitz from Milwaukee. We marched the Torah under the chuppah from the guest house to the synagogue where the new Torah met the other sifrei Torah and kissed each other under the chutzpah. We marched in to the sanctuary singing an Abayauday melody for Psalm 24 and after reading from the new Torah parshat Ha’azinu first in Hebrew and then in the very first Abayudaya melody ever composed in Luganda, the local language. </span></p>
<p><span class="font_large">After that, we presented our other gifts both religious and ritual objects and musical instruments. I was proud to present a trombone, trumpet and violin, all donated by Jeff Goldsmith owner of West Valley Music who always is so generous to all communities. </span></p>
<p><span class="font_large">Have an easy late afternoon and evening and maybe a chance to catch up on rest.</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/56504782019-02-19T13:22:21-08:002022-04-21T03:20:31-07:00Kenya First installment <p><span class="font_large">Travel from Mbale to Kasuku with Jeremy Stein was long and arduous. But I am so glad to have made it. I miss my beautiful family and I miss my colleagues, but seeing the mountains of Kenya, Mount Kenya, the lakes and the completely different terrain was very inspiring. And then, meeting the Kehillat Kasuku congregation, Yehuda and his father Yosef, the leaders, brought me back to 2007 when I first visited Nabagoya. A brand new perspective, new people, new ideas, new ways of worshipping the One God. Once again, as in 2007, I am met by people who have a deeply spiritual connection to Judaism—the middle of the countryside of East Africa. Yehuda, as was told to me by Harriet Bograd, president of Kulanu, is a brilliant and responsible community leader—the word mensch was invented for him. His father, Yosef, is a strong prayer leader, spiritual leader and teacher—but he is also a sponge who wants to soak up every bit of Jewish knowledge that is possible. We had a wonderful few hours around Shabbat mincha time when I taught him about the rituals of Saturday afternoon—prayer and Torah reading. We went on to talk about the Shema, and rolled the kehillat’s paper Torah (they do not yet afford a real Torah) to the place in Deuteronomy where it appears and showed him the large ayin at the end of the word shema and the large dalet at the end of the word echad. He beamed upon learning how a different spelling would change the meaning and how the ayin and dalet spell the Hebrew word ayd which means witness. Every time we read the shema when we close our eyes we should feel that we were standing there with every other Jew receiving Torah. He said “I am there!” Lunch at Yosef’s home was delicious and we spent a good hour after dinner discussing Torah. The question of Nidah and women’s issues, and the difference between Ashkenaz and Sephardic traditions and the idea that we should be able to have disagreements as long as our argument is for the “sake of heaven.” Jeremy brought up Hillel and Shammai and I brought ilu v’ilu “this AND this” are correct. We are a great team—it is a pleasure doing this work together. In terms of nidah (the time when a woman is menstruating) and permission to do certain activities such as attending synagogue brought up issues of woman’s health and access to needed supplies. It was brought up that young women will not go to school if they do not have the proper supplies during that time. Of course, our belief is that women are always welcome in the synagogue, and yes, they should have proper access to hygienic supplies. As I sat in Yosef’s house, I thought to myself how fortunate I am to be sitting in the modest home of a Kenyan Jew, eating carefully prepared food and discussing Torah. What a blessing. </span></p>
<p><span class="font_large">There are countless other moments of teaching that took place on Shabbat morning and afternoon. The community asked for songs for Purim and an explanation of the rituals. Jeremy Stein and I taught songs and had a blast joking around and setting the mood for Purim. The children of the community had questions about how they should answer questions from other students about their Judaism. One was about baptism and the fact that Jews are immersed in a ritual bath upon conversion (and at other times). I told the young man to tell the questioner, who insisted that our practice was Christian in origin to ask his priest how long before Jesus Jews were immersing in the mikveh. Hopefully he will get the honest answer from his religious leaders. Other students asked about prayer ritual—every question was deeply meaningful and showed a genuine interest in Jewish practice. </span></p>
<p><span class="font_large">The services in the morning were an interesting mix of Sephardic, Abayudaya and Ashkenazic mix of melodies and prayer style. They really wanted to show us what they do, so that we can guide them in small ways in areas that at least in their minds, improve. Jeremy read the first aliyah from the paper Torah, and the rest were read by Yosef in Swahili. I chanted the haftarah. </span></p>
<p><span class="font_large">By the way, it is very cool here in the mountains. A great relief from the 90 degrees of Uganda. In fact, I have borrowed a jacket from Yehuda for the evening time. Last night we chanted havdallah under the Kenyan sky.</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/56504772019-02-19T13:20:33-08:002021-12-17T04:18:41-08:00Kenya Second post <p><span class="font_large">Kenya Installment 2 </span></p>
<p><span class="font_large">Sitting at JFK watching a flight to LAX leave before my eyes—but I booked a later flight so that if the connection went badly I could make it. So I sit here, longing to get back but also afforded the time to do some writing. I am so glad that I decided to travel with my now traveling pal Jeremy to Kenya. He had developed a relationship between his Milwaukee congregation and Kehillat Kasuku in the Ol Kalou district when Yehuda, the son of Yosef, one of the founding elders of the community visited Jeremy’s synagogue. For me it was, as I mentioned, 2007 all over again—the first year that I visited the Abayudaya in Mbale. Yehuda’s community was all new to me—and I was blown away by their commitment to Judaism, their passion, their music and their optimism. Shabbat as I described was a full day of active learning and sharing. Sunday was filled with recording, interviews and more learning. We finished the day with dancing—I played the violin, and Jeremy taught everyone to dance Zemer Atik—to say that it was magical is not enough. There are no words. To record the children singing Hatikvah, Yerushalayim Shel Zahav and Al Kol Eleh in perfect Hebrew with strong earnest voices was an experience that will stay with me forever. Jeremy said to me “how could Israel even consider these children to not be Jews!—we should send a recording to Netanyahu.” What was even more amazing was the adult community singing their songs in Kikuyu, the language of their tribe!! They sing psalms and other pieces including one about crossing the Sea of Reeds—so perfect for our Haggadah project. What is even more interesting is that these songs originated in the Messianic Church that was their original home. They substituted Adonai for Yeshu (Jesus) and made the content fit the theology of Judaism. The elders, such as Yosef, were originally Messianic Jews, but when the church in Kasuku approached the Israeli Embassy in Kenya for recognition as Jews, they of course learned that being Jewish does not include the belief that the Messiah had come. This inspired Yosef to break away from the Messianic Church because he wanted to be truly Jewish and worship the one true God. He inspired founders of the community, including a wonderful couple, Avraham and Sarah (no coincidence that they picked these names upon converting) to reject Jesus and begin worshipping according to the Jewish tradition. They sought the help of Rabbi Gershom who visited and was impressed—now the group is officially a part of the Abayudaya community, and all themselves Abayudaya. They are totally egalitarian, but are eager to learn from whichever Jewish sources are available. There are three prominent ways that they learn: 1. The Jewish Congregation of Nairobi 2. The Abayudaya Congregation and Rabbi Gershom and 3. YouTube. <br>Now they will have number 4—The Cantors Assembly. Already Jeremy and I created YouTube videos to teach them songs for Purim and others. </span></p>
<p><span class="font_large">We are also launching a campaign to do a few things that are very important to the community. A Torah is being donated to them, and we are going to provide funding for a mahogany ark. I also talked to Yehudah about registering the community with the Kenyan government—this provides legitimacy and provides the ability to have a bank account. We are also going to help with creating NGO status so that donators can receive the tax credit. </span></p>
<p><span class="font_large">There is so much to do. To teach, to provide, to help the community survive in a place where there is poverty and lack of access to so many things that we take for granted. I like that Yehuda wants to create a musical project that can be sold and bring in funds for the community. We can provide only so much, and we need to create ways to sustain the Jews of Kenya. </span></p>
<p><span class="font_large">Look for Jeremy Stein and Mike Stein to put out info on fund raising for the ark and the registration. Of course, this may turn out to be a competition amongst Steins—and I know that my friends and congregation won’t let me down!! </span></p>
<p><span class="font_large">Oh, and yes, we went on a walking safari yesterday -- will post some photos --FUN!!!</span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/32689382014-11-05T22:01:06-08:002014-11-05T22:01:06-08:00Finding my "Voice"<span class="font_large"><span style="letter-spacing: 0.0px">So now you know what I was doing doing during part of my vacation in June and July. I was in sequestration in a hotel in Los Angeles near the Universal studios for almost three weeks. To get there I had to pass two major auditions in Los Angeles, in a process that auditioned talent all over the country. And after 45,000 people auditioned 103 of us found ourselves living together in what we called “music camp!” Every step of the process was secret, for that is the nature of “reality” television. I told my wife Kelley that it was like going to an Ivy League school — you might be a star in your own town, but once you get there, every one is a genius. That’s the way it was. And it truly inspired me. You know the article in the Jewish Journal which was very accurate except for my wife’s name (does anyone have a spare couch? LOL) quoted me as saying that I always thought of myself as a musician who sings. Well guess what? That changed in the three weeks that I prepared for the show. We had wonderful coaches and producers who worked with us—and every moment of every day people were singing in the lobby, around the pool, in the parking lot, in the restaurant—that is the sign of a true singer—you don’t stop—ever! I was that way with my musical instruments. I always joke that you have to have a fanatical stage—and I did. I am surprised that my musician sons still have hearing-I practiced for hours and hours when they were very young sitting in front of me. So what did I sing when I was sequestered? Yes I sang with my peeps around the pool, etc., but in my hotel room I sang songs from our tradition. I had an anthology for the High Holy Days, I had Yiddish songs that I was working on and just plain traditional Hazzanut. Why? Because I knew that working on that music would be fulfilling and force me to work on my craft, which is being a Hazzan, first and foremost. </span></span>
<p style="margin: 0px; font-size: 11px; font-family: Helvetica;"><span class="font_large"><span style="letter-spacing: 0.0px">I don’t know if you noticed a change, but I did on the Yamim Nora’im. I sang with confidence and with purpose, not just the words and the prayerful content in my heart and mind, but with the mindset of a singer whose desire to perform hiddur hamitzvah, beautifying the mitzvah was in my thoughts. I thought of myself as a singer. I had spent a good deal of time working on my craft and when it was time to step on to the stage of the television studio, kippah on my head and tzitzit underneath my shirt, I was the complete person. I did not even notice that the judges had not turned around. I did what I always do—I got in to it and did the best job that my vocal instrument allowed me to do. </span></span></p>
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<p style="margin: 0px; font-size: 11px; font-family: Helvetica;"><span class="font_large"><span style="letter-spacing: 0.0px">So “Aizeh ashir?….Hasameach b’chelko?” (Ethics of our Fathers 4:1) Who is rich? One who is happy with his portion. I went on the Voice because an agent called. My family encouraged me to do it—and I am glad I did. It felt good getting those two callbacks—like I felt when I was a kid auditioning for Broadway shows. But when I was young I could not find substance in what I was doing—singing other people’s songs and devoting time to issues that were not important to me. So I struggled and had great success as a writer of children’s music. I loved to teach and singing that material had meaning and instilled a love for music and thirst for knowledge in so many young people. Then I re-discovered my Judaism and became a cantor, singing the music that I grew up with and always heard in my head. This created the opportunity to sing about values and ideas that are very very close to my heart. I am so rich, so completely satisfied with what I do in the community, with the many opportunities to be close to people, to help, to counsel to teach and to inspire. My ego was stroked by being on television, but my deep sense of worth is enhanced daily by my work in the Jewish community. And not to mention by the loving reaction of so many to my appearance on the show. An overwhelming response of “they should have turned their chairs, but remember that we love you!” —from adults and children alike. What else is there to reach for? Okay I wouldn’t mind a contract with Universal studios. But for now, which holiday is next—OH YEAH— HANUKKAH and my friend Peter Yarrow! Don’t miss it, December 14— LIGHT ONE CANDLE!</span></span></p>Mike Steintag:www.michaelsteinmusic.com,2005:Post/32669972014-11-04T21:02:53-08:002023-12-10T08:59:04-08:00Voices of Hope<span class="font_large"><span style="letter-spacing: 0.0px">It is sometimes hard for me to get started on my articles or, for that matter to write any kind of piece. It has to kind of rumble around in my head, like a song—until it comes out in some kind of form that is ready to be shared. People who know me, know that I really don’t like to talk much, and I will often say before I begin to speak I public the following-- “I would much rather be singing.” But then there are times when something hits you so hard, makes such an impact that there is no question that a stream of thought will quite quickly become a river of ideas and form itself into a piece of work. That happened to me during one of my Sunday rehearsals with Kolot Tikvah, Voices of Hope choir. I am always touched by the experience of working with this group of young people—no, more correctly, I am inspired. I am definitely emotionally attached to the work of singing with young people with what I term “extraordinary abilities.” One of the reasons is that my mother Florence Stein z’’l taught me the value of music as a tool to reach people. She was kindergarten teacher in NYC, who played piano in the classroom and every summer she would volunteer during most of her summer off to work for the newly created “Headstart” program in a rural school where we spent our summers. She insisted that I bring my guitar and play and sing for the children. No questions asked, this was my duty. We lived near an institution in Queens, Creedmore Hospital (where my hero, Woody Guthrie was hospitalized), and my mother insisted that I go with my high school music buddies to the hospital and play for the patients. </span></span>
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<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">So on Sunday afternoons, when we rehearse, I am so tired as it is the end of a what is typically a long weekend of Shabbat services and teaching on Sunday mornings—our students are tired as well, but music is the cure all for that ailment. We start with a Hello song –</span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">(Group) Hello _____ shalom shalom tell me how are you ha’yom?</span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">(____) I’m fine thanks, todah rabbah </span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">(Group) we welcome you Baruch Habbah. </span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">Then we move on to vocal exercises, making sure that we use our hands as well as our voices to show the progression up or down of the musical notes—music theory 101. “Mamma made me mash my M&M’s” is a popular lyric for that exercise. Then on to the real work – we will do a song that we know as a good warm up and then on to music that we need to learn for our next performance, whether an outright show, or a worship service in the synagogue. Oh yes and the drums—drums are a very effective tool in helping the brain connect to music. Sometimes hitting a drum for every syllable helps the non-verbal person actually say the words. I don’t know the science but I know the almost miraculous effect. Speaking of miracles, we were rehearsing for Hanukka and doing a Debbie Friedman song, “Miracles Aren’t Just Magic.” The words continue “…..they need people to help them along.” We talked about the miracles of Hannukah, not just the oil but the defeat of Israel’s enemies. I stated that we couldn’t just stand there and expect God to help us win the battle, and one of the students said “We have to be partners with God and do our part!” We later sung another beautiful song by Rabbi Menachem Creditor, “Olam Chesed Yibane,” “ We shall build this world with kindness.” We made up our own words as we continued “I shall build this world with SONG…PEACE.” The words of the song represent a progression—“I shall….you shall…if we…THEN GOD will build this world with peace.” I asked how this was like the miracle song, and one of our members said “it is the same thing—if we don’t work to make it happen and be partners with God then it doesn’t work…we have to do our share!”</span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">I enter our Kolot Tikvah rehearsal tired every Sunday afternoon, but leave refreshed, inspired and filled with awe and love. Working with this choir and my other childrens choirs remains the most fulfilling work that I do. This last rehearsal I was a little bit in tears—I realized that m’dor l’dor, from generation to generation, the values that my mother taught me continue well in to the later years of my life. I have worked to instill those values in my children, and yes my grandchildren as well. </span></span></p>
<p style="margin: 0px 0px 8px; font-family: 'Trebuchet MS';"><span class="font_large"><span style="letter-spacing: 0.0px">The Kolot Tikvah choir, as well as Shir Aliyah and other choirs will be participating in a service on January 16</span><span style="font-size: 8px; letter-spacing: 0px;"><sup>th</sup></span><span style="letter-spacing: 0.0px"> called “Voices of Freedom—Dr. King, the Legacy Lives On!” The focus of the service is Interfaith worship with representatives and choirs of different faith groups in our community coming together to make Dr. King’s reality of all peoples living together in freedom. </span></span></p>
<div> </div>Mike Stein