{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/3r0pr7n493/manifest","type":"Manifest","label":{"en":["Lind, Dale"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["\u003cp\u003eLind, Dale. 1997. Interview by Neil W. Levin and Barry Serota. Milken Archive Oral History Project. 21 August.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Milken Family Foundation"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e© Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},{"label":{"en":["Agent"]},"value":{"en":["Levin, Neil W. (Interviewer)","Serota, Barry (Interviewer)","Lind, Dale (Performer)"]}},{"label":{"en":["Date"]},"value":{"en":["1997-08-21"]}},{"label":{"en":["Coverage"]},"value":{"en":["Chicago, IL (Place of Recording)"]}},{"label":{"en":["Language"]},"value":{"en":["English (Primary)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eOral history with Dale Lind, who discusses his experience growing up in a family of singers who would perform together, specifically with his two brothers and father Joshua Lind. Lind details the music they would sing together, and the many venues they would perform at as they visited Jewish communities throughout the United States. Lind also covers the many famous cantors he worked with as a boy. The interview ends with numerous musical performances by Lind and two granddaughters.\u003c/p\u003e"]}},{"label":{"en":["Format"]},"value":{"en":["Beta SP"]}},{"label":{"en":["Subject"]},"value":{"en":["Oral Histories (genre/form)","Jews — Music (Topical Term)","Great Depression (Topical Term)","Lind, Joshua (Person Or Corporate Body)","Peerce, Jan, 1904-1984 (Person Or Corporate Body)","United Jewish Appeal (Person Or Corporate Body)"]}},{"label":{"en":["Keyword"]},"value":{"en":["cantor, Chicago — Illinois, Jack Haley (1897-1979), Jack Heller (1906-1988), Jan Peerce (tenor), Joshua Lind (1890-1973), Les Paul (1915-2009), Lind Brothers, Meyer Machtenberg (1884-1979), New York — New York, Pierre Pinchik (1900-1971), radio, Ray Charles (1930-2004), synagogue, The Noteworthies, The Three Stooges, United Jewish Appeal (UJA), vaudeville, Yiddish theater, Yossele Rosenblatt (1882-1933)"]}}],"summary":{"en":["\u003cp\u003eOral history with Dale Lind, who discusses his experience growing up in a family of singers who would perform together, specifically with his two brothers and father Joshua Lind. Lind details the music they would sing together, and the many venues they would perform at as they visited Jewish communities throughout the United States. Lind also covers the many famous cantors he worked with as a boy. The interview ends with numerous musical performances by Lind and two granddaughters.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003e\u0026copy; Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},"provider":[{"id":"https://milken.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"homepage":[{"id":"https://milken.aviaryplatform.com/","type":"Text","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/848/small/Dale-Lind.jpg?1618940615","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848","type":"Canvas","label":{"en":["Media File 1 of 1 - X2505_Dale_Lind.mp4"]},"duration":5574.10187,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/848/small/Dale-Lind.jpg?1618940615","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/110/848/original/X2505_Dale_Lind.mp4?1616535413","type":"Video","format":"video/mp4","duration":5574.10187,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370","type":"AnnotationPage","label":{"en":["Edited Transcript [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: Your family was very close.  You sang together from the time you were children.\u003cbr\u003e\u003cbr\u003eLIND:  Always.  We used to walk in the streets of New York, ‘cause we didn’t come here till later, you know.  We used to walk in the streets of New York, and we’d harmonize with every song we knew.  American songs, just as well, you know. And finally, when we grew up — Phil was 16, I was 18, Murray was almost 22.  And my father said — he was a very wise man, you know.  And he said to me, “You know, boys, always in the back of your minds you’re going to feel that you didn’t do enough or you didn’t try to go beyond just the hazzanas.” He says, “’Cause this is a limited situation.”  He says, “You got great voices.”\u003cbr\u003e\u003cbr\u003eWe were born with different voices.  It is amazing, because one a tenor, I was a high baritone, and Phil was a low, a bass baritone, like.  And the blend was just great. So he says, “Go out and make your life.  Try.” So we began.  We were with radio.  In those days, radio was very big.  And we went to WBBN.  No — WGN, we went to. And as soon as they heard the name “Lind Brothers” — ‘cause we used to have a lot of advertising in the paper as cantors.  “No, we don’t want any cantors, we’re not interested in that.”  There was a lot of bias, unfortunately, those days. And so you know, we got smart.  And my brothers and I says, “We’re going to give ourselves another name.  We’re going to call ourselves The Noteworthies.” How we came up with that name, I don’t know.  But it’s a very funny story about that. Anyway, we went into WBBN and auditioned for them as The Noteworthies.  Oh, we sang, Blow, Gabriel, Blow and we did Pagliacci and, you know, we used to swing Pagliacci. We would open up legitimately — Recitar! Mentre preso dal delirio— we would do it legitimately, and then when it came to rest on the vesti la giubba — we would swing it. In those days, swing was a big thing.  And then at the end, we’d cut it off, and then Murray would come and would ridi, Paglaccio — we had a big finish. Well, they were so impressed, they gave us a two-year contract for CBS to stay on every single week.  They called it “Sing and Swing Unlimited,” with the Noteworthies and some other people.  Caesar Petrillo was our conductor.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=17.0,166.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Who did the arrangements for you?\u003cbr\u003e\u003cbr\u003eLIND:  You want to — I’m glad you asked me that question.  Because you won’t believe it.  Ray Charles, that arranged for Perry Como for years and years, had the Ray Charles Choir.  He was a staff — on staff! — and then, but he had to charge us.  You know what he charged us?  Fifteen dollars for an arrangement, for this whole orchestra.  He had 35 men sitting there in the orchestra. Les Paul and his guitar was in the orchestra.  We had so many famous people there, it was unbelievable.  Went on to, later on, became tremendous stars.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=166.0,202.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, going back, this was when you were still in New York.  I mean, you grew up in New York?\u003cbr\u003e\u003cbr\u003eLIND:  No, this was when we were in Chicago already.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, this…\u003cbr\u003e\u003cbr\u003eLIND:  No, no.  When we were a trio, we became a trio in Chicago.\u003cbr\u003e\u003cbr\u003eLEVIN:  Chicago.  When did you come to Chicago?  About how old were you when you came?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, God.  I think it had to be about ’38, ’39, 1938.\u003cbr\u003e\u003cbr\u003eLEVIN:  And before that, you…\u003cbr\u003e\u003cbr\u003eLIND:  We were in New York.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where did you live?  Do you remember?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=202.0,225.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Oh, sure.  You know, hazzanim always, cantors change their residences.  As soon as they get another shul, they move.  And Dad was in the Bronx, on Marmion Avenue, and he was in — I forgot the name of the shul. But then he was in Brooklyn, most of the time.  In Brooklyn he was on, in Clymer — Bedford and Clymer Street, and then Bedford and Hewes.  In different shuls there. And, and, but when he was in Borough Park, he was at Beth El. He followed Mordechai Hershman.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=225.0,253.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  He was in the Sephardishe Shul also, I think, after Rosenblatt.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, well, that was another, yeah.  \u003cbr\u003e\u003cbr\u003eSEROTA: That was before that. \u003cbr\u003e\u003cbr\u003eLIND: That was before.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where was - Which was when where Kahana was… Bedford and Hewes?  The rabbi was Kahana.\u003cbr\u003e\u003cbr\u003eLIND:  That’s correct. I remember that now.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s right. And so, you started — what? You were born here.  You were born in America.\u003cbr\u003e\u003cbr\u003eLIND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  You weren’t?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, oh, sure, in America.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=253.0,275.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: In America.\u003cbr\u003e\u003cbr\u003eLIND: I thought you meant Chicago.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, in America.  And all the children, all three of you were born in America?\u003cbr\u003e\u003cbr\u003eLIND:  All three were born — yeah, Murray, I don’t remember where Murray was born, but I know — yeah, Murray was born on East Broadway.  I remember now. \u003cbr\u003e\u003cbr\u003eLEVIN: And -\u003cbr\u003e\u003cbr\u003eLIND: And I was born in, in Borough Park.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  Now, you started singing in the choirs with your dad.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=275.0,295.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e My dad, as we got old enough, he’d make us soloists. Right away. And I remember who was with the choir, and I’m trying to remember — Robert Sarnoff — would you believe this?  The man that created NBC later on?  He was in the choir. And, and when he went to Pittsburgh — the reason I’m straying is just to show you the kind of people he had in his choir.  There was little Jackie Heller — I don’t know if you remember him.  And he got him out of the street. You know, the hazzanim were amazing in those days.  And Dad had such a keen ear.  They were playing ball in the street, and Jackie Heller was yelling. And he says, “Come over here,” he says, “you have a very fine voice.”  He says, “How would you like to sing in the choirs?” He says, “I don’t know.  I never sang in a choir.” He says, “Well,” he says, “I’ll pay you.  This is for money.” “Oh, sure.” Came in, taught him — he became a soloist.  He had a sweet little voice.  Later on, he went into vaudeville, and made it big.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=295.0,352.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But he sang in shul, in…\u003cbr\u003e\u003cbr\u003eLIND:  Absolutely. He used to sing \u003csings\u003e I’m trying to remember how it went. \u003csings\u003e And then, then he would sing it again. And he says, you want to know something funny?  When he was in the theater and we visited each other, he said to me, “I warm up every morning with your father’s solos.” Then, of course, I have to tell you, Jan Peerce.  It’s a, it’s not a right thing to say, but the average hazzan was afraid to hire Jan Peerce as a soloist.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=352.0,395.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  You’re talking about when Peerce was still a child?\u003cbr\u003e\u003cbr\u003eLIND:  In New York.  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  When he…\u003cbr\u003e\u003cbr\u003eLIND:  When he was a young man already.  And we used to call him “Pinky.” My dad was one of the few cantors, if not the only one, that hired Peerce to be a soloist.  It was in Machtenberg’s choir, I think, or in Adler’s — I don’t remember, exactly.  I think it was Machtenberg.  And hired him because he says, “The better singers that I have surrounding me, the better I’m going to sound, and I’m going to get all the credit anyway.”  He says, “So what’s the difference?”  He says, “This jealousy should not be there, and this fear” — he says, “I’m a good ha-” — my dad says, “I can hold for myself here,” he says, “and I’m going to, doing, I’m davenning and doing all this.” And he had such confidence in himself as a cantor, as a hazzan, that he was, feared nobody.  And he wrote special solos for, for Jan Peerce. And I’ll never forget — Murray, at that time, was a boy soprano.  And they did duets.  And I got a funny story about that, if you want to hear that.  About when we get to Chicago. Murray sang boy soprano until he was 16 or 17 years old.  And he sounded like Lily Pons.  He was an unbelievable soprano.  Coloratura work — with the whole thing. And he did duets with Jan Peerce.  And solo work, of course. And then, Jan — I’ll never forget, my father wrote a solo for him at the end of the kiddushe. \u003csings\u003e— he hit a high B-flat, or was it a — I think it was a B-flat.  Right up! \u003csings\u003e And the choir, it came in with a \u003csings\u003e, and he had \u003csings\u003e.  Then he’d hit a high C when \u003csings\u003e— that was a high C there. \u003csings\u003e And the choir would come in \u003csings\u003e. It was, in those days, believe it or not, in the Orthodox synagogues, they would break out in applause.  Now, they don’t allow it.  God forbid you should go like this during a service.  But they broke out in applause. Just like in, when Dad was in Israel, he davenned in one of the big shuls there. I don’t remember which one, but it was a big shul. When he finished davenning, they, they went up to the omed, picked him up on their shoulders, and carried him around the synagogue. That’s how hot these Jews were about cantors. You don’t see that today.  Now you see a lot of cantors, they’re better off being teachers. I mean, teachers for bar mitzvah boys.  What’s happened to the cantorate shouldn’t happen.  There are a few exceptions, we all know that.  There are exceptions. But the old-time cantors that I remember as a child, that used to come into my father’s house — Roitman, Rutman, Shlisky.  Not Mordechai Hershman — he didn’t come to my father’s house. Yossele Rosenblatt. I always wondered if he slept with the beard over the blanket or under the blanket.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=395.0,591.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Which was it?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t, to tell you the truth, it was over the blanket.  When they brought me to Chicago, I was about 11 years old.  And we slept in the same bed.  And I couldn’t go to sleep, ‘cause I wanted to see what happens with his beard. And he, and he was so good to me.  He dedicated a song to me that he that he had published.  And he says, \u003csings\u003e — do you remember that, he used to sing? \u003csings\u003e It was just wonderful.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=591.0,640.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  He wrote that song here?\u003cbr\u003e\u003cbr\u003eLIND:  He wrote — no, he wrote it in New York.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, he wrote it in New York.  No, I mean, in America.  When I said here…\u003cbr\u003e\u003cbr\u003eLIND:  Yes, in America.\u003cbr\u003e\u003cbr\u003eLEVIN:  He wrote it here after he came from… yeah?\u003cbr\u003e\u003cbr\u003eSEROTA:  Yeah.  I think it’s a printed song.\u003cbr\u003e\u003cbr\u003eLEVIN: Are you sure about that?\u003cbr\u003e\u003cbr\u003eLIND:  If I, I would have to —\u003cbr\u003e\u003cbr\u003eLEVIN: It’s a printed song.\u003cbr\u003e\u003cbr\u003eLIND: Yeah, it’s printed.  I would have to look for — I don’t even know when it was personally engraved.\u003cbr\u003e\u003cbr\u003eLEVIN:  Hyman brought you here when your father was still living in New York.\u003cbr\u003e\u003cbr\u003eLIND:  As a child.  As a child.\u003cbr\u003e\u003cbr\u003eLEVIN:  He brought you for…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=640.0,660.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Yes.  When my dad lived in New York, my ma…\u003cbr\u003e\u003cbr\u003eLEVIN:  How, how did Hyman find you?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t know.  He heard about me.  He always looked for people like that.\u003cbr\u003e\u003cbr\u003eLEVIN:  So what, he brought you here for what?  For High Holidays, or...\u003cbr\u003e\u003cbr\u003eLIND:  No, he brought me here to, he said, “I’m going to take him over,” and I started davenning shabbosim in different congregations.\u003cbr\u003e\u003cbr\u003eLEVIN:  As a, I mean…\u003cbr\u003e\u003cbr\u003eLIND:  As a boy cantor.\u003cbr\u003e\u003cbr\u003eLEVIN:  As a boy cantor.\u003cbr\u003e\u003cbr\u003eLIND:  You see, they accepted it in those days.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, I still haven’t gotten an answer as to how that could — I, I wasn’t…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=660.0,683.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e The Orthodox synagogues — that’s where I davenned, ‘cause I was an Orthodox cantor, what did I know?  I mean, there are Conservative — forget about it.  But then, I davenned — of course, with the full regalias, you see, you know, as you see in my pictures. And from A to Z — I was a novelty, okay. And on those days, you got to realize, we’re talking about ’29 — no, ’28, ’27.  In those days, 50 cents admission was a lot of money.  And when it went up to a dollar, it was really like a miracle. They paid me for Friday and Saturday — that is, they gave the check to Hyman, then he would send part of it to my father.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=683.0,726.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  How much, how much was the…\u003cbr\u003e\u003cbr\u003eLIND:  Oh, he took about 25 percent.  The reason he did that was because I stayed in his home and they fed me, and all that stuff. But no. I mean, they’d send the checks to my father and mother. And they paid me $400 for Friday, Shabbos, and a concert on Sunday night.  Always did a ma’ariv and a concert.  That’s the way it was, you know.\u003cbr\u003e\u003cbr\u003eSEROTA:  When you davenned a Shabbos, did you daven with a choir?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=726.0,752.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  No.\u003cbr\u003e\u003cbr\u003eSEROTA:  You davenned by yourself.\u003cbr\u003e\u003cbr\u003eLIND:  Who the hell had a choir in those days?\u003cbr\u003e\u003cbr\u003eSEROTA:  And at concerts?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  I came to St. Louis or to Cincinnati, or whatever I went, there were no -\u003cbr\u003e\u003cbr\u003eLEVIN:  But in Chicago, and so, for example, what kind of, can you remember some of the shuls you davenned in?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=752.0,766.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Yes. I davenned in the Sephardishe Shul.  In fact, he had Pinchik — you know, Pinchik was also under his management.  And Pinchik — he had him come to hear me, and I sang Rose de Shabbes — you know, Sephardit.  And when I got through with the davenning, you know what Pinchik said?  He said to Hyman, he says, “He needs to talk like through his nose.”  If, I don’t know if you remember, he said, “Iz vach naha Pinchik.”  That’s what he said.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=766.0,795.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And you were a child at that, at the time.\u003cbr\u003e\u003cbr\u003eLIND:  Yes, I was a child.\u003cbr\u003e\u003cbr\u003eLEVIN:  And you came here, then, before your father did?  Before, before the family moved here…\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yes, absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN: …you were here…\u003cbr\u003e\u003cbr\u003eLIND:  I was here first, yeah.\u003cbr\u003e\u003cbr\u003eSEROTA: Right, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  How about your brothers?  Did they…\u003cbr\u003e\u003cbr\u003eLIND:  No, they didn’t do.\u003cbr\u003e\u003cbr\u003eLEVIN:  They didn’t do these kind of concerts or…\u003cbr\u003e\u003cbr\u003eLIND:  No, no, no.\u003cbr\u003e\u003cbr\u003eLEVIN: …Murray didn’t do that as a boy? No?\u003cbr\u003e\u003cbr\u003eLIND:  He didn’t. No, he didn’t.  Murray didn’t do it, and Phil didn’t do it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=795.0,814.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  In those days, you were known as Dovid Lind, no?\u003cbr\u003e\u003cbr\u003eLIND:  Dovidl.\u003cbr\u003e\u003cbr\u003eLEVIN: Dovidl.\u003cbr\u003e\u003cbr\u003eLIND: Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then your father still needed you, though, in New York, didn’t he, for the holidays?\u003cbr\u003e\u003cbr\u003eLIND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  He let you go?\u003cbr\u003e\u003cbr\u003eLIND:  I went by myself.  I remember davenning in Minneapolis for the holidays, and other places.\u003cbr\u003e\u003cbr\u003eLEVIN: What age? What age would you be…\u003cbr\u003e\u003cbr\u003eLIND:  I was 11, 12 years old.\u003cbr\u003e\u003cbr\u003eSEROTA:  Twelve years old, you davenned as a hazzan Rosh Hashanah and Yom Kippur.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=814.0,835.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e I was a hazzan.  They let me do it.  I don’t, I didn’t daven holidays, I don’t think, in Chicago, if I remember correctly.  I did do it out of town.  And in these lesser, lesser cities — to them, there was a great novelty.  They just loved it.  You know, and maybe they’d go out and hire somebody for the holidays.  So there was no problem with the holidays.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=835.0,858.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  When you did a, let’s say you did a concert on a Sunday.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah?\u003cbr\u003e\u003cbr\u003eSEROTA:  As part of a weekend package.  What kind of things did you sing on a concert?\u003cbr\u003e\u003cbr\u003eLIND:  On a concert?  I used to sing Russian, I sang Yiddish, I sang hazzanas, of course.  Never did English, American.  Never. I remember, I used to do \u003csings\u003e… Russian.  I did, I learned the Russian.  Well, Hyman was Russian.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=858.0,885.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Who taught you?  Your father taught you?\u003cbr\u003e\u003cbr\u003eLIND:  Hyman was Russian.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did your father coach you on all these things?\u003cbr\u003e\u003cbr\u003eLIND:   Yeah, he coached me.  And I mean, I did all kinds of stuff.  Who remembers it?\u003cbr\u003e\u003cbr\u003eLEVIN:  And this was a concert, let’s say…\u003cbr\u003e\u003cbr\u003eLIND:  I sang Yiddishe lied, you know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Let’s say on Independence Boulevard…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: …you gave a concert.  So you sang with a pianist?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=885.0,902.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Yeah, we were always with a pianist.\u003cbr\u003e\u003cbr\u003eLEVIN:  A local pianist from Chicago.\u003cbr\u003e\u003cbr\u003eLIND:  Always with a pianist.\u003cbr\u003e\u003cbr\u003eSEROTA:  Who would accompany you in Chicago?\u003cbr\u003e\u003cbr\u003eLIND:  What?\u003cbr\u003e\u003cbr\u003eSEROTA:  Who would accompany you in Chicago?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, God, you’re asking me a tough question now.  Because that’s a long time ago.  There was a guy that ended up in Israel, and I cannot remember his name.  He was an accompanist for a lot of hazzanim.  Sher, was his…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=902.0,923.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Peter Sher?\u003cbr\u003e\u003cbr\u003eLIND:  Peter Sher.\u003cbr\u003e\u003cbr\u003eLEVIN:  And what happened — now of course, in these days, you were — what’d you do about school?\u003cbr\u003e\u003cbr\u003eLIND:  I had private tutors.  You had to have a private teacher.  When you traveled, when I traveled.\u003cbr\u003e\u003cbr\u003eLEVIN:  This is expensive.\u003cbr\u003e\u003cbr\u003eLIND:  I made a lot of money.  Are you kidding?  I mean, $400 a week, I was making.  It was, it was — you know what that was those days?  People were making $15 a week, $18 a week?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=923.0,946.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Sometimes you might have made more. You-\u003cbr\u003e\u003cbr\u003eLIND:  I would say yes.  There was times when Hyman made more than I did.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, I had a feeling that probably always that was the case.  But that’s beside the point. Did, you got along with Hyman?\u003cbr\u003e\u003cbr\u003eLIND:  Very well.  Very well.\u003cbr\u003e\u003cbr\u003eLEVIN:  Not everybody has said…\u003cbr\u003e\u003cbr\u003eLIND:  He had a great sense of humor.  He used to kibitz.  When we kibitzed, and…. He was, he loved me.  He really did.  And…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=946.0,966.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  When you went, when you went back here, I mean, with that kind of money, you could have supported the family.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, but I, I also davenned in New York.  I remember that. In fact, when I was bar mitzvahed — 13 years old — this was also a first.  At a bar mitzvah in a shul, they used to come to daven.  They charged money to hear me daven at my bar mitzvah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=966.0,988.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Where was that? In Bedford Avenue?\u003cbr\u003e\u003cbr\u003eLIND:  In, uh, yeah.  Bedford Avenue.  I think it was Bedford and Hewes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Bedford and Hewes, yeah.\u003cbr\u003e\u003cbr\u003eLIND:  And I, and I davenned the Shabbos there, and they paid, I think 50 cents, or whatever it was, towards the bar mitzvah.\u003cbr\u003e\u003cbr\u003eSEROTA:  Did you have a choir on the Shabbos of your bar mitzvah?\u003cbr\u003e\u003cbr\u003eLIND:  I, I might have had.  In Adler’s shul.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=988.0,1008.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: In Adler?\u003cbr\u003e\u003cbr\u003eLIND: In Dad’s shul, yeah.  That was a — in New York, you were more prone to have a choir. But out of town, I never had it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, you told me a story once, and I don’t remember what it was.  I just remember it had to do, something with your father davenning in the shul.  Something with the noise of the Third Avenue L.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1008.0,1027.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Yeah, that was in Clinton Street.  He was cantor, it was the Clinton Street Synagogue.  And my dad, he would daven there, okay?  And he used to joke about it, because when the L went by, they couldn’t hear what he was saying.  So he says, “So I’d skip a few pages.” I mean, that was his story.  But…\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean the elevated train there, the L would…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah. It was impossible.\u003cbr\u003e\u003cbr\u003eLEVIN:  It doesn’t exist anymore, but…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1027.0,1049.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  No, but it was impossible.  You could not hear a thing.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:   Yeah, I remember that.  Now, did you, at that time, I mean, you were already a hazzan, I mean, as a child.  You knew this was what you wanted to do?\u003cbr\u003e\u003cbr\u003eLIND:  I wanted to sing.  And of course, this was my atmosphere at that time.  I mean, they were all cantorial.  I mean, and so, that’s what I did. I sang on radio, I did little parts there.  I remember the first line, I was \u003csings\u003e. Then I remember that. They used to have Jewish hours there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1049.0,1085.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA: Whose song was that?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t even remember that.\u003cbr\u003e\u003cbr\u003eSEROTA:  Or did your father write Yiddish songs…\u003cbr\u003e\u003cbr\u003eLIND:  My dad wrote a lot of stuff.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did he write a lot of Yiddish songs?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yeah.  I got Yiddish songs in my drawers full.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, yeah?\u003cbr\u003e\u003cbr\u003eLIND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Here?\u003cbr\u003e\u003cbr\u003eLIND:  They might not be acceptable now, because they were the kind of songs that fit that generation.\u003cbr\u003e\u003cbr\u003eLEVIN:  I know.  I know what you mean.  But they’re — some, you have some…. Look — for example, there are songs that apply only to a certain…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1085.0,1112.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  He wrote a song about nissim.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003eLIND: And at that time, of course, Hitler was, you know, in power.  And he’d sing nissim, and nissim, and Nissim — something like that. And we, we would be his choir.  And we would sing nissim and he would sing some of the, the verses, and at the end he would say, Hitler’s a \u003cSOUNDS LIKE\u003e chop momo — you know, and that kind of thing. \u003cSOUNDS LIKE\u003eWurtz zei nissim.  So we would sing nissim, and the people would go crazy.\u003cbr\u003e\u003cbr\u003eHe used to write for the times.  He wrote for the times.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1112.0,1141.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  There was a song — M’nucha v’simcha.\u003cbr\u003e\u003cbr\u003eLIND: M'nucha v’simcha.  There was a funny story about that.  I was going to tell you that story. When we were in Chicago, my dad had said — you know, he knew that Yossele Rosenblatt — you know the story, how he invested very badly.\u003cbr\u003e\u003cbr\u003eSEROTA:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1141.0,1156.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e They took him for every, practically everything he had.  And all of a sudden, he was broke. So they came to him with a proposition — “Why don’t you appear in vaudeville?”  And they offered him a thousand dollars a week.  That was an awful lot of money then. Well, he accepted, with one condition.  He would not work on Friday night; he would not work on Saturday.  Okay? So when he appeared — there was like four shows a day, or five sometimes, you know.  And he would be singing — his big favorites was Pagliacci.  He wanted to do an American song, and he’d stand up there, and, and with his foot, he’d go, When you and I were 17… it was really ridiculous, you know, with the accent.  But the people loved him. Why did they love him?  It was all his people — it was all Jewish people.  They were around the block, waiting for every show. That’s how popular this man was at that time. So one time — when it came to the last show — this is the story that went around — and he had to do Pagliacci again, and he did Eli, Eli was his big number, you know, Sh’ma Yisroel at the end.  And when it came to Pagliacci and he had to do ridi Pagliacci, of course, he was tired already. So instead of going, ridi Pagliacci, sul tuo amore… couldn’t do it.  So he’d do it an octave down. Ridi Pagliacci, sul tuo amore infranto… It was overheard, a guy in the audience said, “It must be the Jewish way.  But it’s not bad,” he says. This was the story about Rosenblatt. Well, Father got the itch.  He says, “You know, I got these wonderful boys to sing with me.”  He says, “Why don’t we go into try our luck, you know?” Well, those days, in Chicago, it was all Balaban and Katz.  Everything was Balaban and Katz.  And in order to get a Balaban and Katz contract, you had to audition.  How did, where did you audition?  In the Congress Theater, in the Polish neighborhood.  And that’s who the audience was — they were all Polish people, okay?  This is where we were going to audition.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1156.0,1288.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  What year was this?\u003cbr\u003e\u003cbr\u003eLIND:  Huh?\u003cbr\u003e\u003cbr\u003eSEROTA:  What year was this?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, my gosh.  Well, it had to be way before the war, so it had to be in ’37, maybe 1937. Anyway, so we have — and when you auditioned, you know, they would put these signs out on an easel.  This act, this act, an acrobat, a magician — whatever they had there.  And they had 17 acts that night.  I mean, it was — you know, everybody’s auditioning.  So you couldn’t do more than about two numbers, three tops. Okay. So what are we going to sing?  Dad is going to sing Menucha V’Simcha, and he’s going to do Song of the Flame. That was very popular, a Russian thing. What’s that light that is beckoning? — I don’t know if you know that. Through that light that is beckoning, they go on, on, on, on — and it went on and on.  It was a march-type thing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1288.0,1344.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  What language was that in?\u003cbr\u003e\u003cbr\u003eLIND:  It was Russian originally, but they put it into English.\u003cbr\u003e\u003cbr\u003eSEROTA:  Your father sang in English?\u003cbr\u003e\u003cbr\u003eLIND:  No, yeah!\u003cbr\u003e\u003cbr\u003eLEVIN:  It sounds like a revolutionary song.\u003cbr\u003e\u003cbr\u003eLIND:  A what?  Yeah, I guess so.\u003cbr\u003e\u003cbr\u003eLEVIN:  It sounds like something, you know, from the…\u003cbr\u003e\u003cbr\u003eLIND:  Almost like The Star-Spangled Banner.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, but it sounds like a Russian Revolution….","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1344.0,1359.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e That’s right.  And I think that’s where Dad got his influence with his writing, by the way.  He also wrote a lot of marches, as you know. So, so he said, okay, we’ll open with the Song of the Flame.  Then we’ll do Eli, Eli, and then we’ll see what happens.  Oh, no — Menucha V’Simcha, I’m sorry.  Song of the Flame, Menucha V’Simcha.\u003cbr\u003e\u003cbr\u003eWell, the act before us were playing accordions. Because it was a Polish neighborhood.  They were tearing the house down, okay?  They were playing — ta ta ta ta ta ta ta… you know, these Polish songs. My dad is standing backstage and he says, “Wow. Listen to the applause.”  He says, “If he’s getting that kind of applause, we got to tear the house down,” he says. And we walk out to the — no, they closed the curtain for every act.  Well, and those days, he hired — to make his appearance — he hired another tenor, ‘cause we were only three kids.  Hired a tenor, who was kind of balding, had gray hair here, and he was a short man.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1359.0,1424.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:   What was his name?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t even remember.  He was from Detroit or something.  He was a good musician, you know.  Then he hired a tall drink of water, but I mean like six foot four, for a baritone.\u003cbr\u003e\u003cbr\u003eSEROTA:  That was Zane?\u003cbr\u003e\u003cbr\u003eLIND:  That was Zane. Zane, right.\u003cbr\u003e\u003cbr\u003eSEROTA:  Reuven Zane.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1424.0,1438.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  He was from Cleveland.  And we would travel together when we had to do some, the singing. So now, picture this — in those days, you didn’t wear the yarmulke like you wear in the back.  You wore them here.  Okay?  So there’s five of us standing there, and my father’s going to direct, with his back to the audience.    \u003cbr\u003e\u003cbr\u003eLEVIN: Your father was back to the… the curtain goes up, and you…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1438.0,1458.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Okay, yes.  So — no, it doesn’t go up.  That’s the problem.  It, it stopped just about that high. Now we get nervous, and we start running around.  Open, pick up the curtain!  So the people in the audience see feet running around, okay?  Now, they start to laugh — they think it’s a comedy act.  It’s got to be.  They were all running around. Well, when they finally got the curtain up, and my dad, we told him not to point.  He had a habit of pointing — it’s your turn, it’s your turn, you know.  We said, “Don’t point.”  Okay. So, as we are out of position now, he’s going like this — into position.  With his elbows.  Well, and they take one look at the five of us standing there with these hats — they thought we were Chinamen.  We looked just like Chinamen.  And they break out in laughter.  I’m telling you — they break out in such laughter, that now we’re getting nervous, we’re getting hot.  Being American boys, we could spot right away what, what was going on. However, we sing — in those days, there were very elaborate arrangements.  My father made this arrangement.  But it’s not like the Hebrew arrangements — he does it to the Song of the Flame.  So I sang, What’s that light that is beckoning?  Beckoning, beckoning, beckoning, beckoning.  Well, now, they’re all set — well, they start laughing more, because they never heard a song like this.  Through that light that is beckoning, beckoning, beckoning, beckoning, beckoning.  But he’s not pointing — he’s going like this, you know. There was an act called The Harmonic, The Harmonica Players, with Johnny Player, who was a little guy.  And that’s was Dad looked like, directing.  These — well, they were laughing, okay? We get through with the number.  Now, my dad is getting a little nervous.  ‘Cause he hears ‘em laughing at us. They applauded like crazy.  That’s fine, that’s fine. Now we had to do Menucha V’Simcha.  So he has to turn around, and he’s going to announce it.  He got so frightened when he looked into that audience, ‘cause he didn’t see a familiar face, okay?  And he says, instead of saying, “We’re going to do a piece, a Hebrew piece, Menucha V’Simcha,” he says, “An Arabian melody.”  Well, when he said, “An Arabian melody,” my brothers and I, we almost fell, fell off our feet.  It was all we could do to stuff our handkerchief in our mouths, to keep from screaming.  This Arabian melody. And then he starts off, Menucha V’Simcha, oh l’ehudi. Yat tat tat… I want to tell you. And then it comes to the bim bam.  Murray is the soprano.  All right?  He goes, bim bam bim bam, bim bam bim bam.  When he hit that soprano voice, three rows fell off their seats.  Because they figured, oh, this is comedy, I never saw comedy like this. We’ve got agents from Balaban and Katz sitting out there. When it was over, we walked off after Menucha V’Simcha, they didn’t let us off the stage.  I’m telling — they screamed.  They wanted more. So my father says to Murray, “Go out and singa solo” — to the boy soprano. He says, “I really want to…” He says, “Sing Ah, Sweet Mystery of Life.” He says, “If I go out there” — and now the tears are coming down Murray’s face.  He says, “If I sing Oh, sweet mystery of life, they’re going to absolutely collapse.” He wouldn’t go out. Well, the next act went on, the agents came backstage, and they said, “This is one of the funniest comedy acts we’ve seen in a long time.” Was my dad hurt!  “Funny?  Comedy?”  He says, “You’re going to ruin our reputations.”  He says, “Boys, get your coats.  We’re going out of this crazy place.” And out we left. That was his career in show business. And we, we never forgot that.  You know.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1458.0,1675.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  How much touring did the four of you do?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, we did a lot of touring with Hyman.  We did a lot of it.  We went to Detroit. I’ll never forget it. We started in Detroit out of New York. And I think they paid us, they made a contract with us, when they heard us daven — we davenned Shabbos, you know, for the Holidays — $4100.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1675.0,1694.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  For High Holidays.\u003cbr\u003e\u003cbr\u003eLIND:  For three days. Yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  What year was that?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, that, that was in the ‘30s.\u003cbr\u003e\u003cbr\u003eSEROTA:  Right after the Depression?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  \u003cbr\u003e\u003cbr\u003eSEROTA: After the crash?\u003cbr\u003e\u003cbr\u003eLIND: It was like ’32, ’33, somewhere in there.\u003cbr\u003e\u003cbr\u003eLEVIN:  There came a time when — of course, you all took, eventually, similar in some respects, but in other respects, slightly different paths.  But you were all cantors.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1694.0,1714.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Oh, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  The three boys. And there were others in the family?  Did you have…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, we had two sisters.\u003cbr\u003e\u003cbr\u003eLEVIN:  Sisters.\u003cbr\u003e\u003cbr\u003eLIND:  We have two sisters.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did they sing?\u003cbr\u003e\u003cbr\u003eLIND:  Yes.  They sing in my choirs still, today.\u003cbr\u003e\u003cbr\u003eLEVIN:  Still today?\u003cbr\u003e\u003cbr\u003eLIND:  Yep.  Absolutely.  They’re seniors, but they, they know the, the parts…\u003cbr\u003e\u003cbr\u003eLEVIN:  Did they, they were younger?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yes, they’re younger.\u003cbr\u003e\u003cbr\u003eLEVIN:  So what, of course, they couldn’t sing in the choir in Brooklyn.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1714.0,1736.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  No.  No.  No way.\u003cbr\u003e\u003cbr\u003eLEVIN:  But did they ever sing…\u003cbr\u003e\u003cbr\u003eLIND:  They didn’t sing in the choir with my father.  But they did sing with him on weddings, things like that.\u003cbr\u003e\u003cbr\u003eLEVIN:  They did.\u003cbr\u003e\u003cbr\u003eLIND:  When we went into the service, my brothers and I, my father took the girls and, and they sang together.  You know, they did certain things. Maheira and…\u003cbr\u003e\u003cbr\u003eLEVIN: Vimale…\u003cbr\u003e\u003cbr\u003eLIND: Yeah, yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1736.0,1756.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, there came a day, did you ever sing the Vimale, for, at a wedding?\u003cbr\u003e\u003cbr\u003eLIND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  You?  Never?\u003cbr\u003e\u003cbr\u003eLIND:  Never.\u003cbr\u003e\u003cbr\u003eLEVIN:  You were never known as a Vimale boy.\u003cbr\u003e\u003cbr\u003eLIND:  Never did it.  Never did it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Your sister did.\u003cbr\u003e\u003cbr\u003eLIND:  I, maybe she did it, I don’t remember. But we did not sing that.  We sang mi adir al hakol… you know. And Maheira…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1756.0,1776.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, what was the connection with Julius?\u003cbr\u003e\u003cbr\u003eLIND:  Nothing, except just as- \u003cbr\u003e\u003cbr\u003eLEVIN: Did you know him?\u003cbr\u003e\u003cbr\u003eLIND: He was a student of my father’s.  That’s all.  We never sang with him.\u003cbr\u003e\u003cbr\u003eLEVIN:  You never sang.  When you say he was a student of your father’s…\u003cbr\u003e\u003cbr\u003eLIND:  He used to come in and get numbers from my father.  My father would sing over the things, you know, when he — I think he was a pianist. He sat down at the piano.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1776.0,1794.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, well, he could play, I mean.\u003cbr\u003e\u003cbr\u003eLIND:  And they went over the whole number.  And you know, my dad had like a school, only it was at home.  That was his school.\u003cbr\u003e\u003cbr\u003eLEVIN:  He taught, he coached cantors and so forth?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  But Julius was…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1794.0,1808.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e And they would trade off.  Even Yossele would come to my father once in a while and say, maybe there was a certain piece he was interested in and couldn’t figure out, maybe, what to do, you know. And he was, he had plenty of, of skhora, as they say. But my father, he was really amazing, in that if he knew your voice — he wrote for Richard Tucker like he was Richard Tucker.  In other words, he wrote for his voice.  That’s what was so amazing. And the Ticha Simcha, you know, has been published, and that was Dad’s.  And other things. But being out of New York, when we came to Chicago, he lost a lot of that contact.  So he would work with other people that were lesser hazzanim there.  You know.  Except maybe in a case like in the old days — Teveleh Cohen, you know.  Kritz.  They were all friends, you know, of my father’s.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1808.0,1861.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  What about Moe Silverman?\u003cbr\u003e\u003cbr\u003eLIND:  Moe Silverman of course, yeah.  Yeah.  He would.\u003cbr\u003e\u003cbr\u003eWell, his father had known my father.  ‘Cause Moe was a lot younger.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Now, there came a time when you traveled around the country in a big car that…\u003cbr\u003e\u003cbr\u003eLIND:  Oh, you know about that.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  You went to, as far west as, where? \u003cbr\u003e\u003cbr\u003eLIND: Oh, we went everywhere. I mean, we went to, we davenned in Los Angeles, we davenned — you know, Breed Street Shul.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1861.0,1887.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Oh, you went to Breed Street.\u003cbr\u003e\u003cbr\u003eLIND:  Oh, absolutely.  And we davenned in San Francisco. I don’t remember what synagogue over there.  We went from there to Portland, to Seattle, to all the way — we made the whole country.\u003cbr\u003e\u003cbr\u003eLEVIN:  This was in what year?  About?\u003cbr\u003e\u003cbr\u003eLIND:  I would say it had to be about ’32, ’33.\u003cbr\u003e\u003cbr\u003eLEVIN:  It was after the crash.\u003cbr\u003e\u003cbr\u003eLIND:  Yes.  Oh, yes.\u003cbr\u003e\u003cbr\u003eSEROTA:  Did you have some involvement in Los Angeles with Warner? Pop Warner?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1887.0,1910.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Yes, we did.  Well, you know, they were interested those days in, in — you know, they had Al Jolson and all this kind of stuff.  And they were interested in the kind of things that we did.  And we did, we did try.  \u003cbr\u003e\u003cbr\u003eAnd we went into the Shrine Auditorium.  And we appeared with — oh, you wouldn’t know, I don’t think, the — The Stooges — with all these different performers and acts.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1910.0,1934.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Who were… the Three Stooges?\u003cbr\u003e\u003cbr\u003eLIND:  We were in, we sang…\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, yeah, yeah, I got to get this.  You appeared with the Three Stooges?\u003cbr\u003e\u003cbr\u003eLIND:  In the Shrine Auditorium.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  Moe, Larry and Curly?\u003cbr\u003e\u003cbr\u003eLIND:  But, uh — yeah.  And then there was somebody else.  Uh, oh, I forget the name of the guy.  Haley?  Not Haley.  There were a lot of acts that, in those day that…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1934.0,1952.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Jack Haley?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, Jack Haley.  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  The Tin Woods, the Tin…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, he became, later he became the Tin Man.\u003cbr\u003e\u003cbr\u003eBut we appeared with all the big acts, and we, and we’d go out and sing a number like Eli, Eli, and we did, you know, and they, people just ate it up.  I mean…\u003cbr\u003e\u003cbr\u003eLEVIN:  This was essentially vaudeville you’re talking about?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  At the Shriner’s?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, at the Shriner’s Auditorium. \u003cbr\u003e\u003cbr\u003eLEVIN: Okay.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1952.0,1972.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND: And so we tried to work something out with Warner Bros. and for some reason, just couldn’t…\u003cbr\u003e\u003cbr\u003eSEROTA:  Did you make a screen test for Warner Bros.?\u003cbr\u003e\u003cbr\u003eLIND:  No.  It never came to that.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, what’s the film that you were talking about that…\u003cbr\u003e\u003cbr\u003eLIND:  Well, no, when - that’s when my brothers and I were on our own.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s much later.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1972.0,1988.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e We were appearing with Martha Raye at the, at, they called the club, in L.A., they called it “Slapsy Maxie’s.”  You know why?  It was named after — Maxie Rosenbloom owned it, and they called him Slapsy. And he was a big gambler.  Eventually, he lost the club. But the point is, they had the biggest stars, it was the biggest night club ever.  I don’t know how many thousands of people could go in there.  And every night, when Martha Raye was there, the screen stars would turn out. We did our act, and at the end, we would have to do a finale with her. And we always managed to do Eli, Eli if we could. ‘Cause we wanted them to know our heritage.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=1988.0,2029.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, the Eli, Eli — that’s of course, that’s your father’s arrangement of it, I assume?  No?\u003cbr\u003e\u003cbr\u003eLIND:  Yes, to an extent, yes. Yes. But we also put, we put English words to a lot of it.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, but I mean the music. It, it…\u003cbr\u003e\u003cbr\u003eLIND:  The music was his.\u003cbr\u003e\u003cbr\u003eLEVIN:  You did it all three together.  The whole group as a cho – as a little ensemble, so…\u003cbr\u003e\u003cbr\u003eLIND:  Yes.  Yes.  ‘Cause I was, ‘cause I was a high, I was able to do co-, I did a lot of coloratura work and falsetto those days.  And when we did Ada Shema, I would take the falsetto — we recorded that. You know, you had it -","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2029.0,2055.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Constellation Records.\u003cbr\u003e\u003cbr\u003eLIND:  Constellation Records, right.  That was out in L.A.\u003cbr\u003e\u003cbr\u003eSEROTA:  Who was Constellation Records?\u003cbr\u003e\u003cbr\u003eLIND:  A gangster.  What can I tell you?  He was a guy named Fogerty.  His name was Fogerty.  They knew him as Fogerty.  And he was a rough character.  But we didn’t know that at the time.  He was an uncle of one of the girls, one of the writers from Hollywood. At any rate, he fell in love with us, and he says, “We gotta make some recordings.”  You know.  We never saw any money.  But we did have the records. So we recorded Eli, Eli that time, with a terrific band. Money didn’t, we didn’t care about money.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2055.0,2094.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  This was a strange time.  Here was a time during the Depression…\u003cbr\u003e\u003cbr\u003eLIND:  We were making money.\u003cbr\u003e\u003cbr\u003eLEVIN:  And you were making money touring around…\u003cbr\u003e\u003cbr\u003eLIND:  Well, that was because Dad went through the Depression.  He lost, you know, the synagogues that time came to him, and forget it.  It was in ’29, after the crash.  And they said to him, “We can’t afford you.” And what was he getting those days?  Who knows?  Three thousand a year?  Whatever it was.  That’s when we started to travel.  And we pulled ourselves up by the bootstraps. It was so, it was awful, that Depression.  You know, people were jumping out of windows. And my dad lost his job.  He didn’t know where to turn. ‘Cause those days, they didn’t save money.  They just lived every month. They paid their rent, they paid the electric, the electric bills, they paid everything they needed, and they were fine.  He had a school going, you know.  Whatever they made, they made.\u003cbr\u003e\u003cbr\u003eBut when that happened, one night, in the middle of the night, he was standing by the window, and got up on that sill, and something woke us up.  I don’t know what. And I think it was my mother crying.  She was yelling at him. “Come down!  Come down!  Come down!” And we went over there, and I tell you, if we hadn’t grabbed him, I think we would have lost him.  He was beside himself.  Very emotional. You know, cantors are artists, and artists are emotional.  And they can get crazy for a moment, you know.  They get tremendous tempers.  But that goes into their lifestream, into their singing, into everything.  And it was a scary moment.  But we saved his life.  And he saved ours. And we started to tour.  That’s when — I don’t know how it happened, but Hyman — oh, yes, I remember now.  I was, Hyman wasn’t managing me anymore.  I was through.  I, my voice was changing.  And, but I still sang with Dad, because I would sing low — you know, I sang alto, or whatever.  And so, my - we went to Detroit.  That’s how we started.  And we started to travel.  We traveled all over.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2094.0,2219.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That trip that you went out west, was, I think — Morrie New?  Was he with you?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  Well, he picked him up because it was, he liked him.  And Morrie New and Zane.  And this was our group.  And so we sounded like, it was a marvelous….\u003cbr\u003e\u003cbr\u003eLEVIN:  A lot of people in one car.\u003cbr\u003e\u003cbr\u003eLIND:  Yes.  And my, my wi - and my mother would travel with us, too.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2219.0,2244.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Who stayed home with Norma and Selma?\u003cbr\u003e\u003cbr\u003eLIND:  My grandmother.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, the girls didn’t come - go on the trip.\u003cbr\u003e\u003cbr\u003eLIND:  No, no, no. They stayed home with my grandmother.  And my mother would travel with us.  Because in those days, you traveled in the car — you had a salami with you.  You traveled with the food, you know, and we traveled with the dishes, and with the pots.  Don’t ask what we didn’t travel with.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2244.0,2268.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Red herring.\u003cbr\u003e\u003cbr\u003eLIND:  Everything.  It was a rough life.\u003cbr\u003e\u003cbr\u003eLEVIN:  I still travel like that.\u003cbr\u003e\u003cbr\u003eLIND:  But you know, the funny thing about that is when we stopped in a city, even with Hyman, we had brochures ready — flyers.  In those days, you got away with a lot of things.  We went to every telephone pole. We worked till 12 midnight, putting up a — we’d just fill in the synagogue, at the synagogue. Well, usually, you come into a city like Sioux City, we were in.  Who knew us in Sioux City, you know?  Who knew us in Kansas City?  They would wake up and all the poles were covered with flyers. Okay? So they figure, well, maybe they’ll go to the shul. So those who were religious would go to synagogue. So maybe we’d have 150 people. Couldn’t make a living from 150 people.  Okay?  ‘Cause we charged 50 cents, a dollar — I don’t know what it was.  Maybe it was a dollar. What did we do?  After Friday night service, we sang our hearts out.  The people were so impressed — and this happened every single time — Saturday morning, we already had a big crowd, like 400 people.  And when they heard us on Saturday, came to Sunday night ma’ariv.  We always did a ma’ariv concert. We were liked jammed.  And they would hold us over.  You know, weeks — sometimes we’d spend three and four weeks in a city.  In Montreal we did, in Canada. One of those spots — they gave my dad a gold watch and chain, you know, and they, and they would send us off like, like we were royalty.  With food, and with the, it was just amazing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2268.0,2362.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  The amazing thing is that you saw, in a period of time — I mean, you’re talking about the ‘30s, now, and you’re talking about Sioux City, Iowa.\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  But I didn’t know there were any Jews there in the 30s. Even now, there are probably not too many Jews.\u003cbr\u003e\u003cbr\u003eLIND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  A few merchants and people, whatever.  But you, you saw parts of the country that nobody saw, and the Jews never…\u003cbr\u003e\u003cbr\u003eLIND:  In Dayton, in Dayton, and what about Dayton, Ohio?  Places like that, I never knew existed.  They had a wonderful shuls over there, and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2362.0,2384.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I mean, this alone must have been an incredible experience — just at least visiting Jewish communities out, out of the way, all over the country.\u003cbr\u003e\u003cbr\u003eLIND:  Yes it was.  Yes it was. Cincinnati was a wonderful town.  Kansas City was great.  Minneapolis was wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN: See there’s a film about — as you know, everybody knows — about Eddie Foy and The Seven Little Foys.\u003cbr\u003e\u003cbr\u003eLIND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, but there could be a film about the Lind and the Five Little Linds.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2384.0,2409.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Actually, you’re right.  We were doing vaudeville and Jewish stage.  That’s exactly what we were doing.  Traveling like they traveled. And it’s funny — when the Lind Brothers became a thing on our own, in show business, we were doing the very same thing. We’d play two weeks here and two weeks there; four weeks here and three weeks there.  It’s unbelievable how our lives kept going like that.\u003cbr\u003e\u003cbr\u003eLEVIN:  And of course, by this time, you were out of — how old were you then, let’s say, in the…\u003cbr\u003e\u003cbr\u003eLIND:  Oh, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: You were finished?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2409.0,2442.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e We started before the War, okay?  About a year before the — about two years before the War — and there’s a very funny story about this. We were davenning then — Hyman would arrange — we were davenning in the Sephardishe Shul. In fact, we, and — but we couldn’t make enough money. So we wanted show business, you know. So little by little, we met people who were.  We met a guy who was, they called him “The Mailman.”  You know, he was a Jewish man.  He was involved with it, but he was already old, and he couldn’t perform anymore.  And he, he heard us at a function.  And I’ll tell you where the function was — the first break that we got as a trio — this is amazing — was from Teveleh Cohen. And I’ll tell you how that happened.  Dad got a job in Denver, temporarily.  He stayed there four years with them.  It was too small a city for him — he came back.  And when he went away, the three of us were trying to make it, okay? — on our own.  And Teveleh Cohen was always in touch with us, ‘cause he was a very good friend of my father.  And he invited us for dinner. He lived in Albany Park; we were on the West Side. We, we didn’t have any money to, to — carfare.  We walked from the West Side to Albany Park.  I’ll never forget it.  And we had our dinner, and when we told him we walked, he says, “I’ll drive you home in my car.” And he drove us home. And they called in for a function of some kind, an organization.  Now, in those days, all the organizations would hire singers and entertainers, you know.  They’d pay you $50, or whatever it was. B’nai B’rith — whatever it was. And he said, “Why don’t you take The Lind Brothers?” He says, “I, I can’t make it that night.” So they said, “Who are The Lind Brothers?” He said, “Don’t worry.  You’ll be happy with them.” We came in and we did a great show.  From that show, we picked up like three other shows.  For other organizations.  From that, it started to spread like wildfire.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2442.0,2557.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  I understand, before the trio was organized, you were in California…\u003cbr\u003e\u003cbr\u003eLIND:  Oh, oh yes.\u003cbr\u003e\u003cbr\u003eSEROTA: …and you were interested in going into film.\u003cbr\u003e\u003cbr\u003eLIND:  Yes, I was.\u003cbr\u003e\u003cbr\u003eSEROTA:  Can you tell us about that?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2557.0,2573.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Well, I was, I was in California — that’s right — and I wanted to get into the movies.  And I must say, I was a pretty good-looking guy, you know.  I was, what?  Nineteen years old.  And…\u003cbr\u003e\u003cbr\u003eSEROTA:  So that makes it when?  1935 or so.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2573.0,2589.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e And I had a great, yeah, and I had a great baritone voice.  And in that, in those days, the musicals were popular.  You know, there was Nelson Eddy, and Jeannette MacDonald, and Bing Crosby.  You know, he was a big star. Well, I got an audition with Bing Crosby’s brother, who was his manager, Everett.  And that came about in a funny way.  I was studying with an Italian teacher, and he had a student called Florence George.  And she ended up in Hollywood, too, and she was in a movie. And Everett proposed to her and married her, and there was no way he would let her go on with her career. ‘Cause he had, he was a wealthy man.  And that’s it — but because of them, I had an in to see Everett Crosby. Well, you know what happened?  After I auditioned for him, he said — you know, he was very complimentary. He says, “But what am I going to do with you?”  He says, “I, I don’t know what to do with you.  I can’t put you up against my brother.”  He says, “And where am I going to put you?  Up against Nelson Eddy?”  He says, “I just, there’s, I, right now, there’s no, no place for you.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2589.0,2651.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  During the years that you were in Los Angeles, how long was, a period of time were you in Los Angeles?\u003cbr\u003e\u003cbr\u003eLIND:  About a year.\u003cbr\u003e\u003cbr\u003eSEROTA:  Where were Phil and Murray?\u003cbr\u003e\u003cbr\u003eLIND:  You really want to know the truth?\u003cbr\u003e\u003cbr\u003eSEROTA:  Yes.\u003cbr\u003e\u003cbr\u003eLIND:  Okay, I’ll tell you the truth.  Murray and Phil were trying to get work, to do some kind of work.  And Carmen Aroni came from Israel and he was a, a son-in-law of Anshel Friedman, Cantor Friedman.  I don’t know if you remember him. And he was running a whole district of shoe stores. He was a very bright man, Carmen. And he hired the boys. He says, “We’ll make you managers eventually.”  They started as assistants.  And they went to Toledo, Ohio to work for him. And so they were working in shoe stores, and I needed money to stay in California, and they would send me money. Every week. Subsistence, you know, so that I would have enough sustenance to go on. And all of a sudden, while I was trying to get ahead there, I got this offer from Kansas City, Missouri. Rabbi Solomon was the rabbi there. And they gave me this wonderful offer for Yon- for the holidays. So at that time, I felt an urge to be with the boys. I just was so appreciative of what they’d done. And I said, you know, wouldn’t it be wonderful if they could just join me for Yontiff?  I didn’t tell them to quit their jobs, you know.  So they arranged with Carmen that they should come to Kansas City. And we had to work up some stuff real fast, ‘cause we didn’t have any trios.  My father came to the rescue.  Wrote us some beautiful stuff for the, for the three of us, you know.  And, and we went ahead and we davenned together. We were such a smash hit, they insisted we do a concert.  So on the concert, we put together some English stuff that we knew, we sang some solos — you know, we did, you know.  And we got together and we started this trio, and we were such a hit that the boys said — and this was something, to give up their future like that.  In the company.  It was the Schiff, Schiff Company — Schiff Shoe Company. And they said, “Why don’t we try and make it on our own?” That’s how we got to Chicago, and went through that struggling days. And that’s why we changed our names to the Noteworthies, and that’s how we got to CBS.  And the rest was history, I mean.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2651.0,2796.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Why, how, how did it happen that, that you got, advertised in Poland?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t know.  That Hyman was a pretty sharp guy. Public relations. He, he went — what happened was, he was very strong in the Herald American in those days here in Chicago.  And they, they would publish photos, and the AP picked it up.  I don’t know — they picked it up.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2796.0,2821.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Here, in 1929.\u003cbr\u003e\u003cbr\u003eLIND:  Right.  Right after the crash.\u003cbr\u003e\u003cbr\u003eLEVIN:  My Polish is kind of rusty, so…\u003cbr\u003e\u003cbr\u003eLEVIN: “There’s a 13-year-old, Cantor David Lind.”\u003cbr\u003e\u003cbr\u003eLIND:  They called me David.  David is my Hebrew name, you know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah. Well, here, they, in some of the American newspapers here — I saw in Dayton, Ohio, you’re called “Davey.” Davey Lind.\u003cbr\u003e\u003cbr\u003eLIND:  They called me Davey, they called me…\u003cbr\u003e\u003cbr\u003eLEVIN:  In 1931.\u003cbr\u003e\u003cbr\u003eLIND:  You want to know how it changed?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2821.0,2842.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  How’d it change?\u003cbr\u003e\u003cbr\u003eLIND:  When we went on CBS, they made a mistake.  They used to call me Dave — Murray, Phil and Dave.  So by mistake, the “V,” they put an “L.”  So when they said, “Murray, Phil and Dale,” for the first show, they couldn’t change it.  And it sounded so rhythmic — Murray, Phil and Dale — that it…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2842.0,2859.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And here they quote you, at the age of ten — this is in August 28th, 1929.\u003cbr\u003e\u003cbr\u003eLIND:  Right.  That’s correct.\u003cbr\u003e\u003cbr\u003eLEVIN:  “A boy cantor of ten says, ‘Jazz came from the synagogue.’”\u003cbr\u003e\u003cbr\u003eLIND:  Well, Al Jolson could have proved that.  I mean, he had that heart, and he sang, you know, he was the same way.  That’s why he sang the way he sang. Mammy, mammy.  You know what that…. The sun shines east, the sun shines west. I did his Toot, Toot, Tootsie last night.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2859.0,2888.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  In English or Yiddish?\u003cbr\u003e\u003cbr\u003eLIND:  In English — Yiddish?  No, but I did French in Yiddish, I did Carmen in Yiddish.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now here, here is a picture, oh, this is a picture of Hyman.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  Oh, yes.\u003cbr\u003e\u003cbr\u003eLIND:  Right, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  “Youthful cantor to sing here.”  And you — Hyman, Hyman did well by you, I guess.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2888.0,2909.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Oh, he did, yes, absolutely.  He managed me and he took — well, he got me a Victor recording contract.\u003cbr\u003e\u003cbr\u003eLEVIN:  You never met, you never knew somebody named Paiseleh Carras, did you?\u003cbr\u003e\u003cbr\u003eLIND:  I did, I knew who he was. I, we weren’t friends, but he was in New York.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  But no, but he came to Chicago once or twice.\u003cbr\u003e\u003cbr\u003eLIND:  There was somebody else Hyman managed before me.  And now let me tell you who he managed.  Also a boy cantor.  But he never got famous.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2909.0,2930.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Who was that?\u003cbr\u003e\u003cbr\u003eLIND: Michele Borsuk.\u003cbr\u003e\u003cbr\u003eLEVIN:  You know who that is?\u003cbr\u003e\u003cbr\u003eLIND:  As Breen.  As Breen.\u003cbr\u003e\u003cbr\u003eSEROTA: Bobby Breen.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, that’s Bobby Breen?\u003cbr\u003e\u003cbr\u003eSEROTA:  Bobby Breen’s older brother. Bobby Breen’s brother.\u003cbr\u003e\u003cbr\u003eLIND:  Bobby Breen’s older brother.  That’s correct.  And now he’s an agent in Florida.  He books all the condos.\u003cbr\u003e\u003cbr\u003eLEVIN:  Amazing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2930.0,2946.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Well, I’ll start with this one.  During the War, you know, they made up Special Service Companies.  It didn’t start that way, but they pulled us out.  We were in different companies — in the medical corps, of all things.  But the, when Schubert got into this thing, from the Schubert Theaters — I think they were brothers.  And they became captains right away — they were given commissions.  And so they start pulling out all the acts.  They went into the files and they start pulling out all the people that could entertain the boys.  Here, and overseas. And they saw The Lind, Lind Brothers. And they pulled us out and put us into a Special Service Company.  And we found ourselves with great stars like Sabu and, and the writer of Superman, and all these different people — Dickie Moore — and all the actors that were famous then.  And, and writers from big shows like Bing Crosby’s show.  All these people, we were thrown in with them.  ‘Cause they had projectionists, they had cameramen, they had all kinds of things for the boys.  Now, so, they would pull us out — in the meantime, when the entertainers wanted somebody, they would go to Special Service.  When Cary Grant — this was here yet, before we went overseas.  Cary Grant found out about our trio, and he says, “I’d like them, you know, on my show.” So we were with Cary Grant.  And we appeared with Cary Grant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=2946.0,3035.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  What did he do?\u003cbr\u003e\u003cbr\u003eLIND:  And we became friendly. I guess he, I don’t know what he did.  But I think he had an act sort of speaking, you know, telling them about Hollywood and things like that.  Before that, he was a circus performer.  Did you know that?  He walked on stilts.\u003cbr\u003e\u003cbr\u003eSEROTA:  Archie Leach.\u003cbr\u003e\u003cbr\u003eLIND:  Archie Leach — that’s right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3035.0,3052.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e You know, we were just talking about writing special things for special voices and so forth.  So your father did that for me, once.  Not for my voice, but for I, I had a yingele, I had a, in a choir, for, all of a sudden for S’lichas.  So I needed something more for him to sing. “You know, if you’re going to have me, you might as well…”.  You know, he was a kvetching boy, you know, alto. So I went to him, and I said, “What can you write?  Something in one of the strophes, in one of the steps - stanzas of the Motseray where we don’t have anything anyway — take something there.” And so he took from, he took — you know this, how he used to do it — he said — this was in 1970 or ’70, something. He said, “Come back in an hour. Come back in an hour.  I’ll find a few things.”  He said, “What’s the range?” I said, “Here’s the range.”  I said, “Make a duet for him and the cantor.” Now, the cantor that we had, without mentioning names, had a two-and-a-half note range.  So…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3052.0,3102.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Were they good notes?\u003cbr\u003e\u003cbr\u003eLEVIN:  And they weren’t good, anyway.  But, so I gave him a very limited, limited situation there, with key.\u003cbr\u003e\u003cbr\u003eSo I came back, and he took Zocharim from Avkira.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  See, but he took a little from here, and he took from there.  All different settings of the thing, and he came to a sitting.  And this was 1972, and of course, and with pen and ink — pen and an inkwell.  Not, not a fountain pen, even.  Not, a, a - en and ink.  And he wrote it.  I have it at home. From scratch. Zokharim. Zokharim, vero yadim.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3102.0,3133.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  ‘Cause he hears it.  He heard it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, but it never occurred to you or your brothers to go into, to go after Yiddish theater per se.  I don’t mean vaudeville; I mean Yiddish theater.  You didn’t.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3133.0,3150.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  We were, we, we did other things.  But I will say this — even some today, when they show these old Yiddish movies, Phil is a little boy in there.  Phil was…\u003cbr\u003e\u003cbr\u003eSEROTA:  Who was that? He was with Satz.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, he did Satz. \u003cbr\u003e\u003cbr\u003eLEVIN: Oh, he was.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3150.0,3165.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e So they wanted to sing Yiddish theater, but it just never worked out.  And we moved to Chicago. They had Yiddish theater, but they brought ‘em from New York, most of ‘em.  Menasha Skulnik, and all these people. It’s — we wanted to go American, what can I tell you? But the funny thing about it, I was just saying, Chicago — don’t get insulted — is still the Second City.  That’s why we got Second City, the club. Chicago is not New York.  New York is where all the biggest opportunities come. We had the Barry Sisters, for example — the Bagelman Sisters, they were called.  Then they wanted to go American.  They called themselves the Barry Sisters, they made a fortune in New York. And you could stay in New York forever, and there’s work, work, work, work, work. You’re talking about millions of people and millions of Jews there, okay?  It’s the same — here, it’s the Second City. What do we got?  A quarter of a million Jewish people here?  At one time, when I, when I was a kid, they had 400,000.  Big deal.  It’s not a big city for Jewish – for Yiddish theater. And yet, when we had the Lawndale Theater, the Yiddish and Douglas Park Theater, they did frequent the theaters.  I mean, they really, they had a, good seasons here.  But it’s not New York.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3165.0,3238.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Did your father ever want — I mean, your father was primarily a hazzan.\u003cbr\u003e\u003cbr\u003eLIND:  No question.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, he was…\u003cbr\u003e\u003cbr\u003eLIND:  That’s what he did.\u003cbr\u003e\u003cbr\u003eLEVIN:  Was he ever concerned, I mean, did he ever prefer that you would be…\u003cbr\u003e\u003cbr\u003eLIND:  Hazzanim?\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah. Hazzanim only.  I mean, with a shtele, with a pulpit, with a…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3238.0,3261.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  No.  Not really.  Not really.  And I’ll tell you — I have to go into personal things again.  But I don’t think you will ever show it on television. No. I’ll tell you why.  He had too much — how would you say it?  Not machroches.\u003cbr\u003e\u003cbr\u003eLEVIN:  Tsuris.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3261.0,3279.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e When he was in the Orthodox, there were certain rabbis that were very wonderful, okay?  For example, I think in Chicago, there was a rabbi, the rabbi at Anshe Sholom. Silver. Saul Silver. In fact, he was so wonderful and sincere and genuine that when the Depression — it was still the Depression years in the ‘30s, okay?  And they wanted to cut my father’s salary.  But we were five children, you know.  And, and they wanted to cut my father’s salary, I think, $500.  It was a lot of money then. You know what Saul Silver said?  ‘Cause he was the head of the Yeshiva at that time.  He said, “Take it from me.  Don’t take from Hazzan Lind.  He can’t afford this.” That was a, what you call a colleague, you know.  Actually, they had the same duties, except he sermonizes and he chants.  I mean, people have to recognize that.  When they had that tummel about you know, cantors making weddings.  It’s, it’s a bunch of nonsense.  They went to the Decalogue Society, they finally they opened the books, they saw, without a hazzan, you got no services.  What are you talking about?  So that was settled and hushed up.  To this day, there are people that don’t know if they can get married by a cantor. But what I want to bring out is, so there were certain rabbis that gave him pleasure, that he respected.  And he stayed at Anshe Sholom for quite a while, because of Silver.  But you had rabbis that were just jealous.  They were anti-Semitic Jews, I want to tell you.  And I can say it, ‘cause I’m not afraid to say it here.  They were impossible. If the cantor was glamorous.  Or if he, or if he was great.  Or they would hire him for a thing that they wouldn’t hire the rabbi — a wedding, whatever it was.  It was terrible.  The jealousy. Do you know what they did?  Especially when they got more moderate, Conservative — they walked over the watch.  “There’s no time.” I mean, my father was very — I mean, if, if, he was too much hazzan to take all that.  So as soon as they looked at him cross-eyed and gave him problems, he looked for another job.  And the ironic thing is — and Moshele Ganchoff could have told you this — that the students that he was teaching, they would, they would end up sometimes auditioning for the same job. How do you like this?  I remember when my father was trying out for a, a shul in New York.  I don’t remember which one it was.  And one of his guys that he was teaching — whether it was, I don’t know if it was Ganchoff, or it was somebody else — trying out for the same job. That’s how, but that was competing, you know.  But that was a different story.  But it could be ironic.  But that’s the politics of the shuls. Why don’t you ask me about myself?  We came back, you know, from show business, and decided this was no life — to drag children around from trailer to trailer and travel two weeks here, four weeks here. We sat down one day — of course, we were forced into it.  Because you know, a lot of the clubs — dinner, dinner theaters, and dinner, nightclubs — were, had gambling in the back.  The back room, just like INAUDIBLE had.  So when Senator Kefauver came in, he got, stopped all the gambling. Now they couldn’t afford the stars.  There were more stars thrown out of work.  We lost three months’ work, okay? And we thought that, we felt that that was an omen.  And we started to talk it over.  And we said to ourselves, “You know, maybe it’s time we settled down. With the children.”  And it’s no life, not a normal life for these kids. We sacrificed a lot.  ‘Cause we were working with people like Alan King and Myron Cohen, and all these people.  They all knew us. ‘Cause later on in years, I met Alan King.  He was doing a thing, and I walked up to him and he took one look at me and he said, “My God, what happened to you boys?” And I says, “Well, you know how groups go.  And this is amazing — even The Andrews Sisters broke up, the Ames Brothers broke up, the Williams Brothers broke up. I could name you a million groups — they break up.”  I says, “And each one went his own way.” He says, “You realize what you’d be doing today?”  He says, “You’d go on a guest shot on television, you get $25,000.” And it was eating, eating me up, you know, and now I’m thinking to myself, well, maybe money-wise, I don’t have the money Alan King has.  No way, you know.  But I am a happy man.  I have maybe something far more precious.  I have wonderful children, wonderful grandchildren. I might not have had that, had we stayed on.  There’s a lot of temptation out there to go in different directions.  You have to move with the pack.  And by the pack, I don’t mean the Rat Pack, necessarily.  You have to move with the pack that’s – that’s up there.  And it’s — come, come on, we’re going to have coffee, at 2:00 in the morning, 3:00 in the morning. It’s not, it’s a different life completely than what we had now.  But that didn’t mean we should stop singing. So I was going to, I said, “Why don’t you ask me about the politics?”  We’re coming now to the shul business. My first job, I think, I took was in Chatham with Rabbi Rush.  He’s gone — let him rest in peace. It was awful.  First of all, the man was not a great rabbi, okay?  He didn’t have an, he was not an orator.  And being the way he was — very within himself like, you know — he resented me.  It was terrible.  Then, on top of that, when we would be sitting on the pulpit, what kind of a dumb, ignorant person could talk the way he talked to me while I’m listening to the Torah readings, okay? He says to me, “You see that guy over there?” — and called him a name — “That guy gave us 5,000.  He could afford 100,000.”  I don’t know if he was from Beltone, or whatever he was — we had some wealthy members. So I says, “Please, Melvin” — that was his name.  I says, “I am listening to the Torah reading.” Didn’t take ten minutes, he starts telling me, “Did you see the market today?”  The stock market.  And he starts talking to me about the stock market. I says, this is, this is ridiculous.  I said, that’s a religious service.  What are you….  That was one experience, okay. Then I went to Jeffery Manor. Jeffery Manor, they had a nice rabbi.  He didn’t bother me, but the whole neighborhood was changing, okay?  So I saw the handwriting on the wall, I got an offer from B’nai Jacob, and I went to B’nai Jacob. You talk about problems.  I didn’t have the problems so much with Gorfinkel, when he was there.  Because Gorfinkel, he liked the idea that I was bringing in the crowds, okay?  We went to the Nortown Theater for the High Holidays, and it was a big thing.  He felt he was doing bigger things than he would do maybe with somebody that wasn’t as known, you know. But then he left.  And who came in?  Rabbi Sacks.  Not the, the one you, not the old man — the old man was a fine man, with the Talmud Torahs and everything. I’m talking about his son, that came in from Canada. Big piece of blubber, okay?  And this man, when he talked, it was like the saliva was coming out of his mouth.  I mean, I got so sickened. And then he’s testing me, okay?  He says, “Why don’t we meet somewhere and go for lunch somewhere far out, where nobody knows us?” What are you doing?  Because I was in show business, you know.  And I see one thing is leading to the another, and another, here.  And what do you want me to do?  Go with you separate and maybe you want to be fixed up pretty soon with somebody?  You know, I mean, this was, I could see the man was not a sincere man. When I kept refusing him, what do you think he did?  He started to go to the Board of Directors.  And that’s a mistake, when they leave rabbis sit on the Board of Directors.  And he started to work underground.  “I want, why not Cantor Lind should have a volunteer choir?” And then, that wasn’t enough. “Now, he should go with the Sisterhood, and make them a choir.”  And then he started to get me involved.  And now he wants me to be like an every day, every night type of thing, which I wasn’t.  I came to daven, I had my own choir, and that was enough for me.  And I would sing occasionally, for a special occasion, and I felt that was enough.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3279.0,3771.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And you were hazzan every Shabbos.\u003cbr\u003e\u003cbr\u003eLIND:  Every Shabbos.  I was there by the year.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, so you were a…\u003cbr\u003e\u003cbr\u003eLIND:  I had held positions for a long time.  In Chatham I was seven years.  And I was in Jeffery…\u003cbr\u003e\u003cbr\u003eLEVIN:  It was a full hazzan, every year…\u003cbr\u003e\u003cbr\u003eLIND:  Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  You davenned every Shabbos.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3771.0,3783.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e They paid me a lot of money there.  They took me out of Jeffery. But anyway, what I want to bring out was, I refused him.  And what do you think he did?  He started to work, undermine me.  First of all, he worked for himself, undermined them and got a life contract, which was the biggest mistake.  They eventually fired him and got rid of him. But then he got me out. He did, you know how he got — he knew that I wouldn’t stand for it.  When they started to get me that involved that I felt that I’m not that kind of a person, I’m above that.  You know, in the old days, the hazzan would daven once a month. Daven a shoresh.  Let it be a novelty.  What do you want?  To pull me out, I should be like in a, like an everyday teacher or something?  I said no way.  No way. So the result was, the politics was eating me up.  I couldn’t stand it.  I remember what my father went through.  Always somebody didn’t like this what he did, maybe didn’t like this, and the, the choir was too big — oh, yeah.  And they gave me that — he gave me a hard time with that, too.  “You got too many people. We can’t afford it.  Cut them down.”  I had 12 voices; cut it down to eight.  I had eight voices; cut it down to six.  I says, this is getting ridiculous, okay. That was when I decided to go on my own.  And I want to tell you, these have been the happiest 24 years of my life as a hazzan.  Because the Board of Directors are my assistants.  Phil was my Board of Director. My brother.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3783.0,3864.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s all it is, is 24 years?\u003cbr\u003e\u003cbr\u003eLIND:  Jeffrey Blatt is my Board of Director.  Stewie Stein is with the ritual and…\u003cbr\u003e\u003cbr\u003eLEVIN:  But it’s more than 24 years.\u003cbr\u003e\u003cbr\u003eLIND:  No.  It’s, this is going to be my 24th year.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, you mean, with, but…\u003cbr\u003e\u003cbr\u003eLIND:  And again, I want to tell you what they are. These are supposed to be colleagues, okay? You know what they did?  I was supposed to go into the theater in Lincoln Village.  It was very popular.  They were producing, they were doing Yiddish theater. They were bringing in the Zinn Brothers and this Brothers and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3864.0,3890.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  1974.\u003cbr\u003e\u003cbr\u003eLIND:  That’s correct.  1974.  So I went over to one of the owners there — I forget his name.\u003cbr\u003e\u003cbr\u003eLEVIN:  Bratman. Oskar Bratman?\u003cbr\u003e\u003cbr\u003eLIND:  Bratman. Oskar Bratman.  And you know who his partner was?  He was the head of UJA.\u003cbr\u003e\u003cbr\u003eLIND: And I make a deal with Bratman, right out of Albany Park.  Oh, I did go to Albany Park, by the way.  For the High Holidays.\u003cbr\u003e\u003cbr\u003eLEVIN:  You went for the High Holidays.\u003cbr\u003e\u003cbr\u003eLIND:  Just for the High Holidays.  I didn’t want to get involved.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3890.0,3910.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  How many years were you there?\u003cbr\u003e\u003cbr\u003eLIND:  And they were dying…\u003cbr\u003e\u003cbr\u003eLEVIN:  That you were there, it was just a holiday. How many years were you in Albany Park?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, I was there… how many times I was there?\u003cbr\u003e\u003cbr\u003eLEVIN:  Eight years?  Nine years?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t remember now.  Seven, eight years.\u003cbr\u003e\u003cbr\u003eLEVIN:  I’ll come back to Albany Park after…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  And then — yeah.  And then, I got — Dad left and I got Dad a place. I said, “Keep my Dad year-round.”  And we worked it out.  I said, “Take it from me if you have to.  But keep him there.” But the result was — and at that time, I made an investment, I had a, you know, a catering, you know the whole thing, situation.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3910.0,3935.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Oh, that’s right.  You had the, you owned the Paviona Club. But that was, that was long before that.  That was long before ’74.\u003cbr\u003e\u003cbr\u003eLIND:  I know, but it wasn’t that long before.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, no?\u003cbr\u003e\u003cbr\u003eLIND:  Because — no.  Because they came to me after Pavione.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did you buy it from, was it Jerry Podell?\u003cbr\u003e\u003cbr\u003eLIND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who…\u003cbr\u003e\u003cbr\u003eLIND: No.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3935.0,3949.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: Originally -\u003cbr\u003e\u003cbr\u003eLIND:  No.  I don’t remember his name.  But he was a man, an elderly man. He wanted to go to Florida and retire.  Which he did.  And I always had that dream.  To — I wanted to do Yontiff eventually there. But they came to me with this wonderful proposition at Albany Park, and my father needed the job.  So we worked out a double thing, you know.  I’ll be there on Holidays.  And Dad went with Phil to the \u003cSOUNDS LIKE\u003e Dolnick Center.  Okay. But what I want to bring out was, so I was supposed to daven in this Lincoln Village Theater.  When they put it on the screen, I don’t know, it was $50 a seat or whatever it was. Do you know, inside of two weeks, they had — I don’t know how many reservations they had.  They only had 1500 seats — that’s all. I think they had like half already reserved. Because so many people go to the theater and they see, you know, the advertising. And we made a deal, and I think the deal was all expenses come off the top, and we’ll share. Which, who knew what we were going to make, you know.  But I wanted to get out on my own.  The rabbis got on top of it. Seventeen synagogues — can you believe this? — got on top of it to destroy me.  And why?  Because I’m going to draw away people from their synagogue.  We only had 1500 seats.  How many people can I draw from them?  This was to appeal to the unaffiliated.  This is to appeal to people who don’t go anywhere.  And this is a great thing for them, for three days, okay?  In New York, you know, you’ll find it on every block on the holidays.  They can’t stop New Yorkers.  Everybody’s a shul, a shul, a shul. Anyway, so then they, so they couldn’t get anywhere with Bratman, so they go to the partner. He’s the head of the UJA. And they said to him, “If you don’t stop Dale Lind’s coming here, we are going to boycott the UJA.” Oy vey! Can you imagine the UJA — boycotting the UJA?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=3949.0,4064.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  You mean boycott the theater.\u003cbr\u003e\u003cbr\u003eLIND:  They’re going to boycott the theater, and they’re not going to give donation — I mean, they’re, you know, they’re not going to raise money.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.\u003cbr\u003e\u003cbr\u003eLIND:  Seventeen synagogues.  So he goes to his partner.  Oskar. He says, “Oskar, we’re going to lose out here.  This is, this is terrible.  You got to get out of the contract.” Oskar calls me and I said, and he, and I listened to him and I said, “Look.  I don’t want the JUF to suffer.  I don’t want this theater to suffer.  And Oskar, I’ve known you too long — I don’t want you to suffer.  Tear it up.  Forget it.”\u003cbr\u003e\u003cbr\u003eAt first he said, “You can sue me.  I can’t go on.”\u003cbr\u003e\u003cbr\u003eI says, “I’m not suing you.” And it was only six weeks before Yontiff.  Now, I’m becoming desperate.  I come home, believe it or not, I’m an emotional guy, too.  I sat in the living room and the tears are — I’m crying.  How can I not daven on the holidays?  You know.  It was a thing that we did even as the Lind Brothers. I’m really breaking. And my wife, God bless her, she got an idea in her head, and she says — you know, we used to do a lot of weddings.  So, and she was a party consultant.  She had a, she had weddings from A to Z.  And they were jealous of that, too.  So she says, “We do weddings at the Arlington.  Maybe it seems to be, you know, I don’t think that you got, you’re going to have a problem in Evanston.” Well, I ran over immediately.  I says, “Gee, honey, that’s a wonderful idea.” I ran over to the Arlington. As luck would have it, the gentleman that owned it was not of the Jewish faith.  He owned McDonald’s, he owned car agencies, he owned the hotel — and the hotel was really rundown, okay?  But he had this big ballroom. And I said to him, I explained to him about the High Holidays, and I said, “Listen.  Let me tell you something.  I got my own following.  You know Billy Graham?” He said, “Yeah.” I says, “I’m like the Jewish Billy Graham.  I’m a rebel, I don’t belong to any church or synagogue.  I do my own thing.  Okay?”  And I said, “I have my own following.  And you’re going to get letters and phone calls from competing synagogues, or whatever it is, or rabbis.” He says, “I’m not interested in that.  You want to rent my facility?  I’m a businessman.  You got it.” That’s how I started in the Arlington.  Okay? Then they start to send me letters, and they’re going to call me in for a din — a what do you call it? A din torah. I never even paid any attention to it.  I says, “You’re not calling me in to din torah.  You’re not going to subject me to your politics.  Forget it.”  I never answered them, okay? After a few years, they stopped.  ‘Cause they saw, I’m only drawing, not from their congregations.  I’m getting new people.  Unaffiliated. What happens?  Then they have to remodel the hotel. So now they’re going, I don’t know where to go now. Because the ballroom is closed, the whole thing was changing…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4064.0,4233.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And you ended up picking…\u003cbr\u003e\u003cbr\u003eLIND:  A man from the Drake Hotel is going to buy it. Wexler.  Okay?  Wexler bought the thing. That time. Now it’s an Omni.\u003cbr\u003e\u003cbr\u003eLEVIN:  But now you’re, and then you…\u003cbr\u003e\u003cbr\u003eLIND:  So wait.  And I go to the Fireside. Why?  They too needed me.  They weren’t doing great. And I knew the owner, Barry somebody.  Anyway, so he says, “Sure.  You want to rent my facility?  Fine.” These rabbis from that — another group — there’s always so many.  They walked in one day, like fishwives, yelling at the owners.  “What are you doing here?  What are you doing here?  We’re not going to, we’re going to boycott you.” The owners looked at ‘em and laughed.  Because I was paying through the nose for this rental.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4233.0,4272.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e I want to ask about Albany Park.  You were there a number of years. See, I remember hearing you there in 19 — must have been ’71. And I remember somebody coming in, you were doing shachris.  You were in Kerach Din or somewhere in that area there, davenning.  And the place was filling up, and somebody, front, in the row, that was Beckenstein, the days when Beckenstein.  You remember Beckenstein?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4272.0,4295.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Absolutely.  They called him Becky. Wonderful man.    \u003cbr\u003e\u003cbr\u003eLEVIN:  So that was a basically good experience?  Albany Park?\u003cbr\u003e\u003cbr\u003eLIND:  Yes.  I, Beckenstein was, made it worthwhile.  And I did a lot of things with them. They wanted to, they needed money very badly.  Because the neighborhood was going.  So I ran concerts with them, you know.  And they, they had somebody to do it.  And I’d bring in Henny Youngman, I brought in different stars with me, ‘cause they were all my friends. And we worked the Arie Crown Theater, then we worked Orchestra Hall.  And there was one of the, a committee was in charge, and we were very good, close.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4295.0,4326.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I’ll tell you what — that was the only year I didn’t have a job for the holidays.\u003cbr\u003e\u003cbr\u003eLIND:  Oh.  I should have known. \u003cbr\u003e\u003cbr\u003eLEVIN: Some sort of job, anybody.  You know.  INAUDIBLE. So I didn’t want to, I didn’t want to go out where people knew me, you see.  \u003cbr\u003e\u003cbr\u003eLIND: Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: You know that feeling, you know, that…\u003cbr\u003e\u003cbr\u003eLIND:  I know.\u003cbr\u003e\u003cbr\u003eLEVIN:  The combination of reasons.  So Beckenstein saw me come the second day yet — you know, I was a young guy — he came up to me while you were davenning in shachris, still, you know, and he said, “Come back tomorrow morning when the office is open, and I’ll give you your money back.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4326.0,4358.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  Really?\u003cbr\u003e\u003cbr\u003eLEVIN:  He says — yeah.  Because in other words, a young guy so interested to, to hear hazzanas two days in a row…\u003cbr\u003e\u003cbr\u003eLIND:  That’s the kind of man he was.\u003cbr\u003e\u003cbr\u003eLEVIN:  That he’d “be our guest.”\u003cbr\u003e\u003cbr\u003eLIND:  That’s the kind of man he was.\u003cbr\u003e\u003cbr\u003eLEVIN: Yeah. And now, I mean, you’re getting ready for the High Holy Days again this year?\u003cbr\u003e\u003cbr\u003eLIND:  Yes. Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, uh…\u003cbr\u003e\u003cbr\u003eLIND:  We moved, you know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where do you, are you now?\u003cbr\u003e\u003cbr\u003eLIND:  We’re in the Holiday Inn on, in Skokie. On Touhy Avenue.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4358.0,4381.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Oh.\u003cbr\u003e\u003cbr\u003eLIND:  And the reason for that is very simple.  I don’t know how long I’m going to be able to go on.  Maybe I’ll go on another two or three years, five years — I don’t know.  But that’s not the reason we moved. We moved because when the people started with us, a lot of them were in their 60s and 70s.  They’re dying out.  I had all three ballrooms in the Fireside.  Paying for rooms that I didn’t use, you know.  And the crowd went down.  I mean, there’s no question.  Some of them were in their 90s and 80s.  Sure, I’m getting new people, some new people, to replace some of the old… But it cannot be like it was.  You know. So I moved to the Holiday Inn, which has one beautiful ballroom.  And another thing — the Fireside was impossible because they had weddings and parties while we’re doing the services.  And sometimes we’d hear the musicians, and it was…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4381.0,4433.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, what about the choral situation? That’s changed. In other words, in 1971…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: … you had an all-male choir.  And you had a bunch of guys from the watchmaker, the watch company there. What was that called, the Susquehanna…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, that’s, that’s, Danny Kwasman and a whole bunch of men.\u003cbr\u003e\u003cbr\u003eLEVIN:  Danny Kwasman and… what was that called?  The Watch Company there?  On South Wabash?\u003cbr\u003e\u003cbr\u003eLIND:  Clinton.  Clinton Watch.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4433.0,4453.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Danny Kwasman conducted for you years before, didn’t he?\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  But he, he wasn’t the greatest conductor.  With all, he, he’s — with all due respect.  He was okay for what I was doing, but then, but then he, yeah, then, we outgrew him.  I mean, as soon as Cary, who plays piano and guitar — you know, I mean, he’s a wonderful musician.  So as soon as Cary was old enough and left college and he became an attorney, I said, now, now, you’re going to…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4453.0,4477.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But then you added, you added women to the choir.\u003cbr\u003e\u003cbr\u003eLIND:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  As soon as you didn’t have the restriction.\u003cbr\u003e\u003cbr\u003eLIND:  Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  So now, you do all your father’s and your music?\u003cbr\u003e\u003cbr\u003eLIND:  No.  I would say I do 50 percent of Dad’s and 50 percent of my own.  \u003cbr\u003e\u003cbr\u003eLEVIN:  Fifty percent of your father’s; 50 percent of your own.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, because I write trios and quartets and solos and…\u003cbr\u003e\u003cbr\u003eLEVIN:  And what about… and Cary conducts the choir.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4477.0,4499.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Yes. My singers, my pros are like from Lyric, from Ravinia, and Grant Park.  And I get ‘em, sometimes, I get ‘em right out of Northwestern.  Because they’re all music majors, you know.  And they come in — I have singers that sang with me one year and went on to San Francisco Opera.  I had another one that went on to the movies.  I had another — they were all ambitious people who have glorious voices.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4499.0,4526.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  That was in Hyde Park.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s what I wanted to ask.  This is Hyde Park?\u003cbr\u003e\u003cbr\u003eLIND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s…\u003cbr\u003e\u003cbr\u003eLIND:  Just came to me.\u003cbr\u003e\u003cbr\u003eLEVIN:  Morrie New is standing…\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: …there. You’re in this picture?\u003cbr\u003e\u003cbr\u003eLIND:  I don’t know.  There’s a Harry Resser, there’s a whole bunch of people.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  But what was this?  Your father’s choir?\u003cbr\u003e\u003cbr\u003eLIND:  My father’s choir, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  But this is definitely Hyde Park.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN: This picture here.\u003cbr\u003e\u003cbr\u003eLIND:  Oh, boy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4526.0,4548.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Just for the, enter it in for the record.\u003cbr\u003e\u003cbr\u003eLIND:  That’s my father and mother when they came over from the old country.  And Murray was the baby.\u003cbr\u003e\u003cbr\u003eLEVIN:  So Murray was born in the old country?\u003cbr\u003e\u003cbr\u003eLIND:  No, no.  He was born here.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, he was born here.\u003cbr\u003e\u003cbr\u003eLIND:  They took that picture here.\u003cbr\u003e\u003cbr\u003eLEVIN: Where’d your father come from?  What part of   Europe?\u003cbr\u003e\u003cbr\u003eLIND:  Galicia.  Galicia.\u003cbr\u003e\u003cbr\u003eLEVIN:  So you’re a Galicianer.\u003cbr\u003e\u003cbr\u003eLIND:  At, half.  My mother was Romanian.\u003cbr\u003e\u003cbr\u003eSEROTA:  How did your parents meet?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4548.0,4570.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  He traveled with Zaidel Rovner and all these people, and that’s how they met.  You know, those days, they would pick up kids, and they wouldn’t pay ‘em anything. They learned…\u003cbr\u003e\u003cbr\u003eLEVIN:  Here’s a, something from the Seattle Daily Times about the programs and the services that we were talking about earlier.  Here is something — “Community Center, Linwood and Wayne, present the world’s greatest combination, the Lind Singers, consisting of Cantor Joshua Lind and his three artistic sons — Maurie…”. Now, you see, here, we knew him as “Murray,” later on, but his name was Maurie, Maurice, I guess was his name, huh? Or Moshe?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4570.0,4605.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  His name was Murray, really.\u003cbr\u003e\u003cbr\u003eLEVIN:  “David, and Pinchikel.”\u003cbr\u003e\u003cbr\u003eLIND:  That’s what they called him.\u003cbr\u003e\u003cbr\u003eLEVIN:  Pinchikel was Phil?\u003cbr\u003e\u003cbr\u003eLIND:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  “Two performances only.  A matinee, 2:15,” so forth, “the Center Theater.  Tickets 50, 75 and a dollar.”\u003cbr\u003e\u003cbr\u003eLIND:  See, I told you, you see.\u003cbr\u003e\u003cbr\u003eLEVIN:  Here’s, this one, although this is just a Xerox, but it…\u003cbr\u003e\u003cbr\u003eSEROTA:  There were certain hazzanim that were known as “ticket hazzanim.”\u003cbr\u003e\u003cbr\u003eLIND:  Yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  People would buy, would buy tickets. Right?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4605.0,4626.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e Well, I used to daven on the Holidays. You know the old joke, did I tell you?  This man wanted to come in without a ticket on the West Side, and he was making such a tummel — for Yizkor — at Yizkor time, and the President heard a tummel, the whole shul was saying, “What’s going on?”  And screaming.  The President went downstairs, he says, “What’s going on here?” He says, “This man wants to come in for Yizkor,” he says, “and he hasn’t got a ticket.” He says, “Let me settle this.”  He walked over to him, he says, “All right.  We’re going to let you in for Yizkor, but if we catch you davenning!” You know, it’s an old story.  And it was tickets.  I remember when I was an usher, I’d stand there with a hammer.  I mean, it was crazy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4626.0,4665.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Was Hyman there checking to see if someone had a ticket?\u003cbr\u003e\u003cbr\u003eLIND:  No, nah, Hyman didn’t do it.  But there were other people at the door.  You know, committees. Because they needed the money.\u003cbr\u003e\u003cbr\u003eLEVIN:  Today, it’s a different world, today. I mean…\u003cbr\u003e\u003cbr\u003eLIND:  It is, absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  In other words, even for a one-off service, as it were, in other words, as you do –\u003cbr\u003e\u003cbr\u003eLIND: Okay.\u003cbr\u003e\u003cbr\u003eLEVIN: What are tickets?  If I look in a, in a…\u003cbr\u003e\u003cbr\u003eLIND:  One-fifty.\u003cbr\u003e\u003cbr\u003eLEVIN:  For the whole deal?\u003cbr\u003e\u003cbr\u003eLIND:  The whole deal.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s nothing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4665.0,4687.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LIND:  I said it’s nothing.  This is for people who — you know, but I, it’s a funny thing about it. I get people that can’t afford more, you know. But they like it. They bring their families or whatever.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  For Rosh Hashanah and Yom Kippur?  S’lichas? Do you do s’lichas now?\u003cbr\u003e\u003cbr\u003eLIND:  We got doctors, we got lawyers, we’ve got professors.  We’ve got people that don’t want to be bothered year-round.\u003cbr\u003e\u003cbr\u003eLEVIN:  And do you do full s’lichas?\u003cbr\u003e\u003cbr\u003eLIND:  No, we don’t do s’lichas.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4687.0,4708.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Oh, you don’t do s’lichas at all.\u003cbr\u003e\u003cbr\u003eLIND:  No, we wouldn’t get the people for s’lichas. No. That you have to have real numbers.\u003cbr\u003e\u003cbr\u003eLEVIN:  You have to have a shul.\u003cbr\u003e\u003cbr\u003eLIND:  Yeah, that’s right.  That’s — well, we do a Conservative service.\u003cbr\u003e\u003cbr\u003eLEVIN:  And so how many people, for example, now, will, this year, would you expect?\u003cbr\u003e\u003cbr\u003eLIND:  Six hundred.\u003cbr\u003e\u003cbr\u003eLEVIN:  That many?\u003cbr\u003e\u003cbr\u003eLIND:  Oh, sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  I want to hear your granddaughter sing.\u003cbr\u003e\u003cbr\u003eLIND:  Okay.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4708.0,4727.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 1","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4727.0,4825.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 2","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4825.0,4908.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 3","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=4908.0,5022.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 4","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5022.0,5159.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 5 (WITH LIND)","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5159.0,5202.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 6 (WHOLE FAMILY)","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5202.0,5338.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 7","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5338.0,5386.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLIND:\u003c/strong\u003e This is a Yiddish theater. And you know, in Yiddish theater, you also do it in English, so we do it… Right with the English, go back to the Yiddish.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5386.0,5395.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848/transcript/24370/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SONG 8","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39451/file/110848#t=5395.0,5574.10187"}]}]}]}