{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/5m6251g33h/manifest","type":"Manifest","label":{"en":["Salzman, Esta and Herbert Latner"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[{"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":["Salzman, Esta (performer)","Latner, Herbert (Performer)","Levin, Neil W. (Interviewer)"]}},{"label":{"en":["Date"]},"value":{"en":["2005-05-26"]}},{"label":{"en":["Coverage"]},"value":{"en":["New York, NY (Place of Recording)"]}},{"label":{"en":["Language"]},"value":{"en":["English (Primary)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe oral history interview with Esta Salzman and Herbert Latner focuses on stories related to their entry into Yiddish theater and the early stages of their careers as theater performers. It also includes extended discussion on the musical work Goldele dem Bekers composed and directed by Herman Yablokoff.\u003c/p\u003e"]}},{"label":{"en":["Format"]},"value":{"en":["Beta SP"]}},{"label":{"en":["Subject"]},"value":{"en":["Jews--Music (topical term)","Theater, Yiddish (topical term)","Goldele dem Bekers (topical term)","Yablokoff, Herman, 1903-1981 (Person or Corporate Body)","Jacobs, Jacob, 1890-1977 (Person or Corporate Body)","Finkel, Fyvush, 1922-2016 (Person or Corporate Body)","Bern, Mina, 1911-2010 (Person or Corporate Body)","Adler, Bruce, 1944-2008 (Person or Corporate Body)"]}},{"label":{"en":["Keyword"]},"value":{"en":["Aaron Lebedeff (1873-1960), Abraham Ellstein (1907-1963), Alexander Olshanetsky (1892-1946), alte heim, \"Beltz,\" Anna Lucasta (1958), Arnold Perlmutter (1859-1956), Bagels and Bangos (1959), Basque lullaby, Bella Meisel, Bruce Adler (1944-2008), Boy Scouts, Café Royale, Caraid O'Brien, Chaplain, choir, chorus, Claire Barry (1920-2014), Corey Brier (Yiddishist), Cub Scouts, Dave Lebritsky, David Merrick (1911-2000), “Der Dishvasher (The Dishwasher),” “Der letster Tants,” Di Tsvey Kuni Lemls, female dancers, Fishel der Gerutener Fivush Finkel (1922-2016), Goldele dem Bekers, Harry Kalmanovich, Hawaii, hazzan, Hebrew School, Herman Wohl (1877-1936), Herman Yablokoff (1903-1981), Hula dancers, Hy Parness, Ilya Trilling (1895-1947), incidental music, Irvying Fields (1915-2016), Jacob Jacobs (1890-1977), Jacob Joseph (1848-1902), Jacob Zanger, Joseph Green (1900-1996), “Leb und Lach,” Lilian Lux (1918-2005), Leo Fuchs (1911-1994), Malka Lobiler, “Managua Nicaragua” (1946), Maurice Schwartz (1890-1960), Max Rosenblatt, “Mein Weisse Blum,” Menasha Skulnik (1892-1970), Miami Beach Rhumba (1946), Michael Burstein (1945-present), Michal Michalesko (1888-1957), Mina Bern (1911-2010), Miriam Kressyn (1910-1996), Miriam Kressyn (1910-1996), Molly Picon (1898-1992), Moskowitz and Lupowitz, Naomi Shemer (1930-2004), “Papirosen,” Poland, Johnny Belinda (1948), prima donnas, Rubin Doctor (1880-1940), Samele’s Bar Mitzvah,” Second Avenue Theater, Seymour Rechtzeit (1908-2002), Shifra Lerer (1915-2011), Sholom Secunda (1894-1974), Sing Sing Prison [Correctional Facility], Snow Whites and the Seven Dwarfs, Soviet Union, Talmud Torah, The Kosher Widow, The Public Theater, The Yiddish Artists and Friends, The Yiddish Rebbe, Yerushalayim Shel Zahav, Yetta Zwerling (1894-1982), Yiddish Art Theatre, Yiddish language, Yiddish movies, Yiddish theater, Yiddish Theatrical Building, Yiddish, Yiddle Mitn Fidl (1936), Yiddishe Niggun, YIVO Yiddish, “Zog Es mir Nokh A Mol,” “Zog Zog Zog Es Mir”"]}}],"summary":{"en":["\u003cp\u003eThe oral history interview with Esta Salzman and Herbert Latner focuses on stories related to their entry into Yiddish theater and the early stages of their careers as theater performers. It also includes extended discussion on the musical work Goldele dem Bekers composed and directed by Herman Yablokoff.\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/000/110/774/small/thumbnail_110774_1622649943.jpg?1622635587","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774","type":"Canvas","label":{"en":["Media File 1 of 1 - B17157_MA_OH_Salzman_Latner_Master.mp4"]},"duration":1722.19733,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/774/small/thumbnail_110774_1622649943.jpg?1622635587","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/110/774/original/B17157_MA_OH_Salzman_Latner_Master.mp4?1616082820","type":"Video","format":"video/mp4","duration":1722.19733,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213","type":"AnnotationPage","label":{"en":["Edited Transcript [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OPENING GRAPHIC","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=0.0,15.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: How old were you when you had your first boyfriend?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Um, 16.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: For the theater, that’s old.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: It was old. I was too busy. I was working. Working, working, working. I didn’t call it working. I had to bring mama home money. I didn’t call it working. I had to do it.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: You supported the family.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: At the time.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: A lot of famous children...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Yes, yes. Just like today. Ha, ha, ha. (NEIL LEVIN: laughs) Whatever.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=15.0,47.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Mr. Latner, Herbert Latner, you started in the theater at a young age?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: By 16 I was nearly retired. I started about eight. And what I did, uh, I got into it accidentally. I had lived on the Lower East Side, just, uh, half a block away from Second Avenue, where all the Yiddish theaters were in those days. And, uh, I went to Hebrew school nearby, and they had a choir, a synagogue choir, where we used to sing for the high holidays. And a number of my friends were, who were in the choir, one of the boys, uh, his last name was Scheckman [sic].","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=47.0,88.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eHERBERT LATNER:\u003c/strong\u003e And I remember he, he said, his brother was something in the Yiddish theater  ̶  the director, or an assistant, or something. And they were looking for little boys for a show. Would I be interested? I said sure I'd be interested. Does it pay money? He said, yeah, yeah, yeah, it pays. So, um, I went down to the Second Avenue Theater with him, and this was sort of in the, I guess they used to cast in the summertime for the fall opening. So, we went in there, and they were, uh, auditioning in the lobby.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=88.0,123.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: They had a great big lobby. It was the Second Avenue theater on Second Street and Second Avenue. And the big boss of that theater was a very imposing, intimidating man, Herman Yablokoff. And, uh, they used to call him Yabby.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Everybody called him Yabby.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) And, we, we didn’t, uh, we didn’t know who was Yablokoff, who was any, you know, we were just little kids, and we thought we could make a little money. So, I got the job. And the name of the show was Goldele dem bekers. And it was a very big smash hit. He really, and, and the show had a lot of children. There were, there were two sets of children. I was the youngest. The youngest set were Cub Scouts. We were Cub Scouts. They gave us little blue uniforms, with little caps. And then there were about three or four older boys who were Boy Scouts. These were already, you know, 12, 13, 14. I remember, Sanford Rosen was one of the other, the older boys, and my friend Sammy Millman [sic] was one of the little, he was, he was so tiny, I was short for my age, but he was about a head shorter than me. So, we got to be friends. It was a bunch of kids, and we were in this show. And they gave us some stuff to learn. Fortunately I had been learning Yiddish in the Hebrew school, so I, I knew Yiddish already. Plus, it was spoken in my home.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=123.0,205.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Yiddish in Hebrew school?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Well, it was a Talmud Torah.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Oh, okay.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: It was the Talmud Torah. And they taught us Hebrew in order to read, because eventually we have to know for the bar mitzvah. But the rabbi was a European guy who, who knew Yiddish. We had a book called The Yiddishe Rebbe, The Jewish Teacher, and we used to copy chapters…\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) For Talmud, for Gemara you need Yiddish.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Yeah.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Which one was it? Which Talmud Torah? Not Jacob Joseph.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No, no. No, my cousin went there. It was a very small Talmud Torah...The rabbi started out on, uh, East Sixth Street, in a little basement. Then he moved to Seventh Street. It was Rabbi Parilli [sic] was his name.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=205.0,253.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: You mentioned Goldele dem bekers. We recorded a song from there. Let’s see if we’re talking about the same…\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) I'll tell you, Zog Zog, I'll tell...you the songs. Because I remember...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Zog, zog, zog es mir. \u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Zog, zog, zog es mir.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Sing it.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Zog es mir nokh amol.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Zog es mir nokh amol?\u003cbr\u003e\u003cbr\u003eALL: (SINGING) Zog, zog, zog es mir\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ikh vil es hern shoyn fun dir.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (SINGING) nohk amol.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No, no, no, no. It's a different song. No, not Zog es mir nokh amol.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) It's two different...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: No?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) This is (singing) Zog, zog zog es mir, ikh vil es hern shoyn fun dir. Di kleyne, sheyne verter fir. Un an entfer mir shneler gib. Zog, zog zog es mir. …It was written by Ilia Trilling.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: That’s right.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Trilling. That's the...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: You’re thinking of another song.\u003cbr\u003e\u003cbr\u003eOFFSCREEN: Zog es mir nokh amol.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Different show, different song.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Different song. Right.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Is this the show…a silly show where they go to Hawaii?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Yes, yes (NEIL LEVIN: laughs) , yes. The Hawaii...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I don’t remember.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) And, I remember it quite vividly...","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=253.0,327.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) (SINGING) Goldele dem bekers…\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (singing) Goldele dem bekers , Goldele dem bekers (sings in yiddish). And Yablokoff sang that himself to this beautiful little girl. And, if I can tell you, the, there's a little story about this little girl, Malka Lobiler [sic]. She was a little girl, very talented girl, who was a refugee from the war. Her family were Holocaust survivors. She came over here, and she was a natural talent. She had a huge part. I mean, our part was just a few pages, and we had a few lines here, little lines there. We were just, you know, incidentals. We were in the chorus. But this little girl was really the star of the show. Malka Lobiler [sic]. So, she was in the show, and she, she, the audience was just overwhelmed. (speaks in yiddish) They were completely overwhelmed. And what happened is, after a few, and Yablokoff  was a little concerned about this, because he figured, kids can sometimes get troublesome.  You know, they become prima donnas. And this is what happened.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=327.0,393.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER:  And I, I learned this story, actually, not at the time. At the time I didn’t know it. But from reading Yablokoff 's biography, I learned the story that happened many years earlier. The father came and said, we want, we want her salary tripled, or we're gonna pull her out. And Yablokoff didn’t like to be high handled this way. So, what he did, he was very smart. He says, I'll think about it. I'll think about it. In the meantime, he found another little girl, he coached her, and I think he, he taught this Malka Lobiler a lesson. Because they had the other, then they split the part up, with the original girl to the second girl who did just as well. So, that’s how he handled her.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) And was that in the '40s or '30s?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: The '40s.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: What is the story with Goldele dem bekers?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: There's more I could...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Goes to Hawaii...\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Well, I'll tell you (clears throat) a little bit more… \u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) I know. It was one of those shows that tried to have everything. Dancers?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Always.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=393.0,453.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: They had it all. They had a chorus of female dancers. They had, some of the actors in the show were, uh, Jacob Zanger, I remember. Max Rosenblatt. Um, uh, uh, Bella Meisel was the leading lady, was  ̶ I, I don’t know if she was married to him at the time, because I know she was originally married to, uh...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Olshanetsky.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER:  Olshanetsky. And then subsequently divorced Olshanetsky and got married to Yablokoff.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Right. Mm hm.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) But she, but she...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) She divorced Olshanetsky?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Yeah.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) I thought it was after he died.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: No.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=453.0,483.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eHERBERT LATNER:\u003c/strong\u003e (overlapping) No, no. No, no, no, no, no...\u003cbr\u003e\u003cbr\u003eThey were still around. Olshanetsky was in a different theater. They were both very, very busy working. So, um, but Yablokoff was essentially the leading man. He was a little mature to be a leading man, but he was okay. And she was the leading lady. And then there was there was a woman who, uh, who, who, who had a thing for him. And, and there was sort of a little, uh, complication in the plot and so on. There was this little girl, Malka Lobiler [sic], who they found this little girl, they wanted to adopt her. But she was paralyzed. She couldn’t walk. But the paralysis was emotional. I think Bella Meiser played the part of a social worker. And she was working with this little girl. So, in the middle of this show, there was a dream, Snow White and the Seven Dwarfs. They worked that in. So, they took us kids, and they made us dwarfs. They dressed us up like the different, you know, at the time. The country was still, uh, you know, that great movie, the Walt Disney movie of Snow White. So, we were the seven dwarfs.  Uh, and for, and that was in act two. The kid had a dream, the girl had a dream about the seven dwarfs and everything. And then toward the end of the, and then they went to Hawaii. And he was a baker. And then, he came from Europe, and he sang a wonderful, every show had to have, uh, a nostalgic song about the (speaks in yiddish sounds like ulta heym).  You know, like the greatest of those songs was Beltz. But, they didn’t have Beltz. They had another song that was almost as beautiful. It was called (speaks in yiddish). Yablokoff sang it. Very emotional song, a wonderful, wonderful song. And, uh, toward the end of the show, when, uh, this, and, oh, by the way, this woman who, who had, uh, her eye on Yablokoff, uh, and the little girl didn’t like her, and she didn’t like her. In the dream, where we were the seven dwarfs, the, this woman, I forgot her name, uh, she, she was the witch.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=483.0,594.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER:  She was the witch from Snow White and the Seven Dwarfs. And when she came to the little girl, and, and, and she was going, she was threatening her, the little girl jumped out of her wheelchair, and walked. And suddenly, that was the big breakthrough. You saw it was psychological and emotional. The girl was able to walk. And when the show ended, the girl walked, uh, Bella and Yabby got married, and they lived (laugh) happily ever after.  And it was a beautiful ending.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) The happily ever after I remember because every show ends that way.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Yeah, (laugh) yeah. But, but what happened is, as the show...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) I don’t remember the wheelchair thing at all.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Oh, I remember that so vividly, she was in the wheelchair, and the witch is approaching her and everything. And she starts screaming. The little girl was petrified. And she runs to escape her. And suddenly she realized she's walking.  You know, little dramatic...","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=594.0,639.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) The problem is that they changed the scripts. You know how many scripts I have for one show? I have three or four different scripts because they’d change…\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I’m sure.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) They kept altering them. But, I’m still trying to find out why they went to Hawaii. There was some reason…the Hula dancers?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) He would find a reason.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) There was a Hawaii number. (sings in yiddish) And they all had these little leis around their necks...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) He knew what the audience loved.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) And they had very skimpy consumes.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And he put everything into it, heart and soul. And they loved it. He did fantastic business...I wasn’t in that show.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Oh, he was a great, and he...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) But he, he was so wonderful.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... And he did so well that season that the following season...He did two shows.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: And what about Olshanetsky?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No, Yablokoff. Yablokoff was so successful, and a lot of people said he's overreaching himself. The next season he took the Public Theater, and, uh...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Second Avenue.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=639.0,688.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: ... and, uh, Second Avenue. He had two theaters. One show was called Mein Veise Blum.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: That was in the Public Theater.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) My wife flower. You remember that? In the Public Theater.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Public Theater.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: And they had a...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I worked in the Second Avenue theater.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) The Second, yeah. And then he, he had two shows. So, he became, you know, like, uh, you know, a David Merrick. But one thing I, just about us, the kids, what happened is in the dream sequence, occurred around, uh, 10, 10:30. And about midway, uh, through the season, they, they decided that it's too late to keep these kids up so late. And we, also, we couldn’t stay to the very end to take our bows with the curtain calls, because we had to go to school the next day. So, what they did is, they cut out the dream sequence, and they, they eliminated us from the, the bows later on. And we went home right after the early part. We were in the opening. So, after the opening we left. We went home. We had to go to sleep. As it was, we probably didn’t get, I guess it was about 10, 10, 10:30 by the time we got home. So that was my, that was my introduction to the Yiddish theater.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=688.0,746.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: And you were just how old?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Eight, eight...Eight, nine, something like that.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: What was the first time you saw Esta Salzman in the theater?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) I saw her dancing in one show. I guess it was with, uh, Dave Lebritsky. She was a great dancer. She was really good.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I, I was good, dancing.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: She was good.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I was.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Um, and I think, like, uh..\u003cbr\u003e\u003cbr\u003eOFFSCREEN: I have photos of you dancing.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Yeah. Well, we saw, when I went to, I, recently I went to that, uh, Caraid O'Brien, uh, evening at the 92nd Street Y. They showed a film clip of a movie where Esta was dancing.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Really?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Yeah.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN:What movie?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) It was a great film clip of that.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I don’t know. I did about 10 of them. I didn’t know the...\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) There were a lot of Yiddish movies in \u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And I did all of them.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: She was in the movies.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=746.0,798.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Were you in the ones…like the famous ones with Molly…like…\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Yidl mitn fidl?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Yidl mitn fidl? No.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: What was the other one? There were two or three that were big in the '30s.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Yes, she did quite a few. But...the, most of them were done by Green...\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Joseph Green.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) That’s right.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And he did most of them in Poland.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Joseph Green.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: You didn’t go to Poland.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Right, right.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: It was Joseph Green.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=798.0,818.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ESTA SALZMAN: (overlapping) I just remembered another play that Jacob, from before, Jacob Jacobs...\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Jacob Jacobs.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: ...did in, in Yiddish. Johnny Belinda.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Really?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  In Yiddish.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Wasn’t Miriam Kressyn in that?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: No, she did...Anna Lucasta.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Anna Lucasta...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Johnny Belinda.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Johnny Belinda...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And he got the, uh, one of the girls that did it on Broadway. She did the mute. The English one. But the rest of it was in Yiddish. He had such a (speaks in yiddish) . You know what a (speaks in yiddish) is?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=818.0,855.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) Was the first time you saw her dance in a film?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No, I saw...I saw her dancing live back in those days, when, uh, the shows all had, uh...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And now you're seeing me live. Isn’t that amazing?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: You might even see her dance.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Well, Esta happens to be a member of a group that I belong to also, the Yiddish Artists And Friends. (laugh)\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: What's that?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) No, I don’t belong to that.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Well, she has attended...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) That’s alright.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... some of our functions. This is a group of, uh, well, it, it, it's, uh, headed up by Corey Brier, who’s, uh, a Yiddishist.  Uh, I'm sure you’ve heard his name. And he's having a big annual event. And he is trying to preserve the Yiddish language. So, we meet about once every other month, at the Yiddish theatrical building on Seventh Street. And once a year, and I, I, um, I, I told Gina about this, and I, and I just want you to know, we’re going to have our, we have an annual gala dinner dance. And most of the folks who are still left in, uh, uh, who have some interest in Yiddish theater, come to it. They have an annual event. Last year's guest of honor was Fyvush Finkel. Claire Barry comes down. And, uh, uh, uh, Mina Bern, and, uh...","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=855.0,926.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ESTA SALZMAN: (overlapping) Shifra Lerer. \u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Shifra Lerer. Lillian Lux. I hope she's well.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: If she's well.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Yeah, she's well. And whoever else is, uh, Bruce Adler.  Uh, and, and, and, uh, uh, what's Lillian's son, uh...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Michael Burstein.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: If he's in town.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: If he's in town. So, we get a very nice turnout.  Uh, Irving Fields, wasn’t in Yiddish theater, but...you know, he plays the...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Bangos and Bongos.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: He's playing. He's still playing.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Bangos and Bongos.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: That’s right. That's right.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) He's still playing.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Really?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) But not with… Nicaragua, and Miami Beach rhumba, and all that.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) And a wonderful restaurant.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) That’s '50s.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: He’s ninety.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=926.0,959.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: Well, there was still Yiddish theater, in the '40s. '50s, and '60s. And I, I, what happened with me is that after Goldele dem bekers as often happens, I got the bug. And so, one show led to another show, to another show. So, eventually I got to work with small roles. I never reached the, uh, status of, uh, Esta, but I got little, little parts in, um, in a show with, uh, Maurice Schwartz, called Di Tsvey Kuni Lemls. And that was a fun experience, because we had a live goat in the show. And the, (laugh) the goat, because they were trying to establish the fact that he was, uh, retarded, mentally retarded.  You know the story, and the people in the town thought that this mentally retarded person was a lamed vavnik.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Right.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) One, one of the 36...holy men.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Just…just men.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Just holy men who, uh, upon whose merit the world stands. And so, they were establishing that he was, uh, a little mentally deficient. So, in an early scene, myself, and I think one or two other kids, were playing with a goat in a scene. And he came over, and we got into a fight over the goat. And we had a live goat, so we had, uh, it took us about a half an hour to get ready for that part, because we had to paste on the glue for the payos, we had to put on the tsitsis. We fixed ourselves up. It took 30 minutes, and the whole part was about five minutes. In that scene. But it was really something to work with, uh, with Murray Schwartz in that show. I, at the time I didn’t really know that much about him.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=959.0,1053.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) That wasn’t a musical, was it?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) No.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) No, no, no. They later made a musical out of it in Israel.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: That’s something else. But when you were in it...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) It was a straight play.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: It was a straight play. Where was it done?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: At the Public, the Public Theater on…\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) It was the Public Theater?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... oh, yes. Oh yes.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Didn’t he have a theater...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Folks Theater [sic].\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Uptown?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Folks Theater.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No, he had the, uh, Yiddish Art Theater on 12th... Street and Second Avenue.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Twelfth Street. Where we did (speaks in yiddish) .\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: He was never a little further uptown?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER:  (overlapping) Twelfth Street, 12th Street...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Twelfth Street. Almost in Gramercy Park.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... the Café Royale. Remember, the Café Royale?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Right.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN:(overlapping) That's right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1053.0,1086.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: Twelfth Street. The building is still there. It's now a, uh..\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Movie picture.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... movie plex, multiplex...There's a big plaque on...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: In the lobby.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: In the lobby. I was there at the dedication  ̶  about 15 years ago. Seymour was there, Miriam, and Seymour, and a few other old timers.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Did they have incidental music for that?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Oh, yeah, yeah, sure.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Some very fine composers wrote…you know (sounds like) feinshmeckers who wouldn’t write for Second Avenue. But they would write for Maury Schwartz.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) That’s a different story.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Oh, yeah.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Like background music.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1086.0,1124.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: (overlapping) Yiddish Art Theater. But, uh, but then... I, that, that was a very, very memorable show. And, uh, there were other musicals in those days, when I was around. I remember Molly, uh, I think Molly Picon was in a musical called the, I think she was The Kosher Widow.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Kosher Widow, yes.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I was in that. I was in that.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Uh, you were in that one?...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Yep.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: ... Okay. I have you in, I, I brought a few pieces of memorabilia, which, uh, one of them...","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1124.0,1147.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN:(overlapping) That wasn’t your first show with Molly? The Kosher Widow?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: No. That was...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) We also did a song from Kosher Widow but I don’t remember what it is. I mean, we recorded fifty songs.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: I love the, the, I, I, I heard the first one by Ellstein and Gina told me you came out with a new one on Secunda.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: It’s not only Secunda. It’s Olshanetsky and a few miscellaneous.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Ilia Trilling, maybe?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Trilling! Rubin Doctor. Pearlmutter. Wohl. You know. I like that one even more.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: I can hardly wait to hear it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1147.0,1193.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Just looking to see…The Kosher Widow. I thought I saw it here somewhere. But I know we did a song from it. But the thing is, I can’t…never remember. So, what else? What other shows were you in?\u003cbr\u003e\u003cbr\u003eOFFSCREEN: I think we can look at the memorabilia. Just separately.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Oh, you want to look at that separately?\u003cbr\u003e\u003cbr\u003eOFFSCREEN: Yes, I think so. Or maybe photograph some things.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: You may want to film it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1193.0,1213.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Esta, you were in The Dishwasher, weren’t you?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Yes. Herman Yablokoff.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN:Yeah.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I was in everything. (laugh) I can't remember anything, but you mention names, I was in it.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Der Dishwasher.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: We recorded the song with the old man washing dishes.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Ikh vash mit mayne shvakhe hent.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: shvakhe hent. Ikh vash un vash,\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Vash un vash. \u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  Fardin ikh a por cent.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Fardin ikh a por cent. Lovely, lovely song. Where was Papirosen from? That’s another song he made famous.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Papirosen, as far as I know…Well, I’ll let you in. Yablokoff copyrighted the song. That he wrote the words and the music. But, the music is an old Russian folk tune. \u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Really?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Because everybody came from…Everybody who came here in the 1970s, from the Soviet Union, immigrated…they started laughing when we said it was Yiddish. Okay…a lot of people did that. Now, and you know what just happened with Naomi Shemer  ̶  last year with Yerushalayim Shel Zahav? You know the song, Yerushalayim Shel Zahav?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: I know the song. But I didn’t know there was any story.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: She said when she was dying that actually it was a lullaby. She changed eight notes. But it was a Basque lullaby that she had heard.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: My goodness.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: In any case, the Yablokoff, then, I believe the song was written as a one off  ̶  just stam a song. But I don’t remember which came first. But he did create a show around it and the show was also called Papirosen. So, it’s hard to tell…\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) He was very capable. He really was. He put everything into it to please an audience.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1213.0,1322.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: You were in Leb un lakh?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Leb un lakh.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Yes, I was.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Menasha Skulnik was in that, wasn’t he?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: I, I think so.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: I have a song from there, too. I don’t know which one. Uh… Der letster tants?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Der letster tants…\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: No.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Der letster tants? It says you were in it.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Michal Michalesko.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: I’ll tell you what, maybe this will jog your memory. Because that I do remember what it was about.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  What?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Der letster tants…is where they marry off. The will says that the girl…it’s not her father, it’s an uncle... that she can’t receive the money unless she’s married. So, they gotta find a …\u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  Husband.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: And he’s gotta be by a certain date. So, they gotta find a chusan by a certain date, so…it happens, they’re reading the paper and there’s a man who is going to be executed at Sing Sing prison  ̶  and it actually takes place at Sing Sing  ̶  for a crime he didn’t commit, of course. But…so, they go up to Sing…they ask him if he’ll marry her, right then the day before his execution at Sing Sing. A… he’ll be doing a mitzvah. B…they’ll pay him a few dollars that he can leave to his brother, sister. And they actually have a scene right there at Sing Sing where they bring…well, they have the chaplain.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  Yes.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: And also of course, it’s for the theater, so they bring a hazzan and a choir…\u003cbr\u003e\u003cbr\u003eESTA SALZMAN:  And a rabbi.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: And then they fall in love, in the two seconds that they meet. And so, they dance. And that’s the der letster tants… the last dance. But, don’t worry. The governor pardons him the next day and everything because it’s Second Avenue.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1322.0,1420.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ESTA SALZMAN: That’s all within two and a half hours.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: All within 2 ½ hours. According to this…You were in it because your name is on the back.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Probably.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) (speaks in yiddish- sounds like a yiddishe niggun) ... And Oy, Is Dus a Maydele.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) (speaks in yiddish- sounds like a yiddishe niggun) Was a movie, wasn’t it?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) Yes.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I was in that.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: It was a movie... And then The Kosher Widow.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I was in that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1420.0,1446.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Tell me about the thing…you sent me the thing from (sounds like Fishel Degoitner). \u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Uh, no, no, Hy. I, I sent you the, uh, I wrote an article about my friend Hy Parness. And they wrote, uh, they wrote a show about him, Samele’s Bar Mitzvah. He was Samele. And, uh, what happened was, and I mentioned this in the article, that he got into a, uh, he was very outspoken. He's, he still is. But as a little boy, he was really a tough, tough kid. And he got into some arguments with Yablokoff. And Yablokoff didn’t brook any of this nonsense. So when, there was a famous playwright, Harry Kalmanovich who wrote a show called Samele’s Bar Mitzvah, with Hy Parness in mind for the part. So, when he brought it to Yablokoff to produce, Yablokoff says, I don’t want Hy Parness. I can't work with that kid. He's too fresh. Kalmanovich  said, well, then you can't have the show. So, Yablokoff had to back down, because apparently the show came with, uh, with Hy Parness. And he, he starred in the show. He had a huge part, because the show was built around him, Samele’s Bar Mitzvah. And, uh, so that was just one aspect. That was probably the highlight of his career.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1446.0,1518.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: Did you know the show... Fishl…\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: der gerotener?\u003cbr\u003e\u003cbr\u003eNEIL LEVIN:Yeah.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: It was Menasha Skulnik did the show.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN:Do you remember that show?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Vaguely.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) I may, I may have a program home.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: I think somebody sang it with…English. Fishl, the conductor.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: The conductor?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Oh, really?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) I, I don’t know that.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: I don’t know why they did that.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: I, I don’t know.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: It's an all Yiddish show.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1518.0,1541.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"HERBERT LATNER: Well, they would sometimes have a medley in the shows. I'm sure Esta remembers this. Which, I always thought was delightful.  Uh, I often remember, I remember rather that, uh, uh, Menasha Skulnik and Yetta Zwerling were particular adept at this. They would each sing a few bars of an English song, and the other one would answer with another song. So, for example, uh, (singing) Remember the day? In darker bay? A bathing suit (speaks in yiddish) . Remember, remember? And then, as she, and then, that was her actually. And then Menasha would answer by saying, uh, (singing) (speaks in yiddish) , I remember. (laugh) And it had, like, funny lyrics like that, on, and on, and on. And...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) But they were already using English then.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) Was like Yinglish. In the '40s and '50s.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) Well, that they did, I told you, with Jacob Jacobs and Yetta Zwerling. He started that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1541.0,1608.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) When you first started, when you were 15 years old, 16, was there any English in the shows?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) No.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: No.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Yiddish.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Just Yiddish.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) In fact, Maurice Schwartz used the very heavy Yiddish, which I didn’t understand that well. His, his Yiddish was really...\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (speaks in yiddish) Yiddish.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: The real literary...Yiddish. Not Second Avenue Yiddish.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: YIVO [sic] they would call it today.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: YIVO.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Yeah.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) But it's a part. You live and learn, and you learn how to do his way.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) He did the same thing in English.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1608.0,1640.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: (overlapping) Did you make theater your major profession?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: No.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: No. Not like Esta.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: I became a teacher. I...I worked from about eight until about 16, 17.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Yeah.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: And during the last few years in the theater, if I had either a small part or no part at all, I became a gofer. They would send me out for things. And, uh, I mean, I, I loved it so much that...I just worked on tips. And I used to get things for people, like, I would...\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: (overlapping) But then...\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Lebedeff would send me out, and people would, Leo Fuchs, they'd send me out, buy me this and this.  You know backstage how it is.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: But then eventually you grew up.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (NEIL LEVIN: laughs) I grew up. (laugh) I went to high school, I continued there while I was in high school, because I lived right around the corner.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Downtown?\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Downtown, right off Second Avenue...On the Second Avenue, I was between the three theaters. Right...","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1640.0,1692.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"NEIL LEVIN: By the way, you mention Second Avenue and Second Street. That was the Second Avenue Theater? Okay. So, you know what famous restaurant is on the corner there?\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: Yes.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Uh, Moskowitz and Lupowitz.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: Moskowitz and Lupowitz. \u003cbr\u003e\u003cbr\u003eHERBERT LATNER: Right.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: I've never gotten over it.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: (overlapping) I ate there all the time.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER:  Moskowitz and Lupowitz.\u003cbr\u003e\u003cbr\u003eESTA SALZMAN: They were delicious.\u003cbr\u003e\u003cbr\u003eNEIL LEVIN: They were the best.\u003cbr\u003e\u003cbr\u003eHERBERT LATNER: (overlapping) The head, the head waiter's name was, Abramowitz, and their phone number was Gramowitz five 800.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1692.0,1712.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774/transcript/24213/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"CLOSING GRAPHIC","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39399/file/110774#t=1712.0,1722.19733"}]}]}]}