If I could have crossed, I wouldn't know what I'd have lost
I accept that I didn't know Ben Hecht was Jewish until I read The New Yorker on his recent (and attractive-looking) biography, but I really feel I should have known that during World War II he wrote and organized, with Kurt Weill and Moss Hart, a memorial pageant to the mass-murdered Jews of Europe—a celebration of those who fought and an outcry for the rescue of those still surviving—called We Will Never Die. There's partial audio of the version performed at the Hollywood Bowl on July 21, 1943. That was after the Warsaw Ghetto Uprising had been incorporated into the script. It's astonishing. It's not a subtle piece of art, but it's not meant to be, and it knows the extermination camps by name; it's open about Jewish resistance in a way I thought had to be reclaimed from the popular reception of the Holocaust, not predated its formation. I had no idea.

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Speaking of memory holes: have you heard or heard of Yiddish Glory: The Lost Songs of World War II (2018)? An archive of Soviet Jewish songs collected during and after the war, lost for decades when the ethnomusicologists in charge were arrested in Stalin's anti-Jewish purges, performed because of this project for the first time since 1947. All of the songs are in Yiddish. Most of them are war songs—I'm used to partisan songs, but these are soldiers' songs, because so many Jews fought in the Red Army. They grieve the dead, but they also promise and boast about vengeance and victory. There's an amazing pair from a garment worker and her husband at the front; she writes him a song about sewing a shroud for Hitler, he writes her a song about ripping Germany apart. Many of them praise Stalin, bulwark against fascism. The closing track, "Tsum Nayem Yor 1944 (Happy New Year 1944)," cheerfully invites Hitler to kiss the singer's tuchis. It's an incredible collection. And again, the sort of thing there was no reason it shouldn't exist, but I didn't know it did until the middle of last month. (And it's been nominated for a Grammy and I hope it wins.)
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I really recommend it, as both an artifact and something to listen to. The liner notes explain that most of the songs had been written to extant folk or popular tunes, not always recorded with the lyrics; the process of recovering them in the present day reminded me of Bellamy's work with his Kipling settings. One of the tracks has an entirely new melody, composed by the violinist. The rest are folk-tradition filk.
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