By Brother Nathanael Kapner July 29, 2017 ©
I dreamt I was in the West Wing of the White House sitting next to Jared Kushner. He had his stereo blasting “Hatikvah,” the Israeli national anthem.
I rose up from my chair, turned it off, and told Kushner, “You’re listening to a Czech song composed by Smetana, nothing Hebrew about it.”
He turned all red in the face, turned the stereo back on, and started blasting “Back In The USSR” by the Beatles.
I told him that the USSR no longer exists but a Christian Russia is re-emerging.
“Who cares about Christians?” Kushner replied. “I’m a Jew and Russians are a bunch of anti-Semites! And besides, Putin’s on our X list.”
Suddenly Trump walks in.
“Hi, Jerry!” Trump warmly greeted his son-in-law.
“I just got off the phone with Chuckie Schumer and the Russia sanctions bill is a go!” Trump declared.
“You’re not going to veto it?” I interjected. “Why should I?” Trump replied…”my presidency is at stake if I do.”
“BUT, BUT, WHAT ABOUT ALL YOUR PROMISES that we need to get along with Russia?” I insisted.
“And what about your recent meeting with Putin where you said we need to cooperate with each other?” I persisted.
“You’ve been listening to fake news,” said Trump.
Then Melanie appeared. “Din din’s ready,” she purred, “what would you like for desert, dear?”
“Mmm,” murmured Trump, “how about some marshmallows, dripping with melted chocolate truffles, soaked with pink custard, topped with kosher macaroons?”
Suddenly, I was jarred out of sleep with severe cramps. I rushed to the kitchen and poured myself a drink.
“Boy,” I said to myself, “whatever happened to leaders with a set of…” Then the phone rang.
I picked it up and a man’s voice asked, “Is Donald there?”
“Donald? There’s no Donald here,” I shot back.
“Sorry, “he said, “must have voted for the wrong number…”
“What do you mean, voted?” I demanded. But he had already hung up…
Reposted from: http://www.realjewnews.com/
Below is a comment on the above article by KathJuliane, a fixture on realjewnews. Her comments are always highly informative, very eloquent and a pleasure to read.
I got the bit about the Hatikvah being stolen from Smetana who used a melody from Czech folk music for his symphonic poem about the Czechoslovak people sure skewers Jarred, and all East European Jews by extension, for heavily “borrowing” from other peoples’ cultures, giving it a Jewish twist, and then calling it their own.
Jews even go so far as to claim that Europeans, like Smetana, borrowed from Jewish music for their folk tunes, but such is not the case, particularly with the melody for the Hatikvah, because the history of the melody is clearly traceable to Renaissance Italy, which then became ubiquitous throughout Europe.
This is a Jew-approved, kosher history of the Hatikvah by a PhD in Jewish liturgics and midrash at Hebrew University in Jerusalem — a Jew invented the poem which became the lyrics for the melody composed by another Jew.
The poem is one thing the Jew can take credit for, but the melody is another altogether. It is not of Jewish origin despite their pretensions and efforts to muddle this fact:
The History of Hatikva and Its Author
Naftali Herz Imber (1856-1909), the author of the poem on which Israel’s national anthem is based, was born in 1856 in a small town in Galicia, at that time part of the Austrian Empire.
From a young age, he wrote songs and poems, including a poem dedicated to Emperor Franz Josef, for which he received an award from the emperor.
At age 19, he left his native town and began to travel across Europe and beyond. During his travels in Turkey, he met British diplomat Sir Laurence Oliphant in Istanbul.
Oliphant, who hired Imber to be his personal secretary, was an author and a Christian messianic mystic who enthusiastically supported the return of Jews to Eretz Yisrael.
Imber accompanied Sir Oliphant and his wife Alice to Eretz Yisrael and stayed there with them from 1882-1887, years that coincided with the First Aliyah (the first major wave of European Zionist immigration to what is now Israel between 1882 to 1903).
Contemporary sources relate that Imber was a colorful character who loved to sing and visit the various agricultural communities founded by the immigrants.
After he had eaten and drunk to his heart’s content, he would read his poems. The flowery and emotionally charged words were embraced by the builders of the moshavot (Jewish agricultural settlements) and expressed their deepest sentiments and hopes.
Imber ultimately left Eretz Yisrael, moving first to London and then to New York, where he died penniless in a public hospital in 1909.
The Original Poem: Tikvatenu
Imber apparently composed Hatikva (The Hope) around 1878, several years before he moved to Eretz Yisrael. At first the poem was called Tikvatenu (Our Hope), and had nine stanzas (only two would become the Israeli national anthem).
Tikvatenu was published in Barkai, a book of his poems, in Jerusalem in 1886. Hatikva, the two stanzas that became the national anthem, were revised several times over the years, including by Imber himself.
Since he read different versions at the moshavot he visited, the result was that the members of the various moshavot were familiar with different versions of the poem.
Hatikva Gets a Tune
In addition to the flowery and uplifting words, the tune helped this poem become ingrained in the hearts and minds of its listeners. A few tunes were adapted for this poem. The one that is familiar to us today was written by Shmuel Cohen, a young man who made aliyah from Romania.
Hatikva Overtakes the Competition
Hatikva was the most popular song that reflected the Zionist hopes and yearnings.
Several other songs, particularly one by Chaim Nachman Bialik, who is considered Israel’s national poet, and Psalm 126 (שיר המעלות בשוב ה’), were candidates for the anthem for the Zionist movement and later for the State of Israel, but Hatikva ultimately won the people’s hearts.”
More: ( thetorah.com/tikvatenu-the-poem-that-inspired-israels-national-anthem-hatikva/ )
Bla bla bla. On the website is a footnoted link to the Hebrew University of Jerusalem concerning Jewish debates over the origins of the tune “Hatikvah: Conceptions, Receptions and Reflections,” Yuval Online, September 2015:
In 1884, Imber read his poem Tikvatenu to the farmers of Rishon le-Tziyyon, one of the earliest Zionist settlements in Ottoman Palestine, who received it with enthusiasm.
Soon afterward, Samuel Cohen (1879-1940), who immigrated to Palestine from Rumania in 1888 and settled in Rishon le-Tziyyon, set the poem to a melody which he borrowed from the Moldavian-Rumanian song, Carul cu Boi (‘Cart with oxen’).
He did so probably between 1887, after the poem appeared in print in Jerusalem and a copy of the book reached him in Moldavia through his brother, and 1888.
( jewish-music.huji.ac.il/he/node/22482 )
If Cohen was born in 1879 as this Jewish PhD has written, that would make him 9 years old when he migrated to Palestine and set the words to to the Romanian folk tune. Elsewhere, his date of birth is recorded as 1870, making him 18 years old, which is far more likely for an ardent young romantic Zionist nationalist immigrating to the Rothschild colonies in late 19th century Palestine.
And the melody? Although widely believed to have been composed by Samuel Cohen in 1888, Cohen himself recalled many years later that he had adapted the melody from a Romanian folk song.
The precise source of the melody of Hatikvah, i.e. the attribution of the melodic adaptation to Samuel Cohen following his testimony, was then public at least from 1938, but remained oddly concealed from public attention until it surfaced independently in two separate publications appearing barely a year apart in the 1960s. By then, the Hatikvah had become the Zionist Jews’ intellectual property in the popular Gentile mind.
The 1960s was a decade devoted to aggressively pushing Jewish culture and Zionist Nationalism’s brand in the movies (Exodus), politics, and the news in order to colonize the average American’s brain. At the same time Jews were Judaizing and Jewifying American, they were also stealing America’s nuclear secrets and materials for Israhell.
In the 1960s, President John F. Kennedy, and his brother, Attorney General Robert F. Kennedy were making a big effort to get AIPAC’s parent organization, the American Zionist Council, to register as a foreign agent after a Senate Foreign Relations Committee conducted an investigation into the Jewish Lobby. As Institute for Research: Middle East Policies’ (IRmep) Grant Smith writes:
“The Senate Foreign Relations Committee chartered an investigation in 1961 aimed primarily to unearth—and properly regulate—the activities of Israel lobbying organizations funneling hundreds of millions in U.S. and foreign donations into relief and political activities.
“During the course of the investigation and hearings, the committee discovered the Jewish Agency for Israel, a registered foreign agent, was improperly funneling millions into lobbying and public relations campaigns for Israel. Jewish Agency “conduits” included the American Zionist Council, its unincorporated lobbying division the American Israel Public Affairs Committee, the Jewish Telegraphic Agency and American Israel Public Affairs Committee founder Isaiah Kenen’s Near East Report, among others.
Since those halcyon days for Jews and their massive PR campaigns, particularly for support for the 1967 Israeli-Arab War, having taken up residence in the White House with the vigorous blessing of Israel-loving and Jew-loving Righteous Gentile L. B. Johnson, they acknowledge (not very loudly so the goyim don’t hear) that the tune of the Hatikvah originated in Italy, consciously passing over the fact that the melody had spread to all of Europe among various composers centuries before their Samuel Cohen was ever born.
I’ve read the argument, without so far a shred of evidence, that it was really a 11th Sephardic Jewish folk tune that the original composer used. Right.
This folk song was itself adapted from an Renaissance Italian madrigal. A madrigal was a secular song.
( youtube.com/watch?v=gQDjPqaZI1g )
In 1874, Czech composer Bedrich Smetana wrote a symphonic poem called The Moldau, also based on La Mantovana as a tribute to his homeland, which became immensely popular in Czech romantic nationalism. Cohen was actually more likely to have been influenced by Smetana’s beautiful melody than simply giving lip service to some old folk tune he caught himself whistling.
This melody, which became ubiquitous all over Europe and reached England in its compositional variants, originated in northeast Italy as an Italian madrigal around the year 1600 named La Mantovana.
Wikipedia: La Mantovana or “Il Ballo di Mantova” (Mantua Dance) is a popular sixteenth-century song attributed to the Italian tenor Giuseppe Cenci, also known as Giuseppino del Biado, (d. 1616) to the text “Fuggi, Fuggi, Fuggi da questo cielo”.
Its earliest known appearance in print is in Biado’s collection of madrigals of the year 1600, who composed a number of canzonettas.
A canzonetta is a popular Italian secular vocal composition that originated around 1560.
The melody, later also known as Ballo di Mantova and Aria di Mantova, gained a wide popularity throughout Renaissance Europe, being recorded variously as the Scottish ‘My mistress is prettie,’ the Flemish ‘Ik zag Cecilia komen,’ the Polish ‘Pod Krakowem,’ the Spanish ‘Virgen de la Cueva’ and the Ukrainian ‘Kateryna Kucheryava’.
[It appeared in 17th century England as An Italian Rant].
It is best known now as the melody of Bedřich Smetana’s Vltava and of the Israeli national anthem Hatikvah.
Appearances in classical music:
“La Mantovana” appears in “Il Scolaro” by Gasparo Zanetti, 1645, as “Ballo di Mantua” in “Duo Tessuti con diversi Solfeggiamenti, Scherzi, Perfidie et Oblighi” by Giuseppe Giamberti in 1657, and as “An Italian Rant” in John Playford’s “Dancing Master”.
“Fuggi, fuggi, dolente cor,” a version of the madrigal setting, provides the source material for Biagio Marini’s 1655 trio sonata in G minor (Op. 22, “Sonata Sopra ‘Fuggi dolente core’”).
“Camille Saint-Saëns quotes this tune in the third movement of Rhapsodies sur des cantiques bretons, Op. 7.
“The melody was also then famously used by the Czech composer Bedřich Smetana in his symphonic poem Vltava (The Moldau) from his cycle celebrating Bohemia, Má vlast.”
Giuseppino del Biado’s original Italian lyrics are an ode to the Spring Wind:
Fuggi Fuggi Fuggi da questo cielo
Aspro e duro spietato gelo
Tu che tutto imprigioni e leghi
Né per pianto ti frangi o pieghi
fier tiranno, gel de l’anno
fuggi fuggi fuggi là dove il Verno
su le brine ha seggio eterno.
Vieni vieni candida vien vermiglia
tu del mondo sei maraviglia
Tu nemica d’amare noie
Dà all’anima delle gioie
messagger per Primavera
tu sei dell’anno la giovinezza
tu del mondo sei la vaghezza.
vieni vieni vieni leggiadra e vaga
Primavera d’amor presaga
Odi Zefiro che t’invita
e la terra che il ciel marita
al suo raggio venga Maggio
vieni con il grembo di bei fioretti,
Vien su l’ale dei zefiretti.
Flee, flee, flee from this sky,
harsh and unyielding, relentless and freezing.
You, who shackle all in prison
neither bending nor breaking in tears.
You, the year’s cruel, frozen tyrant,
flee, flee, flee to wherever the eternal winter
places its throne over the frost.
Come, come white, come vermilion.
You are a marvel for the world
and the nemesis of all things dreary.
Give joy to the soul
through your message of spring.
You are the youth of the year
and the beauty of the world.
Come, come, come, graceful and unclear,
spring of foreboding love.
Odes of Zephyrus that invite you,
and the earth that marries the sky;
May May come at its ray,
come with your lap of beautiful little flowers,
come on the wings of little Zephyrus.
Zephyrus, sometimes known in English as just Zephyr, is the Greek god of the west wind.
The gentlest of the Winds [Anemoi], Zephyrus is known as the fructifying wind, the messenger of Spring. It was thought that Zephyrus lived in a cave in Thrace.
In ancient Greek religion and myth, the Anemoi were wind gods who were each ascribed a cardinal direction from which their respective winds came and were each associated with various seasons and weather conditions.
Sephardic Jewish music? I doubt it.
It’s time to take our music back, even if you just sing Fa La La La La La to the catchy tune.
We are all Modavians now, thanks to the Jews exploiting and appropriating our culture.
if anyone wanted to play this song, La Mantovana, to the oud, that would be fun, too.
The oud is a short-neck lute-type, pear-shaped stringed instrument commonly used in Persian, Greek, Turkish, Byzantine Roman, Arabian, Armenian, North African (Chaabi, Classical, and Spanish Andalusian), Somali and Middle Eastern music.