Little Snich 6

Just Say Nu: Fluent Yiddish in One Little Word (6 CDs) by Michael Wex
Audio/Humor/Education | Renaissance Press | 2007 | English | MP3@192kbps | ISBN: 1427201870 | 06:36:32 | 545MB

This is not your bubbe's—or Leo Rosten's—Yiddish. Translator, novelist and performer Wex follows his witty and erudite Born to Kvetch with a colorful, uncensored guide to the idiomatic, use of Yiddish in such areas as madness, fury, and driving, mob Yiddish, insults and thirteen designations for the human rear (in declining order of politeness). Wex is knowledgeable about the biblical and Talmudic roots of some colloquial phrases; for example, he points out that tukhes (ass as he translates it) may be derived from Tuhkhes, one of the places where the Israelites sojourned on their way from Egypt to the Promised Land. While most of Wex's discussions of words and phrases are brief, he provides lengthier sections on five key, highly nuanced Yiddish words: nu (Well?), shoyn (already, right away), epes (something, somewhat), takeh (precisely) and nebakh (alas). Wex's advice on the complex usage of these words can help even the greenest Yiddish speaker. The book could have given more attention to regional dialects and there are a few organizational quirks. Still, Wex offers both fun and instruction for the non-maven.

Soul/blues singer whose style is characterized by a gritty, impassioned vocal style and precise, textured guitar playing.He may not be a household name, but die-hard blues fans know Little Milton as a superb all-around electric bluesman – a soulful singer, an evocative guitarist, an accomplished songwriter, and a skillful bandleader. He's often compared to the legendary B.B. King – as well as Bobby "Blue" Bland – for the way his signature style combines soul, blues, and R&B, a mixture that helped make him one of the biggest-selling bluesmen of the '60s (even if he's not as well-remembered as King). As time progressed, his music grew more and more orchestrated, with strings and horns galore. He maintained a steadily active recording career all the way from his 1953 debut on Sam Phillips' legendary Sun label, with his stunning longevity including notable stints at Chess (where he found his greatest commercial success), Stax, and Malaco.

With her haunting solo debut Little Earthquakes, Tori Amos carved the template for the female singer/songwriter movement of the '90s. Amos' delicate, prog rock piano work and confessional, poetically quirky lyrics invited close emotional connection, giving her a fanatical cult following and setting the stage for the Lilith Fair legions. But Little Earthquakes is no mere style-setter or feminine stereotype – its intimacy is uncompromising, intense, and often far from comforting. Amos' musings on major personal issues – religion, relationships, gender, childhood – were just as likely to encompass rage, sarcasm, and defiant independence as pain or tenderness; sometimes, it all happened in the same song.