"Item Id","Item URI","Dublin Core:Alternative Title","Dublin Core:Abstract","Dublin Core:Table Of Contents","Dublin Core:Date Available","Dublin Core:Date Created","Dublin Core:Date Accepted","Dublin Core:Date Copyrighted","Dublin Core:Date Submitted","Dublin Core:Date Issued","Dublin Core:Date Modified","Dublin Core:Date Valid","Dublin Core:Access Rights","Dublin Core:License","Dublin Core:Conforms To","Dublin Core:Has Format","Dublin Core:Has Part","Dublin Core:Has Version","Dublin Core:Is Format Of","Dublin Core:Is Part Of","Dublin Core:Is Referenced By","Dublin Core:Is Replaced By","Dublin Core:Is Required By","Dublin Core:Is Version Of","Dublin Core:References","Dublin Core:Replaces","Dublin Core:Requires","Dublin Core:Extent","Dublin Core:Medium","Dublin Core:Bibliographic Citation","Dublin Core:Spatial Coverage","Dublin Core:Temporal Coverage","Dublin Core:Accrual Method","Dublin Core:Accrual Periodicity","Dublin Core:Accrual Policy","Dublin Core:Audience","Dublin Core:Audience Education Level","Dublin Core:Mediator","Dublin Core:Instructional Method","Dublin Core:Provenance","Dublin Core:Rights Holder","Dublin Core:Title","Dublin Core:Subject","Dublin Core:Description","Dublin Core:Creator","Dublin Core:Source","Dublin Core:Publisher","Dublin Core:Date","Dublin Core:Contributor","Dublin Core:Rights","Dublin Core:Relation","Dublin Core:Format","Dublin Core:Language","Dublin Core:Type","Dublin Core:Identifier","Dublin Core:Coverage","Item Type Metadata:Text","Item Type Metadata:Interviewer","Item Type Metadata:Interviewee","Item Type Metadata:Location","Item Type Metadata:Transcription","Item Type Metadata:Local URL","Item Type Metadata:Original Format","Item Type Metadata:Physical Dimensions","Item Type Metadata:Duration","Item Type Metadata:Compression","Item Type Metadata:Producer","Item Type Metadata:Director","Item Type Metadata:Bit Rate/Frequency","Item Type Metadata:Time Summary","Item Type Metadata:Email Body","Item Type Metadata:Subject Line","Item Type Metadata:From","Item Type Metadata:To","Item Type Metadata:CC","Item Type Metadata:BCC","Item Type Metadata:Number of Attachments","Item Type Metadata:Standards","Item Type Metadata:Objectives","Item Type Metadata:Materials","Item Type Metadata:Lesson Plan Text","Item Type Metadata:URL","Item Type Metadata:Event Type","Item Type Metadata:Participants","Item Type Metadata:Birth Date","Item Type Metadata:Birthplace","Item Type Metadata:Death Date","Item Type Metadata:Occupation","Item Type Metadata:Biographical Text","Item Type Metadata:Bibliography","Item Type Metadata:Associations","Item Type Metadata:Identity","Item Type Metadata:Deathplace","Item Type Metadata:Birthname","Item Type Metadata:AKA","Item Type Metadata:Relationship","Item Type Metadata:Project ID","Item Type Metadata:Translation","Item Type Metadata:Caption","Item Type Metadata:Language","Item Type Metadata:Tag","Item Type Metadata:LocationPresent","Item Type Metadata:LocationHistorical","Item Type Metadata:GeographicalCoordinates","Item Type Metadata:DateDestroyed","Item Type Metadata:Death Place","Item Type Metadata:Performer","Item Type Metadata:Other Performers","Item Type Metadata:Composer","Item Type Metadata:Lyricist","Item Type Metadata:Translator","Item Type Metadata:Date Composed","Item Type Metadata:Date Recorded","Item Type Metadata:Date Created","Item Type Metadata:File","Item Type Metadata:Lyrics","Item Type Metadata:Source Type","Item Type Metadata:Subtitle","Item Type Metadata:Lede","Item Type Metadata:Story","Item Type Metadata:Sponsor","Item Type Metadata:Factoid","Item Type Metadata:Related Resources","Item Type Metadata:Official Website","Item Type Metadata:Street Address","Item Type Metadata:Access Information","Streaming Video:Video Filename","Streaming Video:Video Streaming URL","Streaming Video:Video Type","Streaming Video:HLS Streaming Directory","Streaming Video:HLS Video Filename","Streaming Video:HTTP Streaming Directory","Streaming Video:HTTP Video Filename","Streaming Video:Segment Start","Streaming Video:Segment End","Streaming Video:Segment Type","Streaming Video:Show Item","Streaming Video:Video Source",tags,file,itemType,collection,public,featured 103,https://jewish-lodz.iu.edu/items/show/103,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Anybody Can Love in Łódź",,"Ad from the Yiddish newspaper Najer Folksblat publicizing a 1933 screening of the film Anybody Can Love (Każdemu wolno kochać) at the garden movie theater Rakieta in Łódź. Anybody Can Love, the first full feature Polish talkie, is about a poor song writer who suddenly becomes successful. The hit songs for this film were written by Jewish artists— music by Zygmunt Karasiński and lyrics by Szymon Kataszek.",,,"Najer Folksblat no. 126",1933,,,,,Yiddish^^Polish,"newspaper ad",,,"Klang-kino / Rakieta / Sienkiewicza 40 Tel 141-22 / Dos ayntsige kino in garten / Haynt un folgende teg / Blak-muza-film prezentirt / Adolf Dymsza, Mariusz Maszyński, Mira Zimińska, Lili Zielińska / in dem shpritsenden muzikalishen fors / Yedn iz erloybt tsu libn / Frehlikhe libes-pasirungen fun dreyste un nisht dreyste libhober / Bemerkung: luksus-teater-gebeyde gezikhert in fals fun an’unginstig veter un kelt",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Sound-cinema / Rakieta / Sienkiewicza 40 Tel 141-22 / The only cinema in a garden / Today and following days / Black Muse Film presents / Adolf Dymsza, Mariusz Maszyński, Mira Zimińska, Lili Zielińska / in the sparkling musical farce / Anybody Can Love [Każdemu wolno kochać] / Merry love-trials of brave and not-so-brave lovers / Note: luxury theater building reserved in case of unfavorable weather and cold",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,songs",https://jewish-lodz.iu.edu/files/original/f59ca671fb8438cbfe4ae8d8480ab86a.jpg,Text,Texts,1,0 75,https://jewish-lodz.iu.edu/items/show/75,,,,,,,,,,,,,,,,,,,,"Leisure Time",,,,,,,,,,,,,,,,,,,,,"The Rent [Komorne]",,"
The text of this song, satirizing the dismal living conditions in low-income rentals, would be readily understood by the inhabitants of impoverished working-class districts in any of Poland’s small or big cities. But the conditions it lampooned were particularly familiar to the occupiers of Bałuty’s overcrowded tenements. As natives of Łódź who were closely associated with its cabaret circles, both the author and composer of this song, Mieczysław Miksne, and its performer, Bolesław Norski-Nożyca, were very well known to the residents of Łódź ‘s Jewish quarter.
",,,"Syrena-Electro 26868",,,,,,,,,,,,,,"Obniżyli mi komorne trochę [?]
Oj komorne, źle! Oj komorne męczy mnie.
Ja mam dwa pokoje małe, pokoiki dwa,
Oj komorne źle…
W sądzie grodzkim wiedzą dobrze kto jest Rozenblat.
Oj komorne źle…
Od sufitu zawsze kapie, że aż łapie dreszcz.
Oj komorne źle…
",,"78 rpm",,3:03,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"My rent was lowered a bit [?]
Oy the rent, it’s bad! Oy the rent troubles me.
I have two tiny rooms, [so small that]
Oy the rent, it’s bad….
In the magistrate court they know well who is Rozenblat.
Oy the rent, it’s bad….
The ceiling is always leaking, so that one feels feverish.
Oy the rent, it’s bad….
",,,,,,,,,"Bolesław Norski-Nożyca",,"Mieczysław Miksne","Mieczysław Miksne",,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,songs",https://jewish-lodz.iu.edu/files/original/9355159bb1dd27358811af9e34900d3f.mp3,Sound,Sounds,1,0 73,https://jewish-lodz.iu.edu/items/show/73,,,,,,,,,,,,,,,,,,,,"Leisure Time",,,,,,,,,,,,,,,,,,,,,"Ah, How Pleasant It is! [Ach, jak przyjemnie!]",,"
This favorite song was written for the 1938 movie Zapomniana melodia (The Forgotten Melody), in which it was originally sung by Helena Grossówna and Jadwiga Andrzejewska. In this lighthearted romantic musical comedy we hear this song when the carefree teenage schoolgirls are rowing on a lake. The song, like the film, was an immediate hit, and received many new renditions since then. It remains popular in Poland till today.
In the present recording, in a manner typical of the period, Adam Aston sings only in the refrain; the rest of the song is performed by the instrumental ensemble only. The text sung by Aston differs slightly from the original lyrics provided here. The changes are introduced in order to make a song that is performed in the film by young women more suitable for a mature male singer.
",,,"Syrena Electro",,,,,,,,,,,,,,"”Ach, jak przyjemnie!”>
Jak można się nudzić,
Jak można marudzić,
Że świat jest smutny, że jest źle,
Nie rozumiem, nie.
Jak można faktycznie
Na świecie jest ślicznie.
Niech ten co gdera przyjdzie tu,
A ja powiem mu tak:>
Ach, jak przyjemnie kołysać się wśród fal,
Gdy szumi, szumi woda i płynie sobie w dal.
Ach, jak przyjemnie, radosny płynie śpiew,
Że szumi, szumi woda i młoda szumi krew.
I tak uroczo, tak ochoczo serce bije w takt,
Gdy jest pogoda, szumi woda,
tak nam mało brak do szczęścia!
Ach, jak przyjemnie kołysać się wśród fal,
Gdy szumi, szumi woda i płynie sobie w dal.>
”Ah, How Pleasant It Is!”>
How can one be bored?
How can one whine
That the world is sad, that things are bad?
I don’t understand.
How can one, indeed?
The world is lovely.
Let the one who is grumbles come here
And I will tell him this: >
Ah, how pleasant it is to rock in the waves,
When the water hums and flows into the distance.
Ah, how pleasant it is; joyful song is streaming,
Because the water hums and so does young blood.
And so delightfully, so willingly the heart keeps the beat
When the weather is good and the water is humming,
we need so little to be happy!
Ah, how pleasant it is to rock in the waves,
When the water hums and flows into the distance. >(English trans. Halina Goldberg)
Harris, along with other Jewish artists exiled from Poland, was given the resources to continue his creative work under Soviet auspices. This song was produced by the Russian Aprelevka label and recorded with the accompaniment of the Jazz Orchestra of the Byelorussian Soviet Republic, directed by another Jewish refugee, the famous Jazzman Adolf (Eddy) Rosner, nicknamed the “White Armstrong.”
",,,"Aprelevka Plant (APRELEWSKIJ ZAWOD ) GRK570/44 mx 12046",,,,,,,,,,,,,,"“Zapomniana uliczka”
Wspomnienia wspomnienia w te szare smutne dnie
Jak słońca promienie wpadają w serce me
Gdy nagle czasembudzą się w pamięci
I w świat stracony znów prowadzą mnie.
Kiedy czasem cię wspominam zapomniana ma uliczko
Słyszę echo twe odbija mój beztroski niegdyś krok.
Jakby znowu się zatrzymał przed znajoma kamieniczką,
Dawne szczęście znowu żyje i radością świeci wzrok.
Po kilka schodków aż na czwarte lecę tak jak ptak;
Łomotem serca drzwi otwarte do wejścia dają znak.
I na progu tak jak zwykle jasnym śmiechem znów mnie wita
Ukochana twarz spowita w korytarza szary mrok.
Nadzieja, nadzieja, jedyna życia treść
Przez smutek się śmieje, pomaga troski nieść.
Lecz ileż jeszcze trzeba nieść jej w sercu
By przyszłość z wspomnieniami w jedno spleść.
Czy powrócę znów do ciebie zapomniana ma uliczko?
Czy poczuję pod stopami twój nierówny twardy bruk?
Czy dowlokę kiedyś siebie pod znajoma kamieniczkę
By usłyszeć w ciemnej bramie podwórzowy gwar i stuk?
Czy tam na górze jeszcze czeka wytęskniony ktoś;
Najdroższy, choćby cień człowieka, ale mój na wskroś?
Czy dotrzymasz mnie nadziejo w ciężkich chwilach walk i biedy
Żebym w życiu jeszcze kiedyś ma uliczkę ujrzeć mógł?
“The Forgotten Little Street”
Recollections, recollection, on those grey, sad days,
Enter my heart like sunrays.
Sometimes, when they suddenly stir in my memory,
They lead me into the lost world.
When I recall you sometimes, my forgotten cherished street,
I hear your echo repeat my once carefree step.
As if again I stood in front of the familiar building,
Old happiness lives again and eyes shine with joy.
A few steps at a time, I fly like a bird to the fourth floor;
The door opened by the pounding of my heart beckons me to enter,
And at the doorstep I am greeted, as always, by the bright smile
of the beloved face wrapped in the grey dusk of the hallway.
Hope, hope, life’s only essence
Laughs through sadness; helps to bear worries.
But how much more hope one needs to carry in one’s heart
To weave future and memories together into a whole.
Will I return to you again, my forgotten cherished street?
Will I feel under my feet your uneven, firm cobbles?
Will I haul myself one day to the familiar building
To listen in the dark archway to the buzz and clatter of the yard?
Will the longed-for somebody still await me upstairs;
Dearest person, even just a wreck, but thoroughly mine?
Hope, will you sustain me in tough times of struggle and poverty
So that once again in my life I could see my cherished street?(English trans. Halina Goldberg)
In the 1937 Polish film, Piętro wyżej (One Floor Up) the foxtrot “Sex Appeal” was performed by the unforgettable Eugeniusz Bodo impersonating (in drag) none other than Mae West. As an actress renowned for her overt sexuality and risqué wit, West embodied the momentous transformation of mores that was taking place during the interwar period.
“Sex Appeal” became an immediate and enduring hit, whose popularity continues into our time. In the countless recorded adaptations by male and female singers, the text has been adjusted to express the respective gender standpoints. This Yiddish version of “Sex Appeal” offers a variant of the male-perspective text.
",,,"Syrena Elektro",,,,,,,,,,,,,,"S’kempfn tsvishn zikh geshlekhter Man mit der froy Yidn mitn Khaves efsher eybik azoy Lange hor in kurtser seykhl A melokhn in a velt Nor genigt der froy a shmeykhl in der man farligt zayn geld! Sex appeal Mit eyns a froyn vern Sex appeal Dos makht a man bagern Kheyn, reyts, bren, shik, Nemen oyf in oygenblik Ooooo… Bloyz eyn vink un mikh farlir dem moykhes Shnel in gring, blaybt ir bay im dem koykhes, Akh! Okh! Vey! Oy! Un infalt bay im in shtroy! Mayn a shmeykhl, royt in seykhl Yeydns in ayn, Alemen glaykh Meg dayn harts [[Iyer?] mitfal kidesh in say urem-raych] Shvakhest froy, vi shtarker alts fun ayzn Mieste froy, du shenste, kontst bavayzn Kheyn, reyts, shik, stil Mayn gever iz sex appeal Ver s’iz reytsn, ver s’iz zidlekh? In ver s’iz Zi? Ver hot kheynedike gribelekh Ikh?—sheyne fis. Mayn obid iz mayn a shmeykl Mayn potents [du mit der breyn] ???? mir dem seykhl ??????? Sex appeal Mit eyns a froyn vern Sex appeal Dos makht a man bagern Kheyn! Reyts! Bren! Shik! Nemen oyf in oygenblik Ooooo… Bloyz eyn vink, un mikh farlir dem moykhes Shnel in grin, blaybt ir bay im dem koykhes Akh! Okh! Vey! Oy! Un infalt bay im in shtroy! Fun mayn a shmeykhl, royt in seykhl Yeydns fun aykh, Alemen glaykh Meg zayn harts Iyer? ???? say urem-raych Shvakhste froy, vi shtarker alts fun ayzn Mieste froy, du shenste kontst bavayzn Kheyn! Reyt! Shik! Stil! Mayn gever iz sex appeal! Ooooo… Sex appeal Sex appeal Kheyn! Reyts! Bren! Shik! Ooooo… Sex appeal Sex appeal Akh! Okh! Vey! Oy! Abu! Parabu! Parabao! Parapab bu Lazldidldadldazl la bao bao! Sex appeal Sex appeal Kheyn! Reyts! Shik! Stil! Mayn gever iz sex appeal! ",,"78 rpm",,2:52,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"They struggle with each other, the genders Man with the woman Jews with Eves, maybe it's always been so. Long in hair and short in intelligence A handicraft in a world The woman only needs to smile And her man’s money is gone! Sex appeal To become one with a woman Sex appeal That makes a man passionate Charm, excitation, fire, chic, Take him in the blink of an eye Ooooo… Just one wink, and I lose my mind Quick and easy, he leaves by her his strength. Ah! Oh! Vey! Oy! And he cracks like straw! A smile of mine, blush, and wit Each together, All men equally [It could be the heart falls [...] whether poor or rich.] Weakest woman, how much stronger than iron, Ugliest woman, you most beautiful, can show Grace, excitation, chic, style My weapon is sex appeal Who is irritating, who is vituperating And who is she? Who has flirting dimples Me?—beautiful feet. My meal is a smile My power ? ? ? Sex appeal To become one with a woman Sex appeal That makes a man passionate Grace! Excitation! Fire! Chic! Take him in the blink of an eye Ooooo… Just one wink, and I lose my mind Quick and easy, he leaves by her his strength Ah! Oh! Vey! Oy! And he cracks like straw! From mine a smile, blush, and wit Each of you, All men equally [It could be the heart falls [...] whether poor or rich.] Weakest woman, how much stronger than iron, Ugliest woman, you most beautiful, can show Grace! Excitation! Chic! Style! My weapon is sex appeal! Ooooo… Sex appeal Sex appeal Grace! Excitation! Fire! Chic! Ooooo… Sex appeal Sex appeal Ah! Oh! Vey! Oy! Abu! Parabu! Parabao! Parapab bu Lazldidldadldazl la bao bao! Sex appeal Sex appeal Grace! Excitation! Chic! Style! My weapon is sex appeal!",,,,,,,,,"Menasze Oppenheim","Syrena Rekord Orkiestra","Henryk Wars","Emanuel Schlechter","S. Korn-Tayer ",1937,1938,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,foxtrott,songs",https://jewish-lodz.iu.edu/files/original/86cbda08bb215277c443f3c0d2b2a21a.mp3,Sound,Sounds,1,0 68,https://jewish-lodz.iu.edu/items/show/68,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Adam Aston",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1902-09-17,Warsaw,1993-01-10,"singer in Polish, Yiddish and Hebrew","The velvety baritone quality of young Adolf Lewinson’s voice gave Henryk Wars the idea of a suitable stage name for the rising star: “The Ace of Tone” (As-tonu, in Polish) became Aston. Aston’s first solo recording was made in 1927; he then went on to record some 960 songs! His extraordinary popularity led to parts in several musical films during the 1930s. At the onset of World War II Aston found himself in Soviet Union, first in Lwów and later in Kyrgyzstan. Towards the end of the war he was fighting in General Anders’ Army in the Battle of Monte Cassino. In 1946 he made the first recording of the song “The Red Poppies on Monte Cassino,” composed during the battle and destined to become one of the most cherished Polish war songs. After the war he left Poland for Johannesburg, and later moved to London, where he continued to perform for expat audiences. ","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","the Wars Choir",,London,"Adolf Lewinson","J. Kierski^^Ben-Levi",,,,,,,,,,,London,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cinema,migrations,songs",https://jewish-lodz.iu.edu/files/original/4347abda9776d7aaec296aa4e447987d.png,Person,Persons,1,0 67,https://jewish-lodz.iu.edu/items/show/67,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Bolesław Norski-Nożyca",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1911,"Chełm Lubelski",1943?,"actor, lyricist and singer In Polish and Yiddish","Cabaret audiences in Warsaw and Łódź could not get enough of this artist. He was associated with the best of Polish-Yiddish theaters, Azazel and Ararat, but he also performed in the Bałuty theatres Era and Momus. During the mid-thirties he was so popular that he could schedule solo programs. His recordings traveled with his listeners to Palestine and the USA. Norski-Nożyca performed parodies of well-known songs and songs composed especially for him (like Miksne’s “The Rent”). Of his humorous stage characters, the most beloved was the schlemiel, Jojne The Rifle (Jojne-karabin). In the beginning of World War II, he was forced into the Warsaw Ghetto, where he continued his musical activities until at least 1942. He was deported to the Budzyń camp and participated in musical performances there.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.",Ararat^^Azazel,,"Lublin (Majdanek concentration camp ?)",,,,,,,,,,,,,"Lublin (Majdanek concentration camp ?)",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,Kleinkunst,songs,Yiddish theater",https://jewish-lodz.iu.edu/files/original/82c1191fe70e4b57a94a345a54ef3f83.png,Person,Persons,1,0 66,https://jewish-lodz.iu.edu/items/show/66,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Mieczysław Miksne",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"ab. 1900","Łódź ?",?,"lyricist and composer","The brilliantly witty Polish-language texts of Miksne’s songs continue to amuse audiences until the present day. Mostly associated with small Jewish theaters in Łódź, Miksne wrote for his own performances and for other artists, especially Bolesław Norski-Nożyca. His most famous song, “Madagascar,” satirizes the 1937 Polish government’s plan to establish a colony in that island for the purpose of deporting Polish Jews. Other songs, like “The Rent,” responded with ridicule to harsh conditions of everyday life of the urban poor. Nothing is known about the circumstance of Miksne’s death.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.",,,,,,,,,,,,,,,,?,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,Kleinkunst,songs,Yiddish theater",https://jewish-lodz.iu.edu/files/original/7dc5f162c07ace33e8311ec775423f61.png,Person,Persons,1,0 65,https://jewish-lodz.iu.edu/items/show/65,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Emanuel Schlechter",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1906-03-26,Lwów,1942?,"lyricist, screenwriter, and composer","During the 1930s there was not a person in Poland who was unfamiliar with lyrics written by Schlechter. In his short life he contributed hundreds of beautifully crafted, elegant, and formally innovative poems for popular songs. He started, while still in law school, by writing for cabaret theaters in his native Lwów. Later he moved to Warsaw and worked with a number of theatres, contributing texts (and sometimes music) for revues and cabaret songs, most notably for the fabled cabaret Qui pro Quo. Schlechter also dedicated much of his energies to cinema, writing lyrics and screenplays for many major Polish film productions. In fact, he helped to usher in a new era of musical film in Poland, by contributing the song lyrics to the first Polish sound-on-film production, Anybody Can Love. His title-song for this romantic musical comedy was an instant hit and remains familiar to Polish audiences till today. Likewise, his other hits, such as “Sex Appeal,” continue to be adopted by new generations of singers. Schechter also wrote and recorded Polish-language songs on Jewish themes. He was forced by the Nazis into the infamous Janowski camp in Lwów, where he died in 1942 or 43.","Maleszyńska, Joanna. ""Ten chudy Schlechter,"" Poznańskie Studia Polonistyczne Seria Literacka 22 (42): 55-70.^^Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","Qui pro Quo^^ZAiKS",,"Lwów (Janowska concentration camp ?)","Edmund Schlechter","EMAN^^Olgierd Lech",,,,,,,,,,,"Lwów (Janowska concentration camp ?)",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,cinema,songs,theater",https://jewish-lodz.iu.edu/files/original/9c6a42a15f9d125fb9f6b2e7ab185931.png,Person,Persons,1,0 64,https://jewish-lodz.iu.edu/items/show/64,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"Henryk Wars",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,1902-12-29,Warsaw,1977-09-01,"composer, arranger, conductor, lyricist","He received a solid Conservatory education in piano, composition, and conducting under the most illustrious of Warsaw’s musicians, but his true calling was popular music. He wrote for cabaret, revue and film. Countless of his beautiful and memorable songs were destined to be come instant hits. Performed by the best singers of the time, these songs were loved and hummed by not just by audiences in interwar Poland, but also by their children and grandchildren. In the late 1920s Wars started to work as pianist and composer with revue theaters; from there he developed a relationship with the most important Polish recording company Syrena, for which he served as a musical director. He also organized several vocal groups, performing close-harmony in the style of The Revelers (one of these groups, the Wars Choir, included Aston and Faliszewski). By the beginning of the next decade, as the fist fully synchronized sound films appeared in Poland, he started to compose for film. He wrote music for 52 films. Among the dozens of his melodious and brilliantly fashioned tangos, shimmies, and foxtrots, were “Sex Appeal” and “Ah, How Pleasant It Is!” Wars volunteered in the Polish army during the 1920 war with the Soviets; in 1939 he again served in the military, was captured by the Germans and escaped from a transport. He reached the Soviet-occupied zone of Poland, and in 1941 became the director of musical ensembles associated with the Polish Army in the USSR; and after 1942 he traveled in the Polish Army of General Anders, from the Middle East to Monte Cassino. In 1944 he made the first recording (as the pianist for Adam Aston) of the song “The Red Poppies on Monte Cassino,” composed during the battle and destined to become one of the most cherished Polish war songs. After the war he left Poland for the United States. In Los Angeles, he was eventually able to rebuilt his career and write music for nearly 40 American movies.","Lerski, Tomasz. Syrena Record: pierwsza polska wytwórnia fonograficzna; Poland’s first recording company, 1904-1939. New York; Warsaw: Editions Karin, 2004.","the Wars Choir^^ZAiKS",,"Los Angeles","Henryk Warszawski","FRASKA^^Henry Vars",,,,,,,,,,,"Los Angeles",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"cabaret,cinema,migrations,songs",https://jewish-lodz.iu.edu/files/original/e41c814076e82f8468181ff0444b5adb.png,Person,Persons,1,0