Last week we highlighted for you a beautiful Tree of Languages infographic, created by Minna Sundberg using data from ethnologue.com. This week, we present another visualization of world languages, this one produced by Alberto Lucas Lopéz, on behalf of the South China Morning Post. And, once again, the underlying data comes from ethnologue.com, a research project that catalogues all of the world’s known living languages.
Today’s graphic — click here to view it in a large format — takes the world’s 23 most popular languages, and then gives you a visual sense of how many people actually speak those languages overall, and where geographically those languages are spoken. The more a language is spoken, the more space it gets in the visual.
When you view the original graphic, you’ll note that Chinese speakers outnumber English speakers by a factor of four. And yet English is spoken in 110 countries, as compared to 33 for Chinese. And the number of people learning English worldwide dwarfs the number learning Mandarin.
As you look through Lopéz’s visual, you’ll want to keep one thing in mind: Although the 23 languages visualized above are collectively spoken by 4.1 billion people, there are at least another 6700 known languages alive in the world today. Someone has to cook up a proportional visualization of those. Any takers?
Call it counterintuitive clickbait if you must, but Forbes’ Pascal-Emmanuel Gobry made an intriguing argument when he granted the title of “Language of the Future” to French, of all tongues. “French isn’t mostly spoken by French people and hasn’t been for a long time now,” he admits,” but “the language is growing fast, and growing in the fastest-growing areas of the world, particularly sub-Saharan Africa. The latest projection is that French will be spoken by 750 million people by 2050. One study “even suggests that by that time, French could be the most-spoken language in the world, ahead of English and even Mandarin.”
I don’t know about you, but I can never believe in any wave of the future without a traceable past. But the French language has one, of course, and a long and storied one at that. You see it visualized in the information graphic above (also available in suitable-for-framing prints!) created by Minna Sundberg, author of the webcomic Stand Still. Stay Silent.
“When linguists talk about the historical relationship between languages, they use a tree metaphor,” writes Mental Floss’ Arika Okrent. “An ancient source (say, Indo-European) has various branches (e.g., Romance, Germanic), which themselves have branches (West Germanic, North Germanic), which feed into specific languages (Swedish, Danish, Norwegian).”
Sundberg takes this tree metaphor to a delightfully lavish extreme, tracing, say, how Indo-European linguistic roots sprouted a variety of modern-day living languages including Hindi, Portuguese, Russian, Italian — and, of course, our Language of the Future. The size of the branches and bunches of leaves represent the number of speakers of each language at different times: the likes of English and Spanish have sprouted into mighty vegetative clusters, while others, like, Swedish, Dutch, and Punjabi, assert a more local dominance over their own, separately grown regional branches. Will French’s now-modest leaves one day cast a shadow over the whole tree? Perhaps — but I’m not canceling my plans to attend Spanish practice group tonight.
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The first time I went to see David Sedaris read some of his hilarious essays live, I ended up laughing much more than I expected. By luck of seating, I found myself at the right of the stage, facing his sign language interpreter. She didn’t just quickly parse what he said. No, she also became a sort of double act with the author, throwing her whole body and facial expressions into making Sedaris’ prose sing. Especially when he came to some sexual idiom or turn of phrase, we all became aware of the audience’s gaze shifting rightward to see what his signer would do. (The wondrous Internet has not revealed her name–possibly one of our readers knows.)
That’s a preamble to say that the latest YouTube sensation above, Shelby Mitchusson, who signs her way through Eminem’s “Lose Yourself,” should come as no surprise to those who have encountered such lively interpretation, turning language for the deaf into a performance art. Mitchusson admits she’s still a beginner, but her 3 million views says she has made fans of the deaf and hearing alike. (And for once the YouTube comments don’t make you sad for humanity.)
But Mitchusson’s “hit” leads to a whole world of American Sign Language (ASL) stars once you jump down the YouTube rabbit hole. Just over a year ago, Jimmy Kimmel had on three ASL interpreters to compete in a rap battle to Wiz Khalifa’s “Black and Yellow” which you can see below.
One of them, the pink-haired Amber Galloway Gallego, had her own time in the viral video limelight back in 2013. Her spirited versions of Snoop Lion, Kendrick Lamar, and others during Lollapalooza earned her many Internet views, no doubt for her lascivious performance of rap and r’n’b’s smuttiest lyrics. She even received coverage in Rolling Stone, where the San Antonio, TX native tells stories of signing “Baby Got Back” at a barbecue at the beginning of her career. Her YouTube channel features her own versions of all the current pop hits (Taylor Swift, Carly Rae Jepsen) and classics (The Human League, Celine Dion).
The history of sign language is long and deep, with a rough guess at 137 recognized versions around the globe, according to Ethnologue. (But as deaf communities often develop their own dialects, it’s hard to tell.)
And the Internet, specifically YouTube–along with the beat-heavy genre of hip hop–has brought a subculture into the mainstream, something that years of advocacy by deaf groups couldn’t quite manage to do. Thanks again, Internet!
Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.
Duolingo provides free educational resources that will help you learn a whole host of terrestrial languages — languages like Spanish, French, German, and Italian. But now they’re expanding into extraterrestrial languages too, like Klingon. That’s, of course, “the constructed language spoken by the fictional extraterrestrial Klingon species in the Star Trek universe. Created by Marc Okrand, the language itself is centered around spacecraft, warfare, and weaponry — but it also reflects the directness and sense of humor of the Klingon culture.”
Duolingo’s Klingon course — Klingon for English Speakers — is currently under development. But, so far, almost 18,000 people have requested to be notified when the course is ready to go. You can add your name to the list here, too.
And before you go, make sure you check out our meta list of Free Language Lessons, where you can find free lessons covering 48 different languages. The list includes terrestrial lessons from Duolingo too.
Let’s take Kevin Spacey’s southern accent on the Netflix series House of Cards, and use it as a springboard for exploring the linguistics of that often times charming regional accent, shall we? In the video above, created by Vox, we learn all about “ay-unglidding.” And “r‑dropping,” that ever distinctive feature of the Southern accent that originated in England.
The clip was made with the help of university linguists — Dennis Preston at Oklahoma State University; Robin Dodsworth at North Carolina State University; and Kirk Hazen at West Virginia University. To learn more about how well Kevin Spacey masters the accent (and where he falls short), head over to Vox.
The lists are in. By overwhelming consensus, the buzzword of 2014 was “vape.” Apparently, that’s the verb that enables you to smoke an e‑cig. Left to its own devices, my computer will still autocorrect 2014’s biggest word to “cape,” but that could change.
Hopefully not.
Hopefully, 2015 will yield a buzzword more piquant than “vape.”
With luck, a razor-witted teen is already on the case, but just in case, let’s hedge our bets. Let’s go spelunking in an era when buzzwords were cool, but adult…insouciant, yet substantive.
If only every amateur lexicographer were foxy enough to set his or her definitions to music, and creep them out like the shadow, as Calloway does above. The complete list is below.
What a blip!
By my calculation, we’ve got eleven months to identify a choice candidate, resurrect it, and integrate it into everyday speech. With luck some fine dinner whose star is on the rise will beef our word in public, preferably during a scandalous, much analyzed performance.
It’s immaterial which one we pick. Gammin’? Jeff? Hincty? Fruiting? Whatever you choose, I’m in. Let’s blow their wigs.
Bust your conks in the comments section. I’m ready.
HEPSTER’S DICTIONARY
A hummer (n.) — exceptionally good. Ex., “Man, that boy is a hummer.”
Ain’t coming on that tab (v.) — won’t accept the proposition. Usually abbr. to “I ain’t coming.”
Alligator (n.) — jitterbug.
Apple (n.) — the big town, the main stem, Harlem.
Armstrongs (n.) — musical notes in the upper register, high trumpet notes.
Barbecue (n.) — the girl friend, a beauty
Barrelhouse (adj.) — free and easy.
Battle (n.) — a very homely girl, a crone.
Beat (adj.) — (1) tired, exhausted. Ex., “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).
Beat it out (v.) — play it hot, emphasize the rhythym.
Beat up (adj.) — sad, uncomplimentary, tired.
Beat up the chops (or the gums) (v.) — to talk, converse, be loquacious.
Beef (v.) — to say, to state. Ex., “He beefed to me that, etc.”
Bible (n.) — the gospel truth. Ex., “It’s the bible!”
Black (n.) — night.
Black and tan (n.) — dark and light colored folks. Not colored and white folks as erroneously assumed.
Blew their wigs (adj.) — excited with enthusiasm, gone crazy.
Blip (n.) — something very good. Ex., “That’s a blip”; “She’s a blip.”
Blow the top (v.) — to be overcome with emotion (delight). Ex., “You’ll blow your top when you hear this one.”
Boogie-woogie (n.) — harmony with accented bass.
Boot (v.) — to give. Ex., “Boot me that glove.”
Break it up (v.) — to win applause, to stop the show.
Bree (n.) — girl.
Bright (n.) — day.
Brightnin’ (n.) — daybreak.
Bring down ((1) n. (2) v.) — (1) something depressing. Ex., “That’s a bring down.” (2) Ex., “That brings me down.”
Buddy ghee (n.) — fellow.
Bust your conk (v.) — apply yourself diligently, break your neck.
Canary (n.) — girl vocalist.
Capped (v.) — outdone, surpassed.
Cat (n.) — musician in swing band.
Chick (n.) — girl.
Chime (n.) — hour. Ex., “I got in at six chimes.”
Clambake (n.) — ad lib session, every man for himself, a jam session not in the groove.
Chirp (n.) — female singer.
Cogs (n.) — sun glasses.
Collar (v.) — to get, to obtain, to comprehend. Ex., “I gotta collar me some food”; “Do you collar this jive?”
Come again (v.) — try it over, do better than you are doing, I don’t understand you.
Comes on like gangbusters (or like test pilot) (v.) — plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”
Cop (v.) — to get, to obtain (see collar; knock).
Corny (adj.) — old-fashioned, stale.
Creeps out like the shadow (v.) — “comes on,” but in smooth, suave, sophisticated manner.
Crumb crushers (n.) — teeth.
Cubby (n.) — room, flat, home.
Cups (n.) — sleep. Ex., “I gotta catch some cups.”
Cut out (v.) — to leave, to depart. Ex., “It’s time to cut out”; “I cut out from the joint in early bright.”
Cut rate (n.) — a low, cheap person. Ex., “Don’t play me cut rate, Jack!”
Dicty (adj.) — high-class, nifty, smart.
Dig (v.) — (1) meet. Ex., “I’ll plant you now and dig you later.” (2) look, see. Ex., “Dig the chick on your left duke.” (3) comprehend, understand. Ex., “Do you dig this jive?”
Dim (n.) — evening.
Dime note (n.) — ten-dollar bill.
Doghouse (n.) — bass fiddle.
Domi (n.) — ordinary place to live in. Ex., “I live in a righteous dome.”
Doss (n.) — sleep. Ex., “I’m a little beat for my doss.”
Down with it (adj.) — through with it.
Drape (n.) — suit of clothes, dress, costume.
Dreamers (n.) — bed covers, blankets.
Dry-goods (n.) — same as drape.
Duke (n.) — hand, mitt.
Dutchess (n.) — girl.
Early black (n.) — evening
Early bright (n.) — morning.
Evil (adj.) — in ill humor, in a nasty temper.
Fall out (v.) — to be overcome with emotion. Ex., “The cats fell out when he took that solo.”
Fews and two (n.) — money or cash in small quatity.
Final (v.) — to leave, to go home. Ex., “I finaled to my pad” (went to bed); “We copped a final” (went home).
Fine dinner (n.) — a good-looking girl.
Focus (v.) — to look, to see.
Foxy (v.) — shrewd.
Frame (n.) — the body.
Fraughty issue (n.) — a very sad message, a deplorable state of affairs.
Freeby (n.) — no charge, gratis. Ex., “The meal was a freeby.”
Frisking the whiskers (v.) — what the cats do when they are warming up for a swing session.
Frolic pad (n.) — place of entertainment, theater, nightclub.
Fromby (adj.) — a frompy queen is a battle or faust.
Front (n.) — a suit of clothes.
Fruiting (v.) — fickle, fooling around with no particular object.
Fry (v.) — to go to get hair straightened.
Gabriels (n.) — trumpet players.
Gammin’ (adj.) — showing off, flirtatious.
Gasser (n, adj.) — sensational. Ex., “When it comes to dancing, she’s a gasser.”
Gate (n.) — a male person (a salutation), abbr. for “gate-mouth.”
Get in there (exclamation.) — go to work, get busy, make it hot, give all you’ve got.
Gimme some skin (v.) — shake hands.
Glims (n.) — the eyes.
Got your boots on — you know what it is all about, you are a hep cat, you are wise.
Got your glasses on — you are ritzy or snooty, you fail to recognize your friends, you are up-stage.
Gravy (n.) — profits.
Grease (v.) — to eat.
Groovy (adj.) — fine. Ex., “I feel groovy.”
Ground grippers (n.) — new shoes.
Growl (n.) — vibrant notes from a trumpet.
Gut-bucket (adj.) — low-down music.
Guzzlin’ foam (v.) — drinking beer.
Hard (adj.) — fine, good. Ex., “That’s a hard tie you’re wearing.”
Hard spiel (n.) — interesting line of talk.
Have a ball (v.) — to enjoy yourself, stage a celebration. Ex., “I had myself a ball last night.”
Hep cat (n.) — a guy who knows all the answers, understands jive.
Hide-beater (n.) — a drummer (see skin-beater).
Hincty (adj.) — conceited, snooty.
Hip (adj.) — wise, sophisticated, anyone with boots on. Ex., “She’s a hip chick.”
Home-cooking (n.) — something very dinner (see fine dinner).
Hot (adj.) — musically torrid; before swing, tunes were hot or bands were hot.
Hype (n, v.) — build up for a loan, wooing a girl, persuasive talk.
Icky (n.) — one who is not hip, a stupid person, can’t collar the jive.
Igg (v.) — to ignore someone. Ex., “Don’t igg me!)
In the groove (adj.) — perfect, no deviation, down the alley.
Jack (n.) — name for all male friends (see gate; pops).
Jam ((1)n, (2)v.) — (1) improvised swing music. Ex., “That’s swell jam.” (2) to play such music. Ex., “That cat surely can jam.”
Jeff (n.) — a pest, a bore, an icky.
Jelly (n.) — anything free, on the house.
Jitterbug (n.) — a swing fan.
Jive (n.) — Harlemese speech.
Joint is jumping — the place is lively, the club is leaping with fun.
Jumped in port (v.) — arrived in town.
Kick (n.) — a pocket. Ex., “I’ve got five bucks in my kick.”
Kill me (v.) — show me a good time, send me.
Killer-diller (n.) — a great thrill.
Knock (v.) — give. Ex., “Knock me a kiss.”
Kopasetic (adj.) — absolutely okay, the tops.
Lamp (v.) — to see, to look at.
Land o’darkness (n.) — Harlem.
Lane (n.) — a male, usually a nonprofessional.
Latch on (v.) — grab, take hold, get wise to.
Lay some iron (v.) — to tap dance. Ex., “Jack, you really laid some iron that last show!”
Lay your racket (v.) — to jive, to sell an idea, to promote a proposition.
Lead sheet (n.) — a topcoat.
Left raise (n.) — left side. Ex., “Dig the chick on your left raise.”
Licking the chops (v.) — see frisking the whiskers.
Licks (n.) — hot musical phrases.
Lily whites (n.) — bed sheets.
Line (n.) — cost, price, money. Ex., “What is the line on this drape” (how much does this suit cost)? “Have you got the line in the mouse” (do you have the cash in your pocket)? Also, in replying, all figures are doubled. Ex., “This drape is line forty” (this suit costs twenty dollars).
Lock up — to acquire something exclusively. Ex., “He’s got that chick locked up”; “I’m gonna lock up that deal.”
Main kick (n.) — the stage.
Main on the hitch (n.) — husband.
Main queen (n.) — favorite girl friend, sweetheart.
Man in gray (n.) — the postman.
Mash me a fin (command.) — Give me $5.
Mellow (adj.) — all right, fine. Ex., “That’s mellow, Jack.”
Melted out (adj.) — broke.
Mess (n.) — something good. Ex., “That last drink was a mess.”
Meter (n.) — quarter, twenty-five cents.
Mezz (n.) — anything supreme, genuine. Ex., “this is really the mezz.”
Mitt pounding (n.) — applause.
Moo juice (n.) — milk.
Mouse (n.) — pocket. Ex., “I’ve got a meter in the mouse.”
Muggin’ (v.) — making ‘em laugh, putting on the jive. “Muggin’ lightly,” light staccato swing; “muggin’ heavy,” heavy staccato swing.
Nicklette (n.) — automatic phonograph, music box.
Nickel note (n.) — five-dollar bill.
Nix out (v.) — to eliminate, get rid of. Ex., “I nixed that chick out last week”; “I nixed my garments” (undressed).
Nod (n.) — sleep. Ex., “I think I’l cop a nod.”
Ofay (n.) — white person.
Off the cob (adj.) — corny, out of date.
Off-time jive (n.) — a sorry excuse, saying the wrong thing.
Orchestration (n.) — an overcoat.
Out of the world (adj.) — perfect rendition. Ex., “That sax chorus was out of the world.”
Ow! — an exclamation with varied meaning. When a beautiful chick passes by, it’s “Ow!”; and when someone pulls an awful pun, it’s also “Ow!”
Pad (n.) — bed.
Pecking (n.) — a dance introduced at the Cotton Club in 1937.
Peola (n.) — a light person, almost white.
Pigeon (n.) — a young girl.
Pops (n.) — salutation for all males (see gate; Jack).
Pounders (n.) — policemen.
Queen (n.) — a beautiful girl.
Rank (v.) — to lower.
Ready (adj.) — 100 per cent in every way. Ex., “That fried chicken was ready.”
Ride (v.) — to swing, to keep perfect tempo in playing or singing.
Riff (n.) — hot lick, musical phrase.
Righteous (adj.) — splendid, okay. Ex., “That was a righteous queen I dug you with last black.”
Rock me (v.) — send me, kill me, move me with rhythym.
Ruff (n.) — quarter, twenty-five cents.
Rug cutter (n.) — a very good dancer, an active jitterbug.
Sad (adj.) — very bad. Ex., “That was the saddest meal I ever collared.”
Sadder than a map (adj.) — terrible. Ex., “That man is sadder than a map.”
Salty (adj.) — angry, ill-tempered.
Sam got you — you’ve been drafted into the army.
Send (v.) — to arouse the emotions. (joyful). Ex., “That sends me!”
Set of seven brights (n.) — one week.
Sharp (adj.) — neat, smart, tricky. Ex., “That hat is sharp as a tack.”
Signify (v.) — to declare yourself, to brag, to boast.
Skins (n.) — drums.
Skin-beater (n.) — drummer (see hide-beater).
Sky piece (n.) — hat.
Slave (v.) — to work, whether arduous labor or not.
Slide your jib (v.) — to talk freely.
Snatcher (n.) — detective.
So help me — it’s the truth, that’s a fact.
Solid (adj.) — great, swell, okay.
Sounded off (v.) — began a program or conversation.
Spoutin’ (v.) — talking too much.
Square (n.) — an unhep person (see icky; Jeff).
Stache (v.) — to file, to hide away, to secrete.
Stand one up (v.) — to play one cheap, to assume one is a cut-rate.
To be stashed (v.) — to stand or remain.
Susie‑Q (n.) — a dance introduced at the Cotton Club in 1936.
Take it slow (v.) — be careful.
Take off (v.) — play a solo.
The man (n.) — the law.
Threads (n.) — suit, dress or costuem (see drape; dry-goods).
Tick (n.) — minute, moment. Ex., “I’ll dig you in a few ticks.” Also, ticks are doubled in accounting time, just as money isdoubled in giving “line.” Ex., “I finaled to the pad this early bright at tick twenty” (I got to bed this morning at ten o’clock).
Timber (n.) — toothipick.
To dribble (v.) — to stutter. Ex., “He talked in dribbles.”
Togged to the bricks — dressed to kill, from head to toe.
Too much (adj.) — term of highest praise. Ex., “You are too much!”
Trickeration (n.) — struttin’ your stuff, muggin’ lightly and politely.
Trilly (v.) — to leave, to depart. Ex., “Well, I guess I’ll trilly.”
Truck (v.) — to go somewhere. Ex., “I think I’ll truck on down to the ginmill (bar).”
Trucking (n.) — a dance introduced at the Cotton Club in 1933.
Twister to the slammer (n.) — the key to the door.
Two cents (n.) — two dollars.
Unhep (adj.) — not wise to the jive, said of an icky, a Jeff, a square.
Vine (n.) — a suit of clothes.
V‑8 (n.) — a chick who spurns company, is independent, is not amenable.
What’s your story? — What do you want? What have you got to say for yourself? How are tricks? What excuse can you offer? Ex., “I don’t know what his story is.”
Whipped up (adj.) — worn out, exhausted, beat for your everything.
Wren (n.) — a chick, a queen.
Wrong riff — the wrong thing said or done. Ex., “You’re coming up on the wrong riff.”
Yarddog (n.) — uncouth, badly attired, unattractive male or female.
Yeah, man — an exclamation of assent.
Zoot (adj.) — exaggerated
Zoot suit (n.) — the ultimate in clothes. The only totally and truly American civilian suit.
Like films by the Marx brothers, Airplane! creates a feeling of giddy, exuberant anarchy by hurling a non-stop barrage of jokes at you. It is the sort of movie that viewers risk hyperventilating from laughing so much. Yet among the all gags and one-liners — “I picked the wrong week to stop sniffing glue.”– possibly the most memorable is the famous jive talking bit. You can watch it above.
The gag features two African American guys speaking with each other in an impenetrable patois of jive. Later, one of the guys — the characters are simply credited as First Jive Dude and Second Jive Dude — is suffering from a stomach ailment. When the stewardess can’t understand what they are saying, Barbara Billingsley – A.K.A. June Clever, A.K.A the whitest lady on the planet – stands up and starts to talk to the guys in fluent jive. It’s a jarring and hilarious moment. Jim Abrahams and David and Jerry Zucker, the writers and directors of the movie talk, about that scene below.
“The whole notion for jive dialogue originated from when we saw Shaft,” said Abraham. “We went and saw it and didn’t understand what they were saying. So we did our best as three nice Jewish boys from Milwaukee to write jive talk for the script.”
During the audition, Norman Alexander Gibbs and Al White, old high school friends, delivered a spot on exchange in jive. They were immediately cast as First Jive Dude and Second Jive Dude respectively. “We had to apologize for what we had written,” said David Zucker.
“We came up with the individual dialogue in the movie,” said White. “They wanted jive as a language, which it is not. Jive is only a word here or a phrase there.”
“We actually created a language,” said Gibbs.
“I was sent the script and I thought it was the craziest script I’ve ever read,” recalled Billingsley in an interview you can see below. “My part wasn’t written. It just said I talked jive. I met the producer and I said I would do it. I met the two black fellows that taught me jive. … It wasn’t hard for me to learn.”
Thanks to Erik R. for sending this our way.
Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow. And check out his blog Veeptopus, featuring lots of pictures of badgers and even more pictures of vice presidents with octopuses on their heads. The Veeptopus store is here.
You may never have heard much Yiddish, but we can’t call it a dead language. The tongue of the Ashkenazi Jews, one referred to in the 19th and part of the 20th century as simply “Jewish,” certainly did, however, have a near-death experience. Just before World War II, the number of Yiddish speakers alive numbered somewhere between 11 and 13 million; today we don’t even know the figure, though one estimate from the 1990s-era puts it under two million. The language, which first emerged in ninth-century Europe, has in recent decades come back from the brink of extinction, and resurgences of Yiddish education have happened in many historically Jewish parts of the world. But as in any less-common language, students may find themselves short of those most effective learning tools: fun things to watch. Now, to help with their acquisition of the still not especially popular Yiddish, they have a bit of the massively popular Seinfeld.
Thanks to that massive popularity, the quintessential 1990s sitcom has aired internationally, dubbed into a great many local languages. But when it comes to Yiddish, those interested in learning, speaking, and hearing it have had to take matters into their own hands — an ability celebrated throughout the annals of Jewish history, and just the sort of thing that revived the “Jewish” language in the first place. Vimeo user A Mishel has posted a series of Seinfeld clips educationally repurposed with Yiddish dialogue, often using old-favorite episodes covering culturally relevant territory: a bar mitzvah, for instance, or a briss. And as the one true “show about nothing,” Seinfeld specializes in the universally relevant stuff of everyday life: a dentist visit, or a dire singles mixer. Presumably, a coming advanced-studies segment will bring to Yiddish Seinfeld’s more recent adventures with קאָמעדיאַנס in קאַרס getting קאַווע.
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