Some more pictures of Peterburg. Click on the images to make smaller. I mean, to enlarge.



[source1; source 2]
Rav Avin Bar Rav Adda said in the name of Rav Yitzchak, “What is the source that Hashem lays tefillin? As it says נשבע ה' בימינו, ובזרוע עזו, Hashem has sworn by His right hand, and His powerful arm… (Yeshayahu 62:8)Today, in a US airplane, a tefillin-wearing Jew was a source of fear to at least one stewardess and a pilot. News flash:
…בזרוע עזו, with His powerful arm — this refers to tefillin, as the verse states: ה' עז לעמו יתן, Hashem gives might to his nation (Tehillim 29:11). … And where is the source that tefillin are עוז, might and power for the Jewish people? As it is written וראו כל עמי הארץ כי שם ה' נקרא עליך, ויראו ממך, and all the nations of the world will see that the name of Hashem is called upon you, and they will fear you (D’vorim 28:10). … Rav Elazer the Great said this verse is referring to the tefillin worn on the head.” (Brachos 6a)
Sherlock Holmes: Watson, I thought you liked music!
Dr. Watson: Music? Yes. But this... I thought someone was sick, or maybe a cat got stuck in a chimney.
If you don't have a home,
The threat of fire means nothing.
And your wife won't leave for another,
If you, if you,
If you haven't a wife, if you've got no wife.
If you don't have a dog,
Your neighbor won't poison it.
And you won't fight with your friend
If you don't have a friend.
The orchestra rumbles with basses,
The tuba player blows his horn.
Think for yourself, decide yourself,
To have, or not to have.
To have or not to have.
If you don't have an aunt,
You won't be able to lose her.
And if you don't live,
Then you won't have to die.
If you don't have an aunt,
Your neighbor won't poison her,
And your wife won't leave you for your friend,
If you don't have a friend.
The orchestra rumbles with basses,
The tuba player blows his horn.
Think for yourself, decide yourself,
To have, or not to have.
To have or not to have.

8 May 1961This is what one of his assistants (remember, these people had nothing to do with medicine) wrote:
I didn’t permit myself to think about anything other than the task at hand. It was necessary to steel myself, steel myself firmly and grit my teeth. In the event that I lost consciousness, I’d given Sasha Artemev a syringe and shown him how to give me an injection. I chose a position half sitting. I explained to Zinovy Teplinsky how to hold the mirror. My poor assistants! At the last minute I looked over at them: they stood there in their surgical whites, whiter than white themselves. I was scared too. But when I picked up the needle with the novocaine and gave myself the first injection, somehow I automatically switched into operating mode, and from that point on I didn’t notice anything else.
I worked without gloves. It was hard to see. The mirror helps, but it also hinders — after all, it’s showing things backwards. I work mainly by touch. The bleeding is quite heavy, but I take my time — I try to work surely. Opening the peritoneum, I injured the blind gut and had to sew it up. Suddenly it flashed through my mind: there are more injuries here and I didn’t notice them... I grow weaker and weaker, my head starts to spin. Every 4–5 minutes I rest for 20–25 seconds. Finally, here it is, the cursed appendage! With horror I notice the dark stain at its base. That means just a day longer and it would have burst and...
At the worst moment of removing the appendix I flagged: my heart seized up and noticeably slowed; my hands felt like rubber. Well, I thought, it’s going to end badly. And all that was left was removing the appendix...
And then I realised that, basically, I was already saved.
When Rogozov had made the incision and was manipulating his own innards as he removed the appendix, his intestine gurgled, which was highly unpleasant for us; it made one want to turn away, flee, not look — but I kept my head and stayed. Artemev and Teplinsky also held their places, although it later turned out they had both gone quite dizzy and were close to fainting... Rogozov himself was calm and focused on his work, but sweat was running down his face and he frequently asked Teplinsky to wipe his forehead...
The operation ended at 4 am local time. By the end, Rogozov was very pale and obviously tired, but he finished everything off.

People love nothing more in the world than themselves. That is why every person loves to have pictures of himself taken. So that nobody can accuse him of nasty narcissism, one takes a picture of himself next to something else, to take off the feeling of awkwardness. If there is nothing nearby, he will take a picture next to a branch of a tree, or a bush. If there is a famous building — yay, we are saved! A monument? Excellent, even better.Of course, the point is strengthened by the fact that the guy looks like a typical post-Soviet zhlob, with his moronic bags and his Eastern European chochmurte ponim. But I don’t know if I’d like it any more if it was a typical post-Soviet middle aged woman with her circular earrings and standard short haircut of the standard color. Or an American tourist showing off as many teeth as possible.
To take pictures of the famous sites without yourself is not interesting. There is enough of this junk on the postcards. And there is nothing to hold the guests’ attention with — they saw enough of the castles on the TV. This way you kill two birds with one stone [in the original: “two hares”] — show off yourself, and not just wherever.
That is why people come to a monument, stand like morons next to it, and make a special photo-taking face. Take :-) a :-) pic :-) ture :-) of :-) me :-)
Later they will show the album and say: “Here I am in Kiev”, showing off, in reality, themselves. Here I am, such a handsome guy, with the bags, with a haircut. And I don’t give a damn that next to me is standing tortured by terrible famine little poor Ukrainian girl.
"One may not place anyone on the Sanhedrin unless he is a person of wisdom, a good appearance, a person of physical stature, a person of age, a person knowledgeable in sorcery, and a person who knows seventy languages, so that the Sanhedrin will not need to hear testimony via an interpreter." (Talmud, Menachos 65a)
rotating kitchen from Zeger Reyers on Vimeo.

Above the federal buildings' yellow gown A hazy flurry circles far and wide Within the sled the coachman sits down And with a broad gesture hides his coat inside. Ships fall asleep. And in the evening, rocking, Thick cabin windows fill to brim with light. And monstrously — just like a fortress docking — Russia is breathing heavily at night. On the Nieva stand hundred embassies; Admiralty, the sun, and silence glare. The state's tight porphyry upon us sits, Poor like an uncouth bodice made of hair. Hard is the journey of the Northern snob — Eugene Onegin's well-cliche'ed despair; On Senate square are mounds of fallen snow A bonfire's smoke, and chill of steel made bare. The ducks are sipping water, and the gulls In waving folds of sea are gently lurking Where, selling lumps of beef or tender rolls, Like opera singers peasant men are walking. Into the fog a row of birds is flying: Self-loving, modest march can't wait. That goof Onegin, poverty decrying Is breathing gasoline and cursing fate.— Osip Mandelstam
Я вернулся в мой город, знакомый до слез, До прожилок, до детских припухлых желез. Ты вернулся сюда, так глотай же скорей Рыбий жир ленинградских речных фонарей, Узнавай же скорее декабрьский денек, Где к зловещему дегтю подмешан желток. Петербург! я еще не хочу умирать: У тебя телефонов моих номера. Петербург! У меня еще есть адреса, По которым найду мертвецов голоса. Я на лестнице черной живу, и в висок Ударяет мне вырванный с мясом звонок, И всю ночь напролет жду гостей дорогих, Шевеля кандалами цепочек дверных.— Осип Мандельштам
Sometimes I really do miss Russia.
Photographs by A. Petrosian. Click on the images to enlarge.![]()

You know, in this place, I think, Dvořák had tears. He think about something very sad, that he alone. And you know, I tell you: it is enormous help to artist, to musician, just imagination... not just something in music, but around music. Once, when I was very-very young, I rehearsing [...] sonata by Brahms, first movement. You know this ... [plays].
I rehearse it with Svyatoslav Richter. And Richter ask me:
— Slava, what you think, which weather was outside of his room, in the street, in moment when he composes.
I tell to Richter... I was young, very stupid... I tell to Richter:
— I... you know, Slava, particularly in this moment I was not in Vienne with Brahms. Not in Vienna. That's why I don't know which weather.
And he tell me:
— You know, I am sure, that in this moment rain in the street. And he coming to the window, and he see very gray, and rain. And he coming to piano and start compose.
You know, he opened for me feeling.
Good taste is made of thousand disgusts.

Shprayz ikh mir mit gikhe mit gikhe trit,
Nokh a ferdl tsum yarid, tsum yarid.
Mitn tayser kling ikh mir, kling ikh mir,
Un a lidl zing ikh mir, zing ikh mir.
Tsu der shtot iz vayt, nokh zer vayt,
Shteyt a kretshmer bay der zayt, bay der zayt.
Brayt tse ofn iz di tir, iz di tir,
Kretshmer gib a glezl, gib a glezl mir.
Nokh a glezel, nokh eynz, nokh a gloz,
Gizt mir on der bale, der balebos,
Vos mir shtot un ven mir ven yarid,
Az keyn ferdl darf ikh nit, darf ikh nit.
Dos ferdl hob ikh nit gekoyft, nit gekoyft,
Un dos gelt shoyn lang farzoyft, lang farzoyft,
Un far tsores shpring ikh mir, shpring ikh mir,
Un a lidl zing ikh mir, zing ikh mir.


На самом деле здесь имеется в виду следующее: они, [эти элементы, составляющие “костяк” мироздания, воплощают в себе не самый существенный] аспект Б-жественной эманации, [передающий способность] творить Нечто из Ничто, [ибо их связь с сутью Эйн Соф носит не субстанциональный*, а лишь функциональный характер, поскольку они участвуют в акте творения].
Подобно самой сути Эйн Соф, [обладающей способностью творить принципиально новые объекты, эти элементы наделены тем же свойством], а не только возможностью образовывать последовательность сущностей, соединенных с ними причинно-следственной связью.
__________
* В своей книге, Тора Oр, автор делает следующее утверждение: “Суть Всевышнего не в том, что от Него образуются миры”. Созданиям известны лишь те аспекты Всевышнего, которые нашли свое выражение в творении.
In fact, there is the following in mind: they [the elements that make up the “backbone” of the universe, embody not the most important] aspect of a divine emanations, [transmitting ability] to create something from nothing, [because of their connection with the essence of Ein Sof is not * the substantial, but only a functional one, because they are involved in the act of creation].Overall, not bad, I must say. In my experience, online Russian–English translation has been quite horrible. The last sentence should say: “To creation are known only those aspects of G-d...”.
Like the very essence of Ein Sof, [possessing the ability to create entirely new objects, these elements are endowed with the same property], not only the opportunity to form a sequence of entities connected with a causal link.
__________
* In his book, Torah Or, the author makes the following statement: “The essence of G-d is not that from him formed the worlds.” Creation known only to those aspects of G-d, which found expression in the world.
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