#tal yahalom

[rune-echos]

Shadow of a Demon Act 2

Our Shadow of a Demon plot line is not also progressing into Act 2! This is the plot where demons invade Chicago. Below is a summary of the story so far. Act 1 – Initial Attack Victoria, Po, Abigail, and Susan Victoria’s leadership and strategic acumen are evident throughout the story. She quickly adapts to the unfolding crisis, utilizing her knowledge of blood magic to both attack and…

[girlactionfigure]

💔 IDF announces the deaths of five soldiers killed during fighting in the Gaza Strip, bringing the toll of slain troops in the ground offensive against Hamas to 127:

Sgt. First Class Urija Bayer, 20, of the Commando Brigade's Maglan Unit, from Ma'alot-Tarshiha. Bayer was wounded December 14 and succumbed to his injuries.

Sgt. First Class Liav Aloush, 21, of the Commando Brigade's Duvdevan Unit, from Gedera.

Master Sgt. (res.) Etan Naeh, 26, of the Commando Brigade's Duvdevan Unit, from Sde Eliyahu.

Master Sgt. (res.) Tal Filiba, 23, of the Combat Engineering Corps' Yahalom unit, from Rehovot.

Sgt. First Class (res.) Lidor Yosef Karavani, 23, of the Combat Engineering Corps' 8163rd Battalion, from Eilat.

Another soldier of the 551st Brigade was seriously wounded in the same battle in which Karavani was killed. 

[monsooninn]

Berakhot 9a: 16. "The Halidom."

We are back to striking, which we spoke of today in the Book of Job. To strike is to crack or smash the manshaped sculpture inside our heads called the ego, forcing the Self out of its hull like lightning out of the hull of a nut.

As we know Moses struck a rock twice to get the water out of it, but now we are striking for a different reason, called Talmud, "the Very Best Dew of the Torah."

From:

Ta= cell

Tal= dew

Talm=to cut

Mud=very

Unlike the instructions on the Torah, the Mishnah says to get to the embers of the Torah Talmud, one can hammer on it but once, and only a kind of saint known as a Kedoshim or Halidom can do it.

The verb הלם (halam) means to hammer or smite. It occurs less than a dozen times: of striking an anvil (Isaiah 41:7) or destroying carved works (Psalm 74:6) or uppity generals (Judges 5:26), or clusters of vines (Isaiah 16:8). It's used to describe a righteous person correcting someone (Psalm 141:5) or the hammering of horses' hoofs (Judges 5:22), and once quite literally getting hammered from wine (Isaiah 28:1).

This verb's derivations are:

The feminine noun הלמות (halmut), meaning hammer or mallet (Judges 5:26 only).

The feminine noun יהלם (yahalom), denoting some kind of precious gem. We don't know exactly which gem this word denotes (jasper has been proposed but that's just a guess). All we know it that it was known as smasher, or it will hammer (or it will require hammering, possibly because it's so hard). This stone is mentioned three times, twice in reference to the high priest's breast plate (Exodus 28:18 and 39:11) and once in reference to the king of Tyre's covering (Ezekiel 28:13).

The feminine plural noun מהלמות (mahalumot), meaning strokes or blows. It occurs twice, both times referring to blows exchanged between humans (Proverbs 18:6, 19:29).

16. It can be eaten as Kdishim on the day of the Talmud saying "at night", at night it is eaten, and not during the day.

As we learned in a prior frame, daytime is for observation, night time is for contemplation. The etymology for the word nighttime implies it is a time we witness all that we are inside the Self rather than all that is occuring in the phenomenal world. Night is when we become convicted about what true and what is good, what must change the next day in order to realize the Will of the Creator with greater clarity and facility:

"Look toward the heavens, and count the stars, if you are able to count them" (Gen 15:5)

"Despite claims to the contrary, God is the Creator of everything, and that includes light and its ability to be absent (Genesis 1:5, Isaiah 45:7). Without a daily period of darkness, we would never have been aware of a world beyond the clouds and the unimaginably vast expanse of space we live in.

Stars are the biggest, brightest and most distant things anyone has ever seen, and since Einstein we know that they don't simply sit in space; they form space. A star is not only the familiar shiny dot but also the sphere of space that sits around it — just like you are not only your body, but also the sphere of things you are aware of; the things that sit in your head as much as in your surroundings.

In our article on the word κεφαλη (kephale), meaning head or skull, we note that the head was regarded as the seat of the senses and suggest that it was recognized to be as mobile as the moon in the sky — and note that from the Hebrew noun גלגלת (gulgoleth), meaning head or skull, comes the name Golgotha.

The moon lights up from the light of the sun in the same way that our senses can only detect what our heart says there is. One's personal world-forming conviction in its broadest sense — including scientific certainties, skills, social norms, language; all you know — constitutes the sun of one's worldview. That explains why the emergence of Jesus' star was such as big deal (MATTHEW 2:2), since in him "are hidden all the treasures of wisdom and knowledge" (COLOSSIANS 2:3).

But it also means that the phenomenon that psychology calls Theory of Mind equals a kind of night vision, when one's personal sun has temporarily sunk below the horizon and the stars (other people's suns) become visible. This Theory of Mind, this calm awareness that other people have other knowledge in their brains and thus have other opinions, tastes, concerns and motivations, is crucial to human psychology and all properly functioning societies."

Night then according to the Mishnah is the only time the Self is able to hammer out its own details and release the Dew of the Jewish Saint.

The Value in Gematria is 4223, דבבג, dabbag, "a cistern for the water of grief, to contain it and put it in the stomach" plus the added idea of boring a hole in the container to allow the negative experience to drain in order to be replaced by wine, a positive desire that replaces the source of the regret.

All of this is consistent with the definitions of the Talmud above, which includes dew and cutting:

Da= to understand

Dabba= grief

Bag=

In the Hebrew language exists a cluster of words that are formed around the pervasive form קב (qb), which appears to reflect a down- or inward notion, creating a hollow that contains or should contain something precious or related to growth. Its dominance is remarkable, and can be expected to have been consciously utilized by the authors of the Scriptures.

If there ever was a verb in Hebrew of the form קבה (qbh), it isn't used in the Bible. In cognate languages it may mean to collect or contain water (Syriac), or have dropsy (Ethiopian). Related nouns may mean stomach (Arabian) or cistern (Syriac). The only trace of this root in Biblical Hebrew is the feminine noun קבה (qeba), denoting an animal's stomach (Deuteronomy 18:3) or a woman's belly (Numbers 25:8).

The root יבק (yqb) occurs in Arabic with the meaning of to be sunk or depressed. A related noun means hollow or cavity. In Hebrew exists only the noun יקב (yeqeb), meaning wine-vat, which BDB Theological Dictionary defines as "a trough or hollow excavated (Isaiah 5:2) in the rock for receiving the juice trodden out in the גת (gat) [= winepress]".

The verb נקב (naqab I) is used in ways that generally baffle commentators. It occurs in other languages with the meaning of to pierce or perforate, but spawns nouns that mean leader or chief, and it's not clear how the nouns relate to the verb. In Hebrew something similar occurs:

Our verb may mean to pierce of bore. In 2 Kings 18:21 and Isaiah 36:6 a staff pierces a man's hand, in Habakkuk 3:14, the Lord uses the spears of the evil one to gore the head of his troops, and in the Book of Job the Lord asks if Job can pierce the nose of Behemoth with a barb (Job 40:24), or the jaw of Leviathan with a hook (Job 41:2). The priest Jehoiada turned a chest into an offer box by drilling a hole in its lid (2 Kings 12:9), and the prophet Haggai observed workers deplete their wage as if they kept it in bags with holes (Haggai 1:6).

But our verb is also used to mean designate or pick (out), hence corresponding to the Arabic noun that means chief. Laban told Jacob to "pick" (name) his wage (Genesis 30:28) and Amos speaks of "picked" (choice or distinguished) men (Amos 6:1). The mouth of the Lord will call Israel by its newly "designated" name (Isaiah 62:2) and in about five places in the Bible, men are "selected" by name (Numbers 1:17, 1 Chronicles 12:32).

HAW wonders, "Does the verb "pierce" mean, secondarily, appoint, designate, name by the way of the physical notion of ticking or marking an individual as distinctive, or is the select individual the one who 'scrutinizes' and thereby distinguishes himself? The former explanation seems the more satisfactory".

It seems that our verb originally related any kind of indentation, resulting in a physical small mark of distinction to holes in an offering chest. From there it evolved to mean to select (without actually creating a physical mark) comparable to our verb to pick out, which became equivalent with to choose (not requiring an actual displacement of the thing selected), or pick up, which may mean to learn of acquire without actually moving something physically.

It seems important, however, to relate naming or selecting in the Bible to this act of marking, since the Bible often speaks of marks in a way that seems curious to us (Genesis 4:15, REVELATION 13:16). See also the mark-making verb אוה ('awa), which is identical to a verb that means to desire or covet.

It also seems relevant to realize that where in our experience, our personal name could be regarded as something that was added to us, in the Bible a name is something that creates a hole in a continuum of which the named entity was until then a part.

This complicated verb yields the following derivatives:

The masculine noun נקב (neqeb), probably denoting some kind of hollow to fit a gem. It occurs only once, in Ezekiel's lament over the king of Tyre (Ezekiel 28:13)

The noun נקבה (neqeba), which means female. This word is the counterpart of the masculine noun זכר (zakar), meaning male, and is used for both human females (Genesis 1:27, Jeremiah 31:22) and the females of animals (Genesis 6:19, Leviticus 3:1). Lexicons generally shy away from explaining why the word for female comes from a root that has to do with holes; HAW declares that the female is "denoted by neqeba for descriptive reasons". Here at Abarim Publications we are not shy in any way, and are certainly always willing to discuss the wonders of female anatomy, but we simply don't agree with the idea that to the Hebrews a female was in effect a walking hole. We don't think that females were named after their vulvas but rather after their function in the continuum of a herd or a people. Only females can break the continuum by producing children. Bloodshed could occur by piercing the continuum at the wrong position (a hand), or when a female failed to conceive. The piercing of the Christ (who would become the feminine, child-bearing Body of Christ) should be understood in that same context (Isaiah 53:5).

The feminine noun מקבת (maqqebet), meaning hammer (Judges 4:21, Isaiah 44:12). This word could be understood as the root idea prefixed by the particle מ (mem), which would form "place of making holes" or "thing to make holes with".

The identical feminine noun מקבת (maqqebet), meaning hole or excavation (Isaiah 51:1 only). Lexicons consider this and the previous noun as distinct, but they're really the same: "place of making holes" or "thing to make holes with".

While all human beings benefit from prayer, fasting, and devotion to God, a Kedoshim will do it for the specific reasons of bringing the relief of suffering to others, the greatest of which is inciting the Mashiach for the sake of the entire world.

This places a Halidom a notch above the ordinary Akiva in importance in the Shule, the Court of the Assembly, etc. as it entails the elevated level of self-imposed personal responsibility required for those positions.

On the grander scale, the Gemara is attempting to communicate a way to the world to release all of its stored anger and grief. The fastest way, it says is for distinguished men to call together the King and Princes of Israel and constitute the state of being predicted by the prophets.

[shalomelohim]

Mashiaj El Mesias Viene Ya (Le Messie arrive) / subtitles Hebreo - Español / Hébreux - Espagnol

Chanson joyeuse au son de l’accordéon ! Happy song with accordion !

♥  ♥  ♥

Mashehu balev Yahalom tzorev Algo hay en el corazón cuál diamante encendida Il y a quelque chose dans le cœur comme un diamant enflammé There's something in the heart like a flaming diamond Menachesh bi Velochesh kochav gadol karev Que susurra en mi cual acentijo : “gran estrella luchad” Ce murmure en moi auquel je fais un signe de tête : « grand combat d’étoiles » This whisper within me to which I nod: "great battle of the stars"

Mi hamevochah Mi ha'anachah Desde el desconcierto y de el suspiro De la perplexité et du soupir Perplexity and sighing Na'aleh t'filah g'dolah Elevemos una gran oración Élevons une grande prière Let us raise a great prayer Unevakesh brajah E imploremos benedicion Et implorons la bénédiction And let us implore the blessing

[Refrain / Chorus] Al halechem al hamayim Por el sustento y el agua Pour la nourriture et l’eau For food and water Al ha'or sheba'einaim Por la luz resplandecente que podemos ver Pour la lumière vive que nous pouvons voir For the bright light we can see Vehachoref, vehakayitz, stav va'avivo Por el invierno y por el verano, Por el otoño y su primavera Pour l’hiver et pour l’été, pour l’automne et son printemps For winter and summer, for autumn and spring Od nisa t'filah bishnaim Aún elevamos una oración juntos Nous élevons toujours une prière ensemble We always raise a prayer together Ad el sha'arei shamaim Hacia los portones de los cielos Aux portes du ciel At the gates of heaven El hamashiach bo yavo He aquí el Mesías viene ya Voici, le Messie vient Behold, the Messiah is coming

Ish be'ish nabit Cuidémonos el uno al otro Prenons soin les uns des autres Let's take care of each other Yad el yad noshit Extendamonos la mano en Tendons la main les uns aux autres Let's reach out to each other Uveyachad uvli pachad Juntos y sin ningún temor Ensemble et sans crainte Together and without fear Nechapes atid Busquemos el futuro Tournons-nous vers l’avenir Let's look to the future Lasadot nered Na'aleh bahar Bajemas hacia los campos y subamos a los montes Descendons dans les champs et montons dans les montagnes Let's go down into the fields and up into the mountains Na'amin od na'amin beshemesh hamachar Confiando que el sol volver a salir mañana Confiant que le soleil se lèvera demain Confident that the sun will rise tomorrow

[Refrain / Chorus]

Ve'or yu'ar (Ve)shir yushar Y la luz se intensificará y un cantico de integridad Et la lumière s’intensifiera et un chant d’intégrité And the light will intensify and a song of integrity El Baraj bar la'ahavah  Y las flores silvestres serán para el amor Et les fleurs sauvages seront pour l’amour And the wildflowers will be for love Ulai pit'om K'mo bechalom Tal vez de pronto como un sueño Peut-être tout d’un coup comme un rêve Maybe all of a sudden like a dream Yavo shalom K'sheyavo mashi'ach Llegue la paz cuando llegue el Mesías La paix vient quand le Messie vient Peace comes when the Messiah comes

[Refrain / Chorus]

[yoymialterego]

Cine al menguar la pandemia: Ha'berech

El frenético comienzo en la nueva cinta del israelí Nadav Lapid tiene la palpitación nerviosa y titilante de un videoclip, y eso de alguna manera marca el ritmo de la película toda. Sin embargo "Ha'berech" contiene otros variados elementos tan atrayentes como críticamente severos que van más allá de la mera exposición de estilo, aunque este sea así, tan llamativo y recargado.

Un director de cine llamado Y (Avshalom Pollak, excelente, -y evidente alter ego de Lapid-) debe ir a un pequeño poblado de Israel para la exhibición de una de sus películas, después de que le vemos arrancando un nuevo proyecto en Tel Aviv (el que se nos proyecta trepidantemente al inicio de la cinta sobre el caso real de una manifestante palestina llamada Ahed Tamimi, célebre por las amenazas que recibió en Twitter luego de dar una bofetada a un soldado israelí y ser arrestada por los hechos).

La cuestión es que en su viaje y estancia en el poblado, el director tiene aparentemente una película más en mente, no la que inició en Tel Aviv, ni la que se proyecta donde es invitado, sino la que imagina y a su modo va contando a Yahalom (Nur Fibak, convincente y natural), la funcionaria cultural local que le atiende para el evento, a la vez que a su madre, a la que envía constantes videos realizados con su teléfono móvil, en una especie de delirio de insolación dentro de ese ambiente deslumbrante del sol del desierto, seco, agreste, difícil, pertinaz, acojonante.

Todo ello nos lo ilustra Nadav Lapid de muy diferentes maneras, a veces por cierto, bastante graciosas, como en la del chofer que le lleva a la exhibición de su cinta, al que él imagina bailando grotescamente la fabulosa "Lovely Day" de Bill Whiters (en ese sentido "Ha'berech" es un magnífico y refrescante compendio musical. Cada canción colocada por el israelí se ajusta a la escena como si hubiese sido pensada para ella. Además el director plantea ciertas "fantasías" musicales como si fueran realmente clips de video, tan bien hechos y tan bien puestos en la cinta que le terminan de redondear el planteamiento sobre esa alternancia entre la realidad y la imaginación que maquina desde el inicio, como si se tratara de un pequeño rompecabezas mental).

Gravita en la historia de "Ha'berech" tanto la propuesta del autor sobre la putrefacción en el arte y la cultura israelí propiciadas por los gobiernos y los gobernantes (en todo caso por los funcionarios que llevan a cabo el día a día en las instituciones encargadas), como también gravita la imagen de la madre de una manera no tan abstracta, porque se hace notar el hecho de que la de Lapid fue la editora en sus anteriores filmes, y padeció cáncer tal como la madre de Y en la película. Con ella contacta constantemente mediante el envío de videos hechos con su teléfono móvil.

Con las tomas "excéntricas" el director quiere, evidentemente, plantear algo diferente, y por momentos lo logra, poniendo en sintonía el feeling del protagonista con el del espectador mediante estas extravagancias visuales -o más bien focales- que obtiene con el movimiento y la posición de la cámara. A su vez trabaja con bastante relevancia la tensión de atracción erótica entre Y y Yahalomel, que nunca llega a estallar, pero que es llevado a un extremo casi abrumador siguiendo un juego incitante y contenido a la vez.

En fin, que Nadav Lapid ha hecho su película más rugosa (sí, más que "Ha-shoter", más que "Haganenet", y más que "Synonymes"), y que quizá su grito de protesta aquí es demasiado estridente, pero tiene el nervio del outsider que siente la obligación de manifestarse, y lo hace, de una manera tan extrema como válida, y finalmente cautivadora.

[diyeipetea]

HDO 338. Dubois - Abbasi - Kadawa - Mahanthappa - Toxydoll [Podcast]

HDO 338. Dubois – Abbasi – Kadawa – Mahanthappa – Toxydoll [Podcast]

Cinco grabaciones en la edición 338 de HDO: el excelente Autumn Wind (ACT, 2017) del guitarrista Scott Dubois (que Enrique Farelo repasaba hace unas semanas), que cuenta nuevamente con la colaboración de Gebhard Ullmann, Thomas Morgan y Kresten Osgood (como en sus anteriores grabaciones), y también de un cuarteto de cuerda y distintos instrumentistas que aportan a la grabación las sonoridades de…

[lowlandsbar]

March 2022 at Lowlands Bar

3/1 Dana Saul Sextet

3/2 Will Greene/Elias Stemeseder/Raf Vertessen

3/8 Earprint

3/9 Tal Yahalom/Caroline Davis/Dan Weiss

3/15 Nathan Bellott Trio

3/16 Dierk Peters/Vincius Gomes/Walter Stinson/Evan Hyde

3/22 Happy Trio XX ft. Matt Penman & Joe Peri

3/23 Luca Rosenfeld/Elias Stemeseder/Billy Mintz

3/29 Kevin Sun Quartet

3/30 Kari van der Kloot/Sana Nagano/Leonor Falcon

[gongonmusic-blog]

Very excited to release this video. Slightly different: a small, intimate version of You Don't Belong from Diagonal Fields Go to my IGTV page to watch the full video. Guitar: Tal Yahalom Video by Rom Ozeri Recording and mix by Matt Kursmark https://www.instagram.com/p/B7v5nYggKK4/?igshid=modslc1kl996

[eivindopsvik]

Spring Shows

April

______________Sunday April 9th Spectrum, 70 Flushing Ave, Brooklyn, NY 11205, 8pm Flin van Hemmen with Tony Malaby, EO

______________Monday April 10th

Minton’s, 206 W 118th St, New York, NY 10026, 7:30pm               

Chris McCarthy with Jongkuk Kim, EO

______________Tuesday April 17th

55 bar, 55 Christopher Street, NYC

David Binney w Dan Weiss, Matt Mitchell, EO

______________Monday April 23rd

Branded Saloon, 603 Vanderbilt Ave, Brooklyn, NY 11238, 11pm Colin Hinton w Dustin Carlson, EO

______________ Tuesday April 24th

Threes Brewing, 333 Douglass St, Brooklyn, NY 11217, 8pm

Eivind Opsvik Solo,

Triple Bill with Kadawa and Brandon Seabrook/Cooper Moore

May

______________Tuesday May 1st 7:30pm Blank Forms Concert Series, 85 N 15th St, Brooklyn, NY 11222, United States

Okkyung Lee: Yeo-Neun Quartet

with Maeve Gilchrist, Jacob Sacks, EO

______________ Monday May 7th

Threes Brewing, 333 Douglass St, Brooklyn, NY 11217, 8pm

Double Bill:

1. Dave Christian ...TBA

2. Opsvik & Jennings

Aaron Jennings, Eivind Opsvik, Rich Johnson, Dave Christian, Brian Drye

______________ Tuesday May 8th

Bar Next Door, 129 Macdougal St, New York, NY 10012, 7:30pm

Tal Yahalom Trio

_______________Saturday May 19th

Cornelia Street Cafe, 29 Cornelia St, New York, NY 10014, 9pm

Jeff Davis Morning Dragon Trio with Ben Monder, EO

June

___________Thursday June 14th

Nublu 151, 151 Avanue C, Manhattan

Brandon Seabrook’s Die Trommel Fatale

Brandon Seabrook, Dave Treut, Sam Ospovat, Chuck Bettis, Marika Huges, Henry Fraser, EO

______________Tuesday June 19th

Barbès, 376 9th St, Brooklyn, NY 11215, 7pm

Eivind Opsvik Overseas

_______________Thursday June 21st

Spectrum, 70 Flushing Ave, Brooklyn, NY 11205, 8pm

Eliot Cardinaux with Mat Maneri, Flin van Hemmen, EO