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Old Odessa has been mythologized as Russia’s gilded city of sin, a multi-ethnic southern seaport bustling with international trade, where exotic goods and people saturated its markets, taverns, and beaches, imbuing the landscape with glitter and color. The city developed an infamous reputation for its brothels, criminal dens, and dissolute inhabitants – a pleasure-drenched utopia of debauchery on the wild frontiers of the Black Sea. But old Odessa is considered “old” because old Odessa is over; its golden age of opulence, wily Jewish gangsters, and relentless revelry has passed into history, and this imagined past is nostalgically commemorated as a vanished paradise, a realm solely reachable in the present through legends, folk songs, and anecdotes. But when exactly did Odessa become “old?” An analysis of the Odessa myth from the early nineteenth century to the present demonstrates that Odessa’s golden age has been mourned for its apparent passing from the city’s very inception. Old Odessa’s inaccessibility has always been an integral part of its allure, as it embodies an implausible oasis of abundance and hedonism amidst frigid, barren, and hungry Russia.

Ethnic Humor in Multiethnic America. By David Gillota. New Brunswick, NJ: Rutgers University Press, 2013. 206 pp. Illustrations. $80 (cloth); $25.95 (paper). Ethnic humor in the United States has a [...]

Film director Jonathan Kesselman’s 2003 comedyThe Hebrew Hammerintroduced a new Jewish superhero on cable television: a tough, hip, jive-talking “biblical brother” who battles anti-Semites on the streets of New York under the gaze of adoring children, desirous women, and admiring African-Americans. Although the Hebrew Hammer is a cool Jewish thug who transcends the exilic condition of the proverbially submissive diaspora Jew through his brawn and swagger, he is also funny; he is a gangster who exhibits the neuroses, complaints, and schlemiel-like stereotypes that lie at the heart of modern Jewish humour.The Hebrew Hammerrepresents the culmination of a trend in American popular culture that began in the 1950s with Lenny Bruce. An unapologetically proud Jew, Bruce deployed his comedy and his cool persona to demolish Gentile propriety. Proclaiming an affinity to other minorities who had also suffered at the hands of Anglo-Saxon Christendom, Bruce and his successors publicly mocked their history of exclusion and the legacy of racism. A narrative of shared affliction has allowed Jewish humourists to appropriate the stereotypes and cultural practices of African-Americans and other ethnic groups, and to embed them into their comedy, fusing them with familiar Jewish tropes. This is the foundation of a new Jewish humour, one that remains anchored in the past, even as it has been refashioned to suit a multi-cultural immigrant society. [ABSTRACT FROM PUBLISHER]

The article discusses Jewish humor in the context of the U.S. South, noting the film "Borat," starring Sacha Baron Cohen. Topics discussed include the relation of Jews and white Southerners in the television show "King of the Hill," the 1997 article "Jewish Texans Commemorate Holocaust... Texas Style" in the satirical newspaper "The Onion," and the ironic nature of the historic plight of the Jewish diaspora. The relation of Jewish Southerners to the racist Ku Klux Klan movement, racial divisions in U.S. society, and writings by Jewish anti-segregationist Harry Golden are noted.

Odessa has often been branded a “Jewish city.” Much like their counterparts in New York and Warsaw, Odessa's Jews have historically played a fundamental role in the city's demographic makeup, economic life and culture. But Odessa is unique among Jewish cities because it has been mythologised as a city of sin, a frontier seaport boomtown whose commercial prosperity and balmy climate attracted legions of adventurers, gangsters and swindlers seeking easy wealth and earthly pleasures. Old Odessa was the Russian Jew's golden calf - gilded, wicked and ostentatious in its intemperance. Odessa's carnivalesque environment was fertile ground for the blending of different cultures, and the Jews spearheaded this process, adopting a Yiddish-inflected Russian as their language for celebrating their profligate city. By the 1917 Revolution the foundations had been laid for the emergence of Isaac Babel, Leonid Utesov, Mikhail Zhvanetskii and the many other Jews who subsequently left Odessa for Moscow and the Soviet interior. They would go on to disseminate the Odessa myth using literature, comedy and music, and their immense popularity ensured that Odessa was indelibly marked as a Jewish city of sin, inhabited by comical rogues whose colourful escapades were rooted in an idiom of Jewishness. [ABSTRACT FROM AUTHOR]