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Lilla Crawford
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Lilla Crawford
Born
(2001-03-28) March 28, 2001 (age 17)
Los Angeles, California, U.S.
Residence
Yonkers, New York
Occupation
Actress
Years active
2011–present
Lilla Crawford (born March 28, 2001[1]) is an American actress best known for portraying the title role in the 2012 Broadway revival of Annie. She made her feature-film debut playing Little Red Riding Hood in the 2014 Disney film Into the Woods. Since 2017, Crawford has voiced the leading character in the Nickelodeon series Sunny Day.
Contents
1 Personal life
2 Career
3 Filmography
4 References
5 External links
Personal life[edit]
Lilla Crawford was raised in New York City, New York.
She is a supporter of many charities, such as Broadway Cares Equity Fights Aids and Broadway Barks.
She currently resides in Yonkers, New York.
Career[edit]
Crawford began her career at the age of six appearing in commercials, and since then has appeared in several more. She states that she begged her mother to find her an agent because it was her dream to be an animated voice, and was not pushed into becoming an actress.[2]
She moved from Los Angeles to New York City, where she made her Broadway debut in 2011 as Debbie in the closing cast of the musical Billy Elliot.
After a nationwide search, she won the title role in James Lapine’s 2012 revival of the Tony-winning musical Annie at the age of 11, after having previously been in a community theatre production of the same show, where she played Bert Healy. She competed against over 5,000 other girls auditioning to play Annie over a span of nine months.[3] After her initial audition in New York she had five or six callbacks, the final one with a dozen girls. While performing in Annie, she filmed the Broadway.com video blog "Simply Red" for the show, which earned her a broadway.com title of "most clicked stars of 2013".[4]
She played "The Little Girl" in Ragtime at Avery Fisher Hall, alongside Lea Salonga, Norm Lewis, and many others. Crawford played Little Katie in a workshop production of Home the Musical by Scott Alan in New York City. She also appeared in a workshop of Melissa Arctic.[5]
Crawford played Little Red Riding Hood in the Disney film adaption of the musical Into the Woods, a role that was originally given to Sophia Grace Brownlee.[6][7] The film was released on December 25, 2014.
As of 2017, Crawford voices the leading character on the Nickelodeon animated series Sunny Day.[8] She also currently stars in the Netflix series The Who Was? Show, based on the book series Who Was.
Filmography[edit]
Year
Title
Role
Notes
2014 Into the Woods Red Riding Hood Satellite Award for Best Cast – Motion Picture
Young Artist Award for Best Performance in a Feature Film-Supporting Young Actress
Phoenix Film Critics Society Award for Best Performance by a Youth in a Lead or Supporting Role - Female
Nominated—Phoenix Film Critics Society Award for Best Cast
Nominated-Washington D.C. Area Film Critics Association Award for Best Ensemble
Nominated—Broadcast Film Critics Association Award for Best Acting Ensemble
Nominated-Detroit Film Critics Society Award for Best Ensemble
Nominated-Golden Derby Award for Best Ensemble Cast
2015 Blue Bloods Lily Episode: "Flags of Our Fathers"
2015 Forever Zoe Dornis Episode: "Punk is Dead"
2016 Little Miss Perfect Olivia
2017 Sunny Day Sunny Voice
2018 The Who Was? Show Various roles Series regular, post-production
References[edit]
Jump up ^ "Most Popular E-mail Newsletter". USA Today. 28 August 2012.
Jump up ^ KENNEDY, MARK (28 April 2012). "Lilla Crawford Is 'Annie' For 2012 Fall Broadway Season". Huffington Post. Retrieved 19 July 2014.
Jump up ^ "Lilla Crawford Is 'Annie' For 2012 Fall Broadway Season". huffingtonpost.com. 28 April 2012. Retrieved 19 July 2014.
Jump up ^ "Simply Red: Backstage at "Annie" with Lilla Crawford, Episode 2: Orphan Overload!". Youtube. Retrieved 19 July 2014.
Jump up ^ "Lilla Crawford". Broadway.com. Retrieved 19 July 2014.
Jump up ^ "Sophia Grace Not In 'Into The Woods' As Red Riding Hood". Huffington Post. 16 September 2013. Retrieved 19 July 2014.
Jump up ^ "Annie's Lilla Crawford Will Be Little Red in Into the Woods Film, Featuring New Song by Stephen Sondheim". Playbill. August 12, 2018. Retrieved September 16, 2013.
Jump up ^ "VIDEO: Lilla Crawford, Taylor Louderman Talk New Nick Series SUNNY DAY". Broadwayworld.com. Retrieved 16 September 2017.
External links[edit]
Lilla Crawford on IMDb
Star File: Lilla Crawford
Authority control
WorldCat Identities
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The Muppet Movie
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the original 1979 film. For the 2011 film, see The Muppets (film).
The Muppet Movie
Theatrical release poster by Drew Struzan
Directed by
James Frawley
Produced by
Jim Henson
Written by
Jack Burns
Jerry Juhl
Starring
Jim Henson
Frank Oz
Jerry Nelson
Richard Hunt
Dave Goelz
Charles Durning
Austin Pendleton
Music by
Kenneth Ascher
Paul Williams
Cinematography
Isidore Mankofsky
Edited by
Christopher Greenbury
Production
companies
ITC Entertainment
Henson Associates
Distributed by
Associated Film Distribution1
Release date
May 31, 1979 (1979-05-31) (United Kingdom)
June 22, 1979 (1979-06-22) (United States)
Running time
97 minutes[1] (UK version)
95 minutes (US version)
Country
United Kingdom
United States
Language
English
Budget
$8 million[2]
Box office
$76.6 million[3]
The Muppet Movie is a 1979 musical road comedy film and the first theatrical film featuring the Muppets. Directed by James Frawley and produced by Jim Henson, the film's screenplay was conceived by The Muppet Show writers Jerry Juhl and Jack Burns. An American and British venture produced by Henson Associates and ITC Entertainment between the first half and the second half of The Muppet Show's third season, the film depicts Kermit the Frog as he embarks on a cross-country trip to Hollywood, California. Along the way, he encounters several of the Muppets—who all share the same ambition of finding success in professional show business—while being pursued by Doc Hopper, an evil restaurateur with intentions of employing Kermit as a spokesperson for his frog legs business.
Notable for its surreal humour, meta-references and prolific use of cameos, The Muppet Movie was released in the United Kingdom on May 31, 1979 and in the United States on June 22, 1979, and received critical praise; including two Academy Award nominations for Paul Williams and Kenneth Ascher's musical score and their song, "The Rainbow Connection". In 2009, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.
The success of The Muppet Movie spawned several sequels, none of which existed in the same continuity: The Great Muppet Caper (1981), The Muppets Take Manhattan (1984), The Muppet Christmas Carol (1992), Muppet Treasure Island (1996) and Muppets from Space (1999). In 2002, the film series was given a prequel with Kermit's Swamp Years. In 2011, the film series was rebooted with The Muppets and followed by Muppets Most Wanted in 2014. However, the latter acknowledges itself as the seventh sequel to The Muppet Movie.
Contents
[hide]
1 Plot
2 Cast
2.1 Muppet performers
2.2 Cameo guest stars
3 Production
3.1 Style
3.2 Prop vehicles
4 Music
5 Release
5.1 Box office
5.2 Critical reception
5.3 Home media
5.4 Accolades
6 Footnotes
7 References
8 External links
Plot[edit]
The Muppets have gathered in a theatre, in a Hollywood film studio, to screen their new biographical film, The Muppet Movie.
In the film-within-a-film, Kermit the Frog enjoys a relaxing afternoon in a Florida swamp, strumming his banjo and singing "The Rainbow Connection", when he is approached by Bernie (Dom DeLuise), a Hollywood talent agent who encourages Kermit to pursue a career in show business. Inspired by the idea of "making millions of people happy", Kermit sets off on a cross-country trip to Los Angeles, but is soon pursued by entrepreneur Doc Hopper (Charles Durning) and his shy assistant Max (Austin Pendleton) in an attempt to convince Kermit to be the new spokesman of Hopper's struggling French-fried frog legs restaurant franchise, to Kermit's horror. As Kermit continuously declines his offers, Hopper resorts to increasingly vicious means of persuasion.
Meeting Fozzie Bear, who works as a hapless comedian in the El Sleezo Cafe, Kermit invites Fozzie to accompany him. The two set out in a 1951 Studebaker loaned to Fozzie by his hibernating uncle. The duo’s journey includes misadventures which introduce them to a variety of eccentric human and Muppet characters, including Dr. Teeth and the Electric Mayhem and their manager Scooter, who receives a copy of the script from the pair (one of a number of self-references) at an old Presbyterian church; Gonzo, who works as a plumber, and his girlfriend Camilla the Chicken; Sweetums, who runs after them after they mistakenly think that he has turned them down at a used car lot; and the immediately love-stricken Miss Piggy at a fair.
While Kermit and Miss Piggy form a relationship over dinner that night, Doc Hopper and Max kidnap Miss Piggy and use her as bait to lure Kermit into a trap. Using an electronic cerebrectomy device, scientist Professor Krassman (Mel Brooks) decides to brainwash Kermit in an attempt to force Kermit to perform in Doc’s commercials until an infuriated Miss Piggy knocks out Doc Hopper's henchmen and causes the scientist to be brainwashed by his own device. After receiving a job offer, however, she promptly abandons a devastated Kermit.
After an incident in the theater where the projector briefly breaks down, with film tangled around the Swedish Chef, who was the projectionist, which causes Animal (a member of the Electric Mayhem) to throw a wild temper tantrum and rip off a chunk of his own seat cushion, the film starts up again. Having been joined by Rowlf the Dog and reunited with Miss Piggy, the Muppets continue their journey to Hollywood. Fozzie's 1946 Ford Woodie station wagon trade-in breaks down in the New Mexico desert. During a campfire that night, the group sadly considers that they may miss the audition the next day, and Kermit wanders off, ashamed of himself for seemingly bringing his friends on a fruitless journey. Upon consulting a more optimistic vision of himself, Kermit remembers that it was not just his friends' belief in the dream that brought them this far, but also his own faith in himself. Reinvigorated, he returns to camp to find that the Electric Mayhem and Scooter have read the script in advance, and arrived to help them the rest of the way.
Just as it seems they are finally on their way, the group is warned by Max that Doc Hopper has hired an assassin named Snake Walker to kill Kermit. Kermit decides he will not be hunted down by a bully any longer and proposes a Western-style showdown in a nearby ghost town occupied by Dr. Bunsen Honeydew and his assistant Beaker, who invent materials that have yet to be tested. While confronting Hopper, Kermit explains his motivations, attempting to appeal to Hopper’s own hopes and dreams, but Hopper is unmoved and orders his henchmen to kill him and all his friends. They are saved only when one of Dr. Bunsen's inventions, "insta-grow" pills, temporarily turns Animal into a giant, causing Hopper and his men to flee while Max turns around, laughs gleefully and waves his hat at the Muppets.
The Muppets proceed to Hollywood, and after getting by his secretary, Miss Tracy (Cloris Leachman), via causing her allergic reactions to their dander and fur, are hired by producer and studio executive Lew Lord (Orson Welles). The Muppets attempt to make their first movie involving a surreal pastiche of their experiences. The first take goes awry when Gonzo, holding pastiche versions of the balloons he flew away on earlier, crashes into the rainbow, breaking it in half and sending it falling onto the rest of the set, bringing it down as well, then Crazy Harry pulls two levers in the control room, which overloads the electricity circuits and causes enough of an explosion to blow a hole in the roof of the studio. However, in their stunned silence of the whole chain of events, a rainbow suddenly shines through the hole into the studio right onto the Muppets. The Muppets, joined by the characters from The Muppet Show, Sesame Street, Emmet Otter's Jug-Band Christmas, and the "Land of Gorch" segment of Saturday Night Live, sing the final verses of "The Rainbow Connection".
As the screening ends, Sweetums jumps through the theater's screen, having finally caught up with the other Muppets.
Cast[edit]
Charles Durning as Doc Hopper, a businessman, entrepreneur, and restaurateur.
Austin Pendleton as Max, Doc Hopper's shy right-hand man and sidekick.
Scott Walker as Snake Walker, an assassin who specializes in killing frogs.
Lawrence Gabriel Jr as Sailor
Ira F. Grubman as Bartender
H.B. Haggerty as Lumberjack
Bruce Kirby as Gate Guard
Tommy Madden as One-Eyed Midget
James Frawley as El Sleezo Café Waiter
Arnold Roberts as Cowboy
Melinda Dillon as a Woman with Balloon (uncredited)
Muppet performers[edit]
Jim Henson as Kermit the Frog, Rowlf the Dog, Dr. Teeth, Waldorf, Swedish Chef
Frank Oz as Miss Piggy, Fozzie Bear, Animal, Sam Eagle, Marvin Suggs
Jerry Nelson as Floyd Pepper, Crazy Harry, Robin the Frog, Lew Zealand, Camilla the Chicken
Richard Hunt as Scooter, Statler, Janice, Sweetums, Beaker
Dave Goelz as The Great Gonzo, Zoot, Dr. Bunsen Honeydew, Doglion
Caroll Spinney as Big Bird
Frank Oz appears in a cameo as a biker who beats up Fozzie Bear while Steve Whitmire appears as a man in the Bogen County Fair. Also, director Tim Burton is one of the puppeteers in the final shot of the film. John Landis is also in the final shot, performing Grover. Landis and Burton were both uncredited.
Cameo guest stars[edit]
Dom DeLuise as Bernie, a Hollywood agent who meets Kermit in the swamp. The character's name is a reference to Bernie Brillstein, talent agent and producer of The Muppet Show.
James Coburn as El Sleezo Café Owner
Madeline Kahn as an El Sleezo Patron, with the same rhotacism and personality Kahn used for Lili von Shtupp in Blazing Saddles
Telly Savalas as El Sleezo Tough
Carol Kane as "Myth" (summoned by name)
Paul Williams as El Sleezo Pianist
Milton Berle as Mad Man Mooney, a used car salesman for whom Sweetums worked as a jack.
Elliott Gould as Compère, who announces Miss Piggy as the winner of the Bogen County Beauty Pageant
Edgar Bergen as Himself and Charlie McCarthy, playing judges at the Bogen County Fair. This would be Bergen's final film role, as he died shortly after his scene was filmed.
Bob Hope as Ice Cream Vendor
Richard Pryor as Balloon Vendor, a man who sells balloons to Gonzo at the Bogen County Fair.
Steve Martin as Insolent Waiter, a sarcastic waiter that works at the motel that Rowlf used to work at.
Mel Brooks as Professor Max Krassman, a mad scientist who is hired by Doc Hopper.
Cloris Leachman as Miss Tracy, Lew Lord's secretary who is allergic to animals.
Orson Welles as Lew Lord, a Hollywood producer and studio executive. The character's name is a reference to Sir Lew Grade, head of British company, ATV, which co-produced the original Muppet Show.
Production[edit]
The main obstacle the filmmakers were faced with during the development of The Muppet Movie was whether the Muppets would transition seamlessly from television to film. In 1978, director James Frawley, Jim Henson, and Frank Oz filmed several camera tests outside London to test how the characters would appear in real-world locations.[4]
To perform Kermit static on a log, Henson squeezed into a specially designed metal container complete with an air hose (to breathe), a rubber sleeve which came out of the top to perform Kermit and a monitor to see his performance, and placed himself under the water, log, and the Kermit puppet.[5] He was also assisted in this operation by Kathryn Mullen and Steve Whitmire. This scene took five days to film.
Before this, no film had a hand puppet act with its entire body appearing on-screen. That is, hand puppets were only seen from the waist up, and it became a major plot point to show Kermit with legs. To have Kermit ride a bicycle in a full-body shot, a Kermit puppet with legs was posed onto the seat and his legs and arms were attached to the pedals and handlebars. An overhead crane with a marionette system held the bicycle through strong strings invisible to the camera, guiding the bicycle forward. The crane and system was out of the camera's frame of vision.[4]
Other shots required Muppets standing and acting in a full-body shot. Specially-made, remote-controlled puppets were placed on the set and controlled by puppeteers out of the frame. A dancing Kermit and Fozzie Bear were operated by Henson and Frank Oz in front of a blue screen, and were composited onto a separate reel of the stage. Both of these effects and the bicycle effect would be used again, and refined, in subsequent Muppet films.
Austin Pendleton recalled that the film was shot on "a very unhappy set, because Jim [Frawley] was very unhappy directing that movie. And I noticed that was the only time the Muppet people used an outside person to direct a Muppet movie. They never did that again. After that, it was either Jim Henson or Frank Oz. And I would have liked to have been in one of those, because those sets were very harmonious. But this was not."[6] Filming locations included Albuquerque, New Mexico.[7]
The closing reprise of "Rainbow Connection" featured a crowd of more than 250 Muppet characters—virtually every Muppet that had been created up to that point in time. According to Henson Archivist Karen Falk: "137 puppeteers were enlisted from the Puppeteers of America (along with the regular Muppet performers) to perform every Muppet extant. Prior to the day-long filming of the shot, Jim Henson gave the enthusiastic participants a lesson in the art of cinematic puppetry. Amazingly, it did take just one day." The Muppet Show Fan Club newsletter answered the question of "How did they do it?" The response was "There are 250 puppets in the last shot of the film, and they're all moving. How? 150 puppeteers in a 6' deep, 17' wide pit, that's how. They were recruited through the Los Angeles Guild of The Puppeteers of America and almost every puppeteer west of the Rockies reported for pit duty."[8] The film is dedicated to ventriloquist Edgar Bergen who appears in the movie in a cameo role and died during production in September 1978.
Style[edit]
The Muppet Movie uses meta-references as a source of humor, as characters occasionally break the fourth wall to address the audience or comment on their real-life circumstances. In one scene, Kermit and Fozzie encounter Big Bird on the road, offering him a lift to Hollywood, but he declines, heading to New York City to break into public television, referencing the character's role in Sesame Street.
In a particularly meta-fictional plot twist, Kermit and Fozzie actually give the screenplay to Dr. Teeth, who later uses it to find and rescue them after they have been stranded in the desert.
Prop vehicles[edit]
Several classic cars were specially selected by Henson for appearances in the film. The most prominent were a pair of 1951 Studebaker Commander Coupes driven by Fozzie Bear in the film. One car was painted but unmodified and driven by a person in the front seat. It was used for long, traveling shots. The second car was driven by a person in the trunk, who viewed the road through a TV set. The television received its image from a camera located in the center nose of the car's front grille. This made it possible for Frank Oz to perform Fozzie Bear in the front seat, and have the character seemingly drive the car in close-up shots. This car is now on display at the Studebaker Museum in South Bend, Indiana.
Doc Hopper is chauffeured throughout the movie by Max in a 1959 Cadillac Fleetwood 75 Limousine.
The final car driven by the Muppets is a 1946 Ford Woodie station wagon, famous for its wood panel siding and a valuable collectible.
Music[edit]
Main article: The Muppet Movie (soundtrack)
The film's music was written by Kenneth Ascher and Paul Williams. Regarding the music's composition, Williams said; "Jim Henson gave you more [creative] freedom than anybody I've ever worked with in my life. I said, 'You want to hear the songs as we're writing them?' He said, 'No. I'll hear them in the studio. I know I'm gonna love them.' You just don't get that kind of freedom on a project these days."[9]
"Movin' Right Along", "Never Before, Never Again", and "I Hope That Somethin' Better Comes Along" were shortened in the film, compared to their soundtrack versions, for continuity purposes. The latter, a duet between Rowlf and Kermit, contained references that the studio considered too mature for children, although the song appeared complete in the British theatrical and home video debut versions. In "Finale: The Magic Store", a line performed by Kermit in the film is sung by Fozzie on the soundtrack recording.
Release[edit]
Box office[edit]
The film proved to be a huge hit at the box office during the summer of 1979 and ended up grossing $76,657,000 domestically[2][3] (adjusted for inflation, this would equal $265,703,546 in 2016 dollars), making it the seventh highest-grossing film of 1979 and also, the second highest-grossing Muppet film after the release of The Muppets in 2011. The success of the film gave Jim Henson Productions an opportunity to release more Muppet productions theatrically.
The film's successful theatrical release encouraged Lew Grade into furthering his own film distribution company, which later backfired with the massive box office failures of Can't Stop the Music (from EMI) and Raise the Titanic (from ITC), both released by Associated Film Distribution just a year later.[10]
Critical reception[edit]
The Muppet Movie received positive reviews. The film holds an 87% approval rating on aggregate review site Rotten Tomatoes with an average score of 8/10, based on 47 reviews. The site's consensus says "The Muppet Movie, the big-screen debut of Jim Henson's plush creations, is smart, lighthearted, and fun for all ages."[11]
Roger Ebert of The Chicago Sun-Times gave the film three-and-a-half out of four stars. In his favorable review, he was fascinated that "The Muppet Movie not only stars the Muppets but, for the first time, shows us their feet."[12] Vincent Canby of The New York Times offered equal praise, stating that the film "demonstrates once again that there's always room in movies for unbridled amiability when it's governed by intelligence and wit."[13]
In 2009, it was named to the National Film Registry by the Library of Congress for being “culturally, historically or aesthetically” significant and will be preserved for all time.[14]
American Film Institute Lists
AFI's 100 Years...100 Laughs – Nominated[15]
AFI's 100 Years...100 Songs:
"Rainbow Connection" – #74
AFI's Greatest Movie Musicals – Nominated[16]
Home media[edit]
The Muppet Movie was the first film from ITC Entertainment to be released on home video when Magnetic Video issued it in January 1980, having acquired the video rights to ITC's films. It was reissued a few times more by CBS/Fox Video before it was released by Jim Henson Video in 1993. The movie was reissued on VHS by Columbia Tristar Home Video and Jim Henson Home Entertainment in June, 1999. The film's first DVD release was from Sony Pictures Home Entertainment and Jim Henson Home Entertainment on June 5, 2001. It was re-released by Walt Disney Home Entertainment on DVD and reissued as a Walt Disney Pictures release on November 29, 2005 as Kermit's 50th Anniversary Edition.
Walt Disney Studios Home Entertainment released The Muppet Movie as the Nearly 35th Anniversary Edition on Blu-ray Disc and DVD on August 13, 2013.[17]
Accolades[edit]
Awards
Award
Date of ceremony
Category
Recipients and nominees
Result
Academy Awards April 14, 1980 Best Original Song "Rainbow Connection" – Paul Williams and Kenny Ascher Nominated
Best Adaptation Score Songs by Paul Williams and Kenny Ascher; Adaption by Paul Williams Nominated
Golden Globe Awards January 26, 1980 Best Original Song "Rainbow Connection" – Paul Williams and Kenny Ascher Nominated
Grammy Awards February 27, 1980 Best Album for Children Jim Henson and Paul Williams Won
Best Score Soundtrack for Visual Media Nominated
Saturn Awards July 26, 1980 Best Fantasy Film Won
Satellite Awards February 23, 2014[18] Best Youth Blu-ray Walt Disney Studios Home Entertainment Nominated
Footnotes[edit]
^ The film's distribution rights were transferred to Walt Disney Studios in 2004, and was subsequently reissued in home media formats as a Walt Disney Pictures release in 2005.
References[edit]
Jump up ^ "THE MUPPET MOVIE (U)". British Board of Film Classification. May 14, 1979. Retrieved July 27, 2015.
^ Jump up to: a b Jones, Brian Jay (2013). "Life's Like a Movie". Jim Henson: The Biography. New York: Ballantine Books. p. 296. ISBN 978-0-345-52611-3. Meanwhile, audiences made it [The Muppet Movie] one of the most profitable films of the decade, grossing over $65 million in its initial release—not a bad return on [Lew] Grade's initial $8 million investment.
^ Jump up to: a b "Box Office Information for The Muppet Movie". The Numbers. Retrieved January 23, 2016.
^ Jump up to: a b Roessner, Beth (March 22, 2014). "First 'Muppets' director recalls original". USA Today. Retrieved September 5, 2014.
Jump up ^ Swansburg, John (6 December 2013). "Muppet Man". The New York Times. Retrieved 10 April 2014.
Jump up ^ Rabin, Nathan (July 29, 2009). "Austin Pendleton | Film | Random Roles". The A.V. Club. Retrieved December 21, 2012.
Jump up ^ 100 years of filmmaking in New Mexico 1898–1998. New Mexico Dept. of Tourism. 1998. p. 118.
Jump up ^ The Muppet Show Fan Club newsletter (vol. 2, no. 1)
Jump up ^ "Rainbow Connection". Songfacts.com. Retrieved December 7, 2009.
Jump up ^ Lew Grade, Still Dancing: My Story, William Collins & Sons 1987 p 252
Jump up ^ "The Muppet Movie". Rotten Tomatoes. Flixster. Retrieved September 8, 2012.
Jump up ^ Roger Ebert (November 14, 1979). "The Muppet Movie". Chicago Sun-Times. rogerebert.com. Retrieved February 1, 2012.
Jump up ^ Canby, Vincent (22 June 1979). "The Screen: Muppets Go to Hollywood:Roadiest Road Picture". The New York Times. Retrieved 9 September 2013.
Jump up ^ "25 new titles added to National Film Registry". Yahoo News. Yahoo. December 30, 2009. Archived from the original on January 6, 2010. Retrieved December 30, 2009.
Jump up ^ AFI's 100 Years...100 Laughs Nominees
Jump up ^ AFI's Greatest Movie Musicals Ballot
Jump up ^ Truitt, Brian (9 August 2013). "Kermit, Fozzie entertain in 'Muppet Movie' camera test". USA Today. Retrieved 12 August 2013.
Jump up ^ Kilday, Gregg (December 2, 2013). "Satellite Awards: '12 Years a Slave' Leads Film Nominees". The Hollywood Reporter. Retrieved December 2, 2013.
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text:
Milk and meat in Jewish law
From Wikipedia, the free encyclopedia
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Milk and meat in Jewish law
Halakhic texts relating to this article
Torah:
Exodus 23:19
Exodus 34:26
Deuteronomy 14:21
Babylonian Talmud:
Hullin 113b, 115b
Mixtures of milk and meat (Hebrew: בשר בחלב, basar bechalav, literally "meat in milk") are prohibited according to Jewish law. This dietary law, basic to kashrut, is based on two verses in the Book of Exodus, which forbid "boiling a (kid) goat in its mother's milk"[1][2] and a third repetition of this prohibition in Deuteronomy.[3]
According to the Talmud, these three almost identical references are the basis for three distinct dietary laws:[4]
the prohibition against cooking a mixture of milk and meat
the prohibition against eating a cooked mixture of milk and meat
the prohibition against deriving any benefit from a cooked mixture of milk and meat.
Contents
[hide]
1 Background
2 Explanation of biblical law
3 The term "g'di"
4 The term "halev immo"
5 The term "bishul"
6 Three distinct laws
7 Stringencies and leniencies
8 Classification of foods
9 Minuscule quantities
10 Dishes and cooking utensils
11 Physical proximity
12 Problem of sequential foods
13 Eating dairy after meat
14 Eating meat after dairy
15 Eating dairy/meat after eating dairy/meat dishes
16 Microwave cooking
17 Samaritan Torah
18 Non-Rabbinic Movements
19 See also
20 References
21 External links
Background[edit]
There are three categories of Kosher food – Meat, Dairy and Parve.[5]
Explanation of biblical law[edit]
The rabbis of the Talmud gave no reason for the prohibition,[6][7] but later authorities, such as Maimonides, opined that the law was connected to a prohibition of Idolatry in Judaism.[8] Obadiah Sforno and Solomon Luntschitz, rabbinic commentators living in the late Middle Ages, both suggested that the law referred to a specific foreign [Canaanite] religious practice, in which young goats were cooked in their own mothers' milk, aiming to obtain supernatural assistance to increase the yield of their flocks.[9][10] More recently, a theogonous text named the birth of the gracious gods, found during the rediscovery of Ugarit, has been interpreted as saying that a Levantine ritual to ensure agricultural fertility involved the cooking of a young goat in its mother's milk, followed by the mixture being sprinkled upon the fields,[11][12] though still more recent sources argue that this translation is incorrect.[13][14] Another explanation is the separation accommodates significantly the large percentage of the population, particularly those who are aging, who are lactose-intolerant.[citation needed]
The biblical suppression of these practices was seen by some rabbinic commentators as having an ethical aspect. Rashbam argued that using the milk of an animal to cook its offspring was inhumane, based on a principle similar to that of Shiluach haken, the injunction against gathering eggs from a nest while the mother bird watches.[10][15][16] Chaim ibn Attar compared the practice of cooking of animals in their mother's milk to the barbaric slaying of nursing infants.[17]
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The term "g'di"[edit]
Since the Book of Genesis refers to young goats by the Hebrew phrase g'di izim,[18] but the prohibition against boiling a kid... only uses the term g'di (גדי). Rashi, one of the most prominent talmudic commentators, argued that the term g'di must actually have a more general meaning, including calves and lambs, in addition to young goats.[19] Rashi also argued that the meaning of g'di is still narrow enough to exclude birds, all the undomesticated kosher animals (for example, chevrotains and antelope), and all of the non-kosher animals.[20] The Talmudic writers had a similar analysis,[21] but believed that since domesticated kosher animals (sheep, goats, and cattle) have similar meat to birds and to the non-domestic kosher land-animals, they should prohibit these latter meats too,[22] creating a general prohibition against mixing milk and meat from any kosher animal, excepting fish.[23]
The term non-kosher means something is not allowed as food—non-kosher animals (e.g., pigs, camels, and turtles) were already generally prohibited, and questions about the status of mixtures involving their meat and milk would be somewhat academic. Nevertheless, the lack of a classical decision about milk and meat of non-kosher animals gave rise to argument in the late Middle Ages. Some, such as Yoel Sirkis and Joshua Falk, argued that mixing milk and meat from non-kosher animals should be prohibited,[24][25] but others, like Shabbatai ben Meir and David HaLevi Segal, argued that, excluding the general ban on non-kosher animals, such mixtures should not be prohibited.[26][27]
The term "halev immo"[edit]
Rashi expressed the opinion that the reference to mother's milk must exclude fowl from the regulation, since only mammals produce milk.[28] According to Shabbethai Bass, Rashi was expressing the opinion that the reference to a mother was only present to ensure that birds were clearly excluded from the prohibition;[29] Bass argued that Rashi regarded the ban on boiling meat in its mother's milk to really be a more general ban on boiling meat in milk, regardless of the relationship between the source of the meat and that of the milk.[29]
Substances derived from milk, such as cheese and whey, have traditionally been considered to fall under the prohibition,[30][31] but milk substitutes, created from non-dairy sources, do not. However, the classical rabbis were worried that Jews using artificial milk might be misinterpreted, so they insisted that the milk be clearly marked to indicate its source. In the classical era, the main form of artificial milk was almond milk, so the classical rabbis imposed the rule that almonds must be placed around such milk; in the Middle Ages, there was some debate about whether this had to be done during cooking as well as eating,[32] or whether it was sufficient to merely do this during the meal.[33]
Currently, "Leben Immo" (Leben: yogurt in Arabic): is a famous dish in Lebanon and Syria made of meat cooked in yogurt,[34] and Mansaf, the national dish of Jordan, is also made of meat cooked in yogurt.
The term "bishul"[edit]
Although the biblical regulation literally only mentions boiling (Hebrew: bishul, בישול), there were questions raised in the late Middle Ages about whether this should instead be translated as cooking, and hence be interpreted as a reference to activities like broiling, baking, roasting, and frying. Lenient figures like Jacob of Lissa and Chaim ibn Attar argued that such a prohibition would only be a rabbinic addition, and not the biblical intent,[35][36] but others like Abraham Danzig and Hezekiah da Silva argued that the biblical term itself had this wider meaning.[37][38]
Three distinct laws[edit]
The Talmudic rabbis believed that the biblical text only forbade eating a mixture of milk and meat,[39] but because the biblical regulation is triplicated they imposed three distinct regulations to represent it:
not cooking meat and milk together (regardless of whether the result was eaten)[23]
not eating milk and meat together (regardless of whether it was cooked together)[23]
not benefiting from the mixture in any other way[23]
Jacob ben Asher, an influential medieval rabbi, remarked that the gematria of do not boil a kid (Hebrew: lo t'vasheil g'di, לא תבשל גדי) is identical to that of it is the prohibition of eating, cooking and deriving benefit (Hebrew: he issur achilah u'bishul v'hana'ah, היא איסור אכילה ובישול והנאה), a detail that he considered highly significant.[40] Though deriving benefit is a superficially vague term, it was later clarified by writers in the middle-ages to include:
Serving mixtures of milk and meat in a restaurant, even if the clientele are non-Jewish, and the restaurant is not intended to comply with kashrut
Feeding a pet with food containing mixtures of milk and meat[41]
Obtaining a refund for an accidental purchase of mixtures of milk and meat, as a refund constitutes a form of sale[42]
The classical rabbis only considered milk and meat cooked together biblically forbidden, but Jewish writers of the Middle Ages also forbade consumption of anything merely containing the mixed tastes of milk and meat.[43] This included, for example, meat that had been soaked in milk for an extended period.[44] The prohibition against deriving benefit, on the other hand, was seen as being more nuanced, with several writers of the late Middle Ages, such as Moses Isserles[45] and David Segal,[46] arguing that this restriction only applied to the milk and meat of g'di, not to the much wider range of milks and meats prohibited by the rabbis; other prominent medieval rabbis, like Solomon Luria, disagreed, believing that the prohibition of deriving benefit referred to mixtures of all meats and milks.[47]
Stringencies and leniencies[edit]
The classical rabbis interpreted the biblical phrase heed my ordinance (Hebrew: ushmartem et mishmarti), which appears in the holiness code,[48] to mean that they should (metaphorically) create a protective fence around the biblical laws,[49] an attitude particularly expressed by The Ethics of the Fathers[50] (a Mishnaic tractate discussing the ethics surrounding adherence to biblical rules). Nevertheless, the rabbis of the classical and Middle Ages also introduced a number of leniencies.[citation needed] Another prohibition on mixtures in Jewish law is kil'ayim.[7]
Classification of foods[edit]
To prevent the consumption of forbidden mixtures, foods are divided into three categories.[51]
"meat" (North America) or "meaty" (U.K.) (Yiddish: fleishik, פֿליישיק; Hebrew: basari, בשרי)
"dairy" (North America) or "milky" (U.K.) (Yiddish: milkhik, מילכיק; Hebrew: halavi, חלבי)
"parve" (or parv, pareve; from the Yiddish word parev (פאַרעוו), meaning neutral)
Food in the parve category includes fish, fruit, vegetables, salt, etc.; among the Karaites, Ethiopian Jews, and some Persian Jews it also includes poultry, but other Jewish groups consider poultry to count as "meat."[citation needed] However, classical Jewish authorities argue that foods lose parve status if treated in such a way that they absorb the taste of milk or meat during cooking,[52] soaking,[53][54][55] or salting.[56]
Minuscule quantities[edit]
The classical rabbis expressed the opinion that each of the food rules could be waived, if the portion of food violating the regulations was less than a certain size, known as a shiur (Hebrew: size, שיעור), unless it was still possible to taste or smell it;[57][58] for the milk and meat regulations, this minimal size was a ke'zayit (כזית), literally meaning anything "similar to an olive" in size.[57][58][59] However, the shiur is merely the minimum amount that leads to formal punishment in the classical era, but even half a shiur is prohibited by the Torah[citation needed] (Hebrew: Hatzi shiur assur min haTorah, חצי שיעור אסור מן התורה).
Many rabbis followed the premise that taste is principle (Hebrew: ta'am k'ikar, טעם כעיקר): in the event of an accidental mixing of milk and meat, the food could be eaten if there was no detectable change in taste.[57][58] Others argued that forbidden ingredients could constitute up to half of the mixture before being disallowed.[60][61] Today the rabbis apply the principle of batel b'shishim (nullified in sixty; that is, permissible so long as forbidden ingredients constitute no more than 1/60 of the whole) (Hebrew: batel b'shishim[62]).[63]
Due to the premise that taste is principle, parve (i.e. neutral) foods are considered to take on the same meat/dairy produce classification as anything they are cooked with.[64]
Dishes and cooking utensils[edit]
Kosher dairy dishes from the 19th century in the Jewish Museum, Berlin.
Since some cooking vessels and utensils (such as ceramic dishes and wooden spoons) are porous, it is possible for them to become infused with the taste of certain foods and transfer this taste to other foods. For example, if a frying pan is used to fry beef sausage, and is then used a few hours later to fry an omelette with cheese, a slight taste of the sausage might linger.
Samuel ben Meir, brother of Jacob ben Meir, argued that infused tastes could endure in a cooking vessel or utensil for up to 24 hours;[65] his suggestion led to the principle, known as ben yomo (Hebrew: son of the day, בן יומו), that vessels and utensils should not be used to cook milk within 24 hours of being used to cook meat (and vice versa).[66] Although, after 24 hours, some residual flavour may still reside in porous cooking vessels and utensils, some[specify] rabbis hold the opinion that such residue would become stale and fetid, hence only infusing taste for the worse (Hebrew: nosen taam lifgam, נותן טעם לפגם), which they do not regard as violating the ban against mixing the tastes of milk and meat.[67]
Since parve food is reclassified if it takes on the flavour of meat or dairy produce, Ashkenazi Jews traditionally forbid eating parve contents of a pot that has been used within 24 hours to cook meat, if the parve contents would be eaten with dairy produce. Their tradition similarly forbids eating parve foods with meat if the cooking vessel was used to cook dairy produce within the previous 24 hours. According to Joseph Caro, the Sephardic tradition was more lenient about such things,[68] but Moses Isserles argued that such leniency was unreliable.[69]
In light of these issues, Orthodox Jews take the precaution of maintaining two distinct sets of crockery and cutlery; one set (known in Yiddish as milchig and in Hebrew as halavi) is for food containing dairy produce, while the other (known in Yiddish as fleishig/fleishedik and in Hebrew as basari) is for food containing meat.
Physical proximity[edit]
Prominent rabbis of the Middle Ages insisted that milk should not be placed on a table where people are eating meat, to avoid accidentally consuming milk while eating meat, and vice versa.[70][71] Tzvi Hirsch Spira, an early 20th-century rabbi and anti-zionist commentator, argued that when this rule was created, the tables commonly in use were only large enough for one individual;[72] Spira concludes that the rule would not apply if the table being used was large, and the milk was out of reach of the person eating meat (and vice versa).[73]
The rabbis of the Middle Ages discussed the issue of people eating milk and meat at the same table. Jacob ben Asher suggested that each individual should eat from different tablecloths,[74] while Moses Isserles argued that a large and obviously unusual item should be placed between the individuals, as a reminder to avoid sharing the foods.[75] Later rabbinic writers pointed out exceptions to the rule. Chaim ibn Attar, an 18th-century kabbalist, ruled that sitting at the same table as a non-Jew eating non-kosher food was permissible;[76] Yechiel Michel Epstein, a 19th-century rabbi, argued that the risk was sufficiently reduced if individuals sat far enough apart that the only way to share food was to leave the table.[77]
Problem of sequential foods[edit]
Rashi stated that meat leaves a fatty residue in the throat and on the palate[78] and Maimonides noted that meat stuck between the teeth might not degrade for several hours[79] Jonathan Eybeschutz pointed out that meat and dairy produce mix during digestion,[80] and Feivel Cohen maintained that hard cheese leaves a lingering taste in the mouth.[81] Generally, rabbinic literature considers the collective impact of each of these issues.[82][83][84][85][86]
Eating dairy after meat[edit]
The Talmud reports that Mar Ukva, a respected rabbi, would not eat dairy after eating meat at the same meal, and had a father who would wait an entire day after eating meat before eating dairy produce.[30] Jacob ben Meir speculated that Mar Ukva's behaviour was merely a personal choice, rather than an example he expected others to follow, but prominent rabbis of the Middle Ages argued that Mar Ukva's practice must be treated as a minimum standard of behaviour.
Maimonides argued that time was required between meat and dairy produce because meat can become stuck in the teeth, a problem he suggested would last for about six hours after eating it;[87] this interpretation was shared by Solomon ben Aderet,[88] a prominent pupil of his, and Asher ben Jehiel,[89] who gained entry to the rabbinate by Solomon ben Aderet's approval, as well as by the later Shulchan Aruch.[90] By contrast, tosafists argued that the key detail was just the avoidance of dairy produce appearing at the same meal as meat. Therefore, it was sufficient to just wait until a new meal—which to them simply meant clearing the table, reciting a particular blessing, and cleaning their mouths.[91] Some later rabbinic writers, like Moses Isserles,[92] and significant texts, like the Zohar (as noted by Vilna Gaon[93] and Daniel Josiah Pinto[94]), argued that a meal still did not qualify as new unless at least an hour had passed since the previous meal.
Since most Orthodox Sephardi Jews consider the Shulchan Aruch authoritative, they regard its suggestion of waiting six hours mandatory. Ashkenazi Jews, however, have various customs. Orthodox Jews of Eastern European background usually wait for six hours,[95] although those of German ancestry traditionally wait for only three hours,[96] and those of Dutch ancestry have a tradition of waiting only for the one hour. The medieval tosafists stated that the practice does not apply to infants,[97] but 18th and 19th-century rabbis, such as Abraham Danzig and Yechiel Michel Epstein, criticised those who followed lenient practices that were not traditional in their region.[98][99] In the 20th century, many rabbis were in favor of leniency. Moses Stern ruled that all young children were excluded from these strictures,[100] Obadiah Joseph made an exception for the ill,[101] and Joseph Chaim Sonnenfeld exempted nursing women.[102]
Eating meat after dairy[edit]
It has traditionally been considered less problematic to eat dairy produce before meat, on the assumption that dairy products leave neither fatty residue in the throat, nor fragments between the teeth. Many 20th century Orthodox rabbis say that washing the mouth out between eating dairy and meat is sufficient. Some argue that there should also be recitation of a closing blessing before the meat is eaten,[103][104] and others view this as unnecessary.[105] Ashkenazi Jews following kabbalistic traditions, based on the Zohar, additionally ensure that about half an hour passes after consuming dairy produce before eating meat[106]
Some rabbis of the Middle Ages argued that after eating solid dairy products such as cheese, the hands should be washed. Shabbatai ben Meir even argues that this is necessary if utensils such as forks were used and the cheese never touched by hands.[107] Other rabbis of that time, like Joseph Caro, thought that if it was possible to visually verify that hands were clean, then they need not be washed;[108] Tzvi Hirsch Spira argued that washing the hands should also be practiced for milk.[109]
Jacob ben Asher thought that washing the mouth was not sufficient to remove all residue of cheese, and suggested that eating some additional solid food is required to clean the mouth.[110] Hard and aged cheese has long been rabbinically considered to need extra precaution,[111] on the basis that it might have a much stronger and longer lasting taste;[112] the risk of it leaving a fattier residue has more recently been raised as a concern.[113] According to these rabbinic opinions, the same precautions (including a pause of up to six hours) apply to eating hard cheese before meat as apply to eating meat in a meal when the meat is eaten first. Judah ben Simeon, a 17th-century doctor in Frankfurt, argued that hard cheese is not problematic if melted.[114] Binyomin Forst argues that leniency is proper only for cooked cheese dishes and not dishes topped with cheese.[115]
Eating dairy/meat after eating dairy/meat dishes[edit]
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The following guidelines apply when eating pareve food cooked on dairy or meat dishes:
After eating pareve food cooked on meat dishes, one must wash out one's mouth and wait at least 36 minutes before consuming dairy foods. One must also make the appearance of a separate meal due to concerns of mar'it 'ayin. If the food being consumed after the meat is pareve, but prepared on dairy equipment, the 36-minute waiting period is not necessary, but the mouth must be washed.
After eating pareve food cooked on dairy dishes, the above guidelines must be followed except for the waiting period.
If all food involved is pareve, but one is cooked on dairy equipment, and the other is cooked on meat equipment, all physical separations are required, but no special appearance is needed, because there is no concern of mar'it 'ayin.
According to some opinions, when any of the above take place, an interruption of some type must be made between eating each item. This may include exiting and re-entering the structure one is in, or if this is not feasible, entering a room within the structure where one would normally not expect to go during a meal, or engaging in some activity one would normally not perform during a meal.
Microwave cooking[edit]
Though radiative cooking of meat with dairy produce is not listed by the classical rabbis as being among the biblically prohibited forms of cooking such mixtures, a controversy remains about using a microwave oven to cook these mixtures. Rav Moshe Feinstein argues that microwave cooking is a form of cooking that counts as melacha during a Sabbath,[116] but Rav Shlomo Zalman Auerbach disagrees.[117]
Samaritan Torah[edit]
In (Exodus 23:19) Samaritan Pentateuch adds the following passage after the prohibition: [כי עשה זאת כזבח שכח ועברה היא לאלהי יעקב] which roughly translates "that one doing this as sacrifice forgets and enrages God of Jacob".
Non-Rabbinic Movements[edit]
The Karaites, completely rejecting the Talmud, where the stringency of the law is strongest, have little qualms about the general mixing of meat and milk. It is only the cooking of an animal in the milk of its actual mother that is banned. While it is generally banned for the Beta Israel community of Ethiopia to prepare general mixtures of meat and milk, poultry is not included in this prohibition. However, since the movement of almost the entire Beta Israel community to Israel in the 1990s, the community has generally abandoned its old traditions and adopted the broad meat and milk ban followed by Rabbinical Judaism.
See also[edit]
Incompatible foods in Ayurveda
References[edit]
Jump up ^ Exodus 34:26
Jump up ^ Exodus 23:19
Jump up ^ Deuteronomy 14:21
Jump up ^ Hullin 113b, 115b
Jump up ^ http://www.kosher-directory.com/meaning.htm
Jump up ^ Pesahim 44b
^ Jump up to: a b Hullin 108a
Jump up ^ Maimonides, Moreh, 3:48
Jump up ^ Solomon Ephraim Luntschitz, Keli Yakar, to Exodus 23:19
^ Jump up to: a b Obadiah ben Jacob Sforno, commentary, to Deuteronomy 14:21
Jump up ^ Peake's commentary on the Bible
Jump up ^ Wycliffe Bible Commentary
Jump up ^ Craigie, P. C. (1981). "Ugarit and the Bible: Progress and Regress in 50 Years of Literary Study". In Young, Gordon D. Ugarit in Retrospect: Fifty Years of Ugarit and Ugaritic. Eisenbrauns. p. 101. ISBN 0-931464-07-2. Retrieved 2011-12-03.
Jump up ^ Sprinkle, Joe M. (1994). The Book of the Covenant: A Literary Approach. Continuum International Publishing Group. p. 194. ISBN 1-85075-467-5. Retrieved 2011-12-03.
Jump up ^ Leviticus 22:28
Jump up ^ Deuteronomy 22:6
Jump up ^ Chaim ibn Attar, commentary to Exodus 23:19
Jump up ^ Genesis 38:17–20
Jump up ^ Rashi, commentary, to Exodus 23:19
Jump up ^ Rashi, commentary, to Deuteronomy 14:21
Jump up ^ Hullin 8:7
Jump up ^ Hullin 113a
^ Jump up to: a b c d Hullin 115b
Jump up ^ Yoel Sirkis, New House
Jump up ^ Joshua Falk, Derishah 87
Jump up ^ Shabbatai ben Meir, Lips of the Priest 3
Jump up ^ David HaLevi Segal, Rows of Gold 2
Jump up ^ Rashi, commentary to Exodus 34:26
^ Jump up to: a b Shabbethai Bass, Sifsei Chachamim to Rashi, commentary to Exodus 34:26
^ Jump up to: a b Hullin 105a
Jump up ^ Jacob ben Asher, Yoreh De'ah 87:8
Jump up ^ Moses Isserles, Sifsei De'ah 7
Jump up ^ Shabbatai ben Meir, Lips of the Priest 7
Jump up ^ "Laban Immo".
Jump up ^ Jacob of Lissa, Havaat Da'at 1
Jump up ^ Chaim ibn Attar, Beautiful Fruit 3
Jump up ^ Hezekiah da Silva, Peri Hadash 87:2
Jump up ^ Abraham Danzig, Wisdom of Man 40:1
Jump up ^ Hullin 115b
Jump up ^ Jacob ben Asher, commentary on Deuteronomy 14:2
Jump up ^ Abraham Danzig, Wisdom of Man 40:62
Jump up ^ Jacob ben Asher, Hoshen Mishpat 234:4
Jump up ^ Jacob ben Asher, Yoreh De'ah 87:1
Jump up ^ Hezekiah da Silva, Peri Hadash 87:2
Jump up ^ Rema 87:1
Jump up ^ Taz, Yoreh De'ah 87:1
'Jump up ^ cf. Dagul Mervava 87:1 re Rambams opinion
Jump up ^ Leviticus 18:30
Jump up ^ Yebamot 21a
Jump up ^ The Ethics of the Fathers 1:1
Jump up ^ see for example, Aharon Pfeuffer Kitzur Halachot Basar B'Chalav
Jump up ^ Jacob ben Asher, Yoreh De'ah 105:2
Jump up ^ Hullin 97b
Jump up ^ Hullin 111b
Jump up ^ Pesahim 76a
Jump up ^ Joseph Caro, Shulhan Arukh 91:5
^ Jump up to: a b c Yoma 73b
^ Jump up to: a b c Yoma 80a
Jump up ^ Joseph Babad, Minchat Chinuch 92
Jump up ^ Shabbatai ben Meir, Lips of the priest 109:6
Jump up ^ Abraham Danzig, Wisdom of Man 51:4
Jump up ^ Abraham Cohen Pimentel, Minhat Kohen 2:1:2-6, giving an overview of the various opinions of Rashi, Maimonides, and Nissim of Gerona
Jump up ^ Binyomin Forst, The Laws of Kashrus, Mesorah Publications, Ltd. 2000, page 53
Jump up ^ Jacob Sofer Kaf haChaim 89:52–53
Jump up ^ Samuel ben Meir, as cited in Arba'ah Turim 103
Jump up ^ Abraham Danzig, Wisdom of Man 46:1
Jump up ^ Binyomin Forst, The Laws of Kashrus Mesorah Publications, Ltd. 2000, page 86
Jump up ^ Joseph Caro, Shulhan Arukh
Jump up ^ Moses Isserles, The Tablecloth 95:2
Jump up ^ Jacob ben Asher, Yoreh De'ah 88:1
Jump up ^ Shabbatai ben Meir, Lips of the priest
Jump up ^ Tzvi Hirsch Spira, Darhei Teshuva 7, quoting Chaim Benveniste's Kenesset HaGedolah
Jump up ^ Tzvi Hirsch Spira, Darhei Teshuva 7
Jump up ^ Jacob ben Asher, Yoreh De'ah 88:2
Jump up ^ Moses Isserles, The Tablecloth 88:2
Jump up ^ Chaim ibn Attar, Beautiful Fruit 1
Jump up ^ Yechiel Michel Epstein, Laying the table 88:8
Jump up ^ Rashi, commentary to Hullin 105a
Jump up ^ Maimonides, Mishneh Torah 9:28
Jump up ^ Jonathan Eybeschutz, Kereti u-Peleti 89:3, to Abraham Gombiner, Magen Abraham, to Joseph Caro, Arba'ah Turim, Orah Hayim 184:9
Jump up ^ Feivel Cohen, Badei haShulchan, v'chein nohagim:79
Jump up ^ Jacob ben Asher, Yoreh De'ah 89:1
Jump up ^ Moses Isserles, Darhei Moses, to Jacob ben Asher, Yoreh De'ah 89:1
Jump up ^ Shabbatai ben Meir, Lips of the Priest 3–4, to Jacob ben Asher, Yoreh De'ah 89:1
Jump up ^ Joseph ben Meir Teomim, Mishbetzot Zahab 1
Jump up ^ Moses Feinstein, Epistles of Moses, Yoreh De'ah:2:26
Jump up ^ Maimonides, Mishneh Torah, Ma'achalot Assurot:9:28.
Jump up ^ Solomon ben Aderet, commentary to Hullin 8:5
Jump up ^ Asher ben Jehiel, commentary to Hullin 8:5
Jump up ^ Jacob ben Asher, Shulchan Aruch
Jump up ^ Hullin (Tosafot) 105a
Jump up ^ Moses Isserles, The Tablecloth 89:1
Jump up ^ Vilna Gaon, Bi'ur haGra
Jump up ^ Daniel Josiah Pinto, Lehem Hamudot to Hullin 8:23
Jump up ^ Yechiel Michel Epstein, Laying the table 89:7
Jump up ^ Anonymous (but often incorrectly attributed to Jonah of Gerona), Issur V'Heter 39
Jump up ^ Shabbat (Tosafot) 121a, commentary of Tosafot
Jump up ^ Abraham Danzig, Wisdom of Man 40:13
Jump up ^ Yechiel Michel Epstein, Laying the table 89:7
Jump up ^ Moses Stern, Pischei Halachah, Kashrut
Jump up ^ Obadiah Joseph, Yechaveh Da'at 3:58
Jump up ^ Joseph Chaim Sonnenfeld, Salmas Chaim 286 (2:4)
Jump up ^ Solomon Mordechai Schwadron, Maharsham 3:126
Jump up ^ Tzvi Hirsch Spira, Darhei Teshuva 89:14
Jump up ^ Abraham Gombiner, Magen Abraham 494:6
Jump up ^ (school of) Meir of Rothenburg, Hagahot Maimoni to Maimonides, Mishneh Torah Ma'akhalot Assurot:9:28
Jump up ^ Shabbatai ben Meir, Lips of the priest 20
Jump up ^ Joseph Caro, Shulhan Arukh 89:2
Jump up ^ Tzvi Hirsch Spira, Darhei Teshuva 89:31, citing Samuel Strashun's comments to Hullin 103:2
Jump up ^ Jacob ben Asher, Yoreh De'ah 89:2
Jump up ^ Moses Isserles, The Tablecloth 89:2
Jump up ^ David HaLevi Segal, Rows of Gold 89:4
Jump up ^ Yechiel Michel Epstein, laying the table 89:11
Jump up ^ Judah ben Simeon, Yad Yehudah 89:30k
Jump up ^ Binyomin Forst, Pischei Halacha: The Laws of Kashrus
Jump up ^ Moses Feinstein, Epistles of Moses, Orah Hayim:3:52
Jump up ^ Minhas Solomon, Orah Hayim:3:52, footnote 4
External links[edit]
Milk and meat in the Torah and the Code of Maimonides (Mishneh Torah)
An explanation of the reason for most rabbinic prohibitions
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