When my father came out on stage wearing a big cowboy hat and a shirt lettered 'Bar Mitzvah Ranch' to sing 'Home on the Range' in Yiddish, it was his way of saying, 'I want to be an American.'

A Jewish deli should specialize in, first and foremost, Yiddish foods, the foods of the Eastern European Ashkenazi Jews. So, if it's a place that specializes in pizza or chicken wings or diner food and then does a corned beef sandwich on the side, it's not a Jewish delicatessen.

My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.

English is an outrageous tangle of those derivations and other multifarious linguistic influences, from Yiddish to Shoshone, which has grown up around a gnarly core of chewy, clangorous yawps derived from ancestors who painted themselves blue to frighten their enemies.

In Yiddish, we say, 'Nisht ahin un nisht aher.' It's neither here, it's neither there. I get more nerves than on anything I do when I'm doing multi-camera. But single-camera, I love very much.

I know very little about my great grandparents, who came through Ellis Island in the early twentieth century, settled in Baltimore, and spoke only Yiddish.

The Yiddish language is so rich and unusual that I've always been hooked on its sounds, although I don't speak it.

I am a fifth-generation American, but from a young age, I went to yeshiva. I spent 12 hours a day with rabbis, and I think in Yiddish. To this day, I have to go back and unravel my writing and polish it so everyone doesn't sound like an old Jewish woman.

Michael Chabon has long moved easily between the playful, heartfelt realism of novels like 'The Mysteries of Pittsburgh' and 'Wonder Boys' and his playful, heartfelt, more fantastical novels like 'The Amazing Adventures of Kavalier & Clay' and 'The Yiddish Policemen's Union.'

The songs I love to sing are story songs, from Yiddish songs to Tom Waits.

Singing in Yiddish was a great thrill for me and came about through Joe Papp, the founder of The Public Theater.

The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris. You're always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they're just, you know, an imbecile.

I realised a long time ago that instrumental music speaks a lot more clearly than English, Spanish, Yiddish, Swahili, any other language. Pure melody goes outside time.

I never learned to speak Yiddish, ever.

I did not grow up singing Yiddish.

I abandoned my second novel completely. Writing 'Kavalier & Clay,' I had several moments of utter collapse. Same with 'The Yiddish Policemen's Union.'

I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.

I never publicise in advance what I'm going to be singing because I never quite know until I start. I often change my mind halfway through. I sometimes throw in stuff about politics or Shakespeare or do songs in Yiddish.

My father was Mickey Katz, who worked with Spike Jones and then went on to improvise some successful Yiddish parodies, some of which I perform. My favorite was 'Geshray of the Vilde Kotchke,' his version of 'Cry of the Wild Goose.'

I'm Italian, but some people think I'm Jewish because I work the Yiddish. I also work the Italian, by the way.