tour de cou american staff

Les meilleurs harnais pour American Staffordshire

par mcpolo | Juin 30, 2018 | American Staffordshire | 0 commentaires

Vous ne savez pas choisir entre commander un collier ou bien un harnais pour votre American Staffordshire… S’il est vrai que le collier est parfois efficace pour un chiot American Staffordshire (médaille d’authentification et apprentissage de la marche à la laisse), il ne sera pas, dans certains cas, tout à fait adapté à un American Staffordshire adulte. Aussi, la plupart des docteurs vétérinaires conseillent de préférer un harnais pour les American Staffordshire adultes. C’est la raison pour laquelle , le dossier suivant vous vous assistera pour trouver quel est le meilleur harnais pour votre American Staffordshire , il vous permettra de choisir un harnais adapté à son American Staffordshire pour l’usage que vous en ferez.

Pourquoi choisir un harnais pour votre American Staffordshire ?

Il est vrai que certains toutous (surtout quand ils sont jeunes et excités) ont tendance à énormément tirer sur leur corde lors des promenades. Pour beaucoup de toutous, avoir un collier va parfois s’avérer incommodant parfois dangereux. En vérité, quand votre American Staffordshire tirera sur sa laisse, le collier peut vite l’étrangler, l’empêcher de respirer normalement et être source de douleurs au niveau de la gorge, particulièrement si la virée est longue… C’est pourquoi les éducateurs canins et vétérinaires conseillent de choisir un harnais particulièrement pour les toutous « tireurs ». Aussi, en utilisant un harnais, vous allez maîtriser mieux votre American Staffordshire qu’avec une simple laisse. Vous aurez beaucoup plus le contrôle sur le sens que souhaite tenir votre toutou. De la sorte vous allez mieux le guider. Pour ce genre de toutous qui tirent fort, il vaut mieux, du coup, privilégier le port du harnais qui reste totalement sans danger et plus confortable pour eux. Puis ensuite lorsque votre American Staffordshire sera plus peinard, avec l’âge ou à l’aide d’ une bonne éducation, vous aurez la possibilité de remplacer le harnais par un superbe collier !

Comment choisir un harnais pour votre American Staffordshire ?

Outre son côté harmonieux, un bon équipement pour votre American Staffordshire sera un équipement :

• confortable pour votre compère naturellement !
• qui ne s’usera pas trop prématurément et de cette manière va durer longtemps ;
• Fabriqué principalement en nylon pour une bonne résistance ;
• équipé de fermetures sures ;
• correctement adapté à la taille de votre American Staffordshire.

Pour ce dernier point, voyons comment estimer correctement la dimension adaptée : Pour l’évaluer, il faut mesurer son tour de poitrail de votre American Staffordshire. Ajoutez Cinq cm de plus à ce résultat et vous allez connaître la taille qui ira parfaitement à votre American Staffordshire. Malheureusement pour la plupart des harnais fournis sur le net, la dimension n’est pas forcément inscrite en cm. Vous trouverez ci-dessous quelques correspondances qui peuvent être utiles pour commander la taille adaptée :

• XS : de 25 à 40 cm (tout jeunes chiots) ;
• S : de 40 à 50 cm (petits chiens et chiots) ;
• M : de 50 à 70 cm (chiens petits à moyens) ;
• L : de 70 à 90 cm (chiens moyens) ;
• XL : au-delà de 90 cm (grands chiens).

Les différentes sortes de harnais

Il existe trois principales catégories qui seront reconnues par leur forme :

• Les harnais en Y qui forment un Y sur le poitrail du chien,
• en H qui forment un H sur le dos du toutou (vue du côté du chien),
• Les harnais en T qui forment un T sur l’épaule du toutou que l’on voit en tournant la tête.

A ces trois sortes de harnais vont s’ajouter :

• Les harnais anti-traction
• Les harnais pour le sport

Quels sont les meilleurs harnais pour American Staffordshire ?

Maintenant, il faut réussir à sélectionner le meilleur harnais pour votre American Staffordshire : celui qui se trouve être correctement adapté aux particularités de votre complice, à son utilisation et à vos exigences.

Le harnais en forme de H

C’est le type de harnais le plus répandu. Il se révèle être idéal pour les ballades tranquilles de tous les jours. Le harnais traditionnel est un bon choix car il s’adaptera au mieux à votre toutou. Il va falloir toutefois faire bien attention à l’ajuster au mieux car il va pouvoir se sortir si votre American Staffordshire tire bien fort et violemment.

Harnais pour Chien Kaka mall

Voir le prix sur Amazon

Pourquoi choisir ce harnais ?

Pour son excellente qualité. En nylon polyamide, ce matériel est incontestablement d’une remarquable solidité tout en restant souple. Par ailleurs le process « Zinc-alloy D-ring » fait que le métal sera tenace face à la rouille… Pour son côté agreable. Assurément, grâce au tout petit poids de l’ensemble, à sa forme et surtout à sa matière, Le harnais proposera un confort incomparable à votre American Staffordshire. Parce qu’il est pratique. Facile à ouvrir et surtout à fermer grâce à ses deux boucles qui vont se clipser. De plus, avec une couleur claire, ce harnais se révèle être visible la nuit avec sa bande réfléchissante. Enfin, il dispose d’une anse pour soulever votre American Staffordshire ou l’attacher à l’aide d’ une laisse dans le coffre. Car il s’adaptable à la taille du American Staffordshire. Il est vrai que ce harnais propose de nombreux points de réglage qui vont permettre le réglage au plus près pour un confort optimum.

Caractéristiques du produit

• Nylon polyamique
• Rembourrage
• Bandes couleurs vives réfléchissantes
• Système de clipsage
• XS : tour de poitrine 33-43 cm, tour de cou 25.5-38 cm
• S : tour de poitrine 43-56 cm, tour de cou 31.5-50 cm
• M : tour de poitrine 56-69 cm,tour de cou 32.5-52 cm
• L : tour de poitrine 69-81 cm, tour de cou 39.5-56.5 cm
• XL : tour de poitrine 81-107 cm, tour de cou 45-77.5 cm

Avis des utilisateurs

Très bien, parfait, idéal… nombreux commentaires positifs pour ce produit. Un internaute révèle que ce harnais basique est très bien pour son American Staffordshire et surtout qu’il se règle très bien. Un autre dit qu’il est aisé à placer et à attacher, et que son toutou le supporte parfaitement bien. Une propriétaire de American Staffordshire précise que ce harnais ne bloque que rarement les épaules et qu’il est commode pour son compère. Enfin, d’autres notes mentionnent que la petite anse au dessus est très pratique pour reprendre son toutou quand il le faut.

Le harnais en forme de T

Ce type de matériel va être plus adapté aux longues randonnées pendant lesquelles votre American Staffordshire va parfois courrir. En fait, il va être plus agreable car il laisse à votre chien une entière liberté sans freiner ses mouvements. De plus, il va être beaucoup plus facile à installer que les autres équipement en H, Y ou X. Ils disposent, pour la plupart, d’une anse sur le dessus qui permettra de contraindre le toutou à l’arrêt et même de l’aider à traverser un obstacle… bref, une poignée super utile !

Julius K9 IDC Harnais pour chien

• Parce que son style moderne se double d’un confort unique. Effectivement, cet équipement se trouve largement doublé à l’intérieur ;
• Car sa forme et sa fabrication font que l’ergonomie est optimum ;
• Parce qu’il est utile : Possibilité de mettre des pochettes à fixer, ceinture et bords réfléchissants ;

Meilleure vente chez Amazon pour ce type de produit, cet équipement est réellement bien noté. Nombreux avis soulignent sa robustesse en particulier une dame qui explique qu’après huit mois d’utilisation quotidienne son chien est enchanté et le produit n’a pas bougé. Cet équipement est régulièrement décrit comme solide. D’autres avis attestent qu’il est facile à placer. Certains disent aussi qu’il est aisé de l’enfiler puisqu’il suffit de le passer sur la tête de votre toutou, puis d’attacher la ceinture au-dessous de son ventre. Le rembourrage de ce matériel sont attestés dans de nombreux avis. Notamment, un homme confirme que les sangles maintiennent vraiment son chien et n’ont pas l’air de le gêner. Un homme précise même que depuis que son American Staffordshire en est équipé, c’est un vrai bonheur de le promener car il ne tire plus.

Le harnais d’éducation ou anti-traction

C’est bien souvent des harnais en forme de Y. L’attache étant fixée devant son poitrail et non pas par dessus le dos. Du coup, lorsque votre American Staffordshire tirera, il va ressentir une retenue et donc sera contraint de ralentir tout seul. Ils sont idéaux pour pousser votre American Staffordshire à marcher en laisse à votre cadence. Il vous permet de retenir les plus nerveux.

Harnais Chien Réglable HOMEINS

Avantages et caractéristiques du produit

• Confortable : cet équipement entoure la poitrine et le dos du toutou, au moment où vous le bloquerez, il ne va pas étrangler le cou du toutou.
• Hyper-résistant : le métal est un matériau d’alliage de haute résistance, un traitement de placage anti-acide permet d’éviter la rouille ;
• Harnais réglable : vous pouvez ajuster ce produit selon la taille de votre chien et la situation différente afin d’être libre de ses actions ;
• Commode : avec deux boucles en forme de D, l’une sur le dos et l’autre sur la poitrine, vous contrôlerez sans difficulté le déplacement de votre American Staffordshire : tantôt en le maintenant lorsque vous attacherez la laisse dessous le poitrail soit en le laissant tirer en fixant la laisse sur le dos ;
• Grande qualité : En toile oxford, sa fabrication se révèle être soignée ;
• Facile à entretenir mais aussi à sécher ;
• Sécurisé dans l’obscurité : Deux bandes réfléchissantes vour permettent de balader votre toutou en toute prudence lorsqu’ il fait noir.

Excellents avis sur Internet. Tous indiquent qu’il s’agit d’ un harnais de très bonne qualité. Les utilisateurs paraissent satisfaits et le conseillent vivement. L’utilité et le côté agréable de ce harnais se retrouvent par ailleurs dans une majorité des avis. Par exemple dans l’avis d’un homme qui explique que depuis son acquisition, les virées sont plus faciles et agréables pour lui et bien sûr pour son American Staffordshire. Un autre indique que sa chienne est désormais totalement cool au cours de ses balades et que le harnais ne bloque plus ses épaules. Enfin, l’aspect pratique de ce harnais va être aussi relaté dans les réactions. Une dame précise que c’est réellement simple d’emploi et que ce harnais lui donne la possibilité enfin de fixer son American Staffordshire à un anneau de la ceinture de sécurité à l’arrière de de l’automobile.

Le harnais sportif ou de traction

Ils sont idéaux pour exercer des activités telles que le cani-cross, le traîneau, etc… Opposé au harnais d’éducation, ce harnais est bien au contraire fait afin que la traction soit plaisante pour le American Staffordshire. L’attache se trouve très éloignée sur le dessus du dos permettant de répartir le poids sur la totalité du corps et pas exclusivement sur les épaules.

Ruffwear Harnais de traction pour cani-cross, ski-joëring ou traîneau à chien

Ce genre de harnais est exceptionnel pour le cani-cross, le cani-VTT, le ski-joëring comme pour le traineau à chien. Indéniablement, ce matériel haut de gamme se démarque des autres par ses nombreux atouts :

• Coupe ajustée et confortable (quatre points de réglage pour un attachement sur mesure) ;
• Process Sports de traction canine Omnijore Joring System ;
• Ergonomie étudiée pour la traction
• Sangle d’entraînement amovible pour accoutumer le toutou à la traction ;
• Nettoyage à la main avec un nettoyant doux puis séchage à l’air libre.

Produit bien noté par les usagers. Les particuliers qui pratiquent un sport avec leur American Staffordshire expliquent que c’est vraiment une belle ceinture, conseillé en cani-randonnée mais également à cross-country. Un internaute indique qu’avec ce harnais, lorsqu’il cours avec ses deux chiennes, il ne ressent plus dutout les chocs lors du départ, les changements de vitesse, etc… Un autre précise que la qualité du harnais est très bonne et que les options de réglages se révèlent être idéaux. Une dame a déclaré entre autres, qu’avec cet équipement, son American Staffordshire profite d’ une bonne mobilité et que la tension est bien amortie (plus du tout de mal de bras ou bien dos). Et puis concernant le côté facile, un commentaires explique que les pochettes se trouvent être idéaux pour un mobile et quelques friandises.

Harnais pour chiot American Staffordshire

S’il est plus avisé de choisir un collier pour les jeunes chiots American Staffordshire, le port d’un harnais s’avèrera essentiel pour certains dont l’apprentissage de la laisse peut être plus complexe. En effet, on va pouvoir, grâce à cet harnais, rendre cet apprentissage facile, plus pratique et performant. Et surtout, vous serez capable de diriger votre chiot American Staffordshire sans aucune douleur lorsqu’il tirera…Pour sélectionner un harnais pour votre chiot American Staffordshire , il vous sera indispensable de veiller à ce qu’il n’empêche pas la croissance de sa cage thoracique surtout dans le cas où vous lui mettez régulièrement. Voici ci-dessous le harnais que nous avons choisi car il est sans conteste le plus adapté adapté pour les chiots (mais d’une façon similaire pour les American Staffordshire adultes).

Harnais pour Chien, Kaka mall Harnais Voir le prix sur Amazon  

Pourquoi sélectionner ce harnais pour votre chiot american staffordshire .

Voici les principaux points forts de ce produit :

• Harnais rembourré qui est confortable même lorsqu’ il tirera sur sa laisse ;
• Les bandes réfléchissantes vont assurer une plus grande sécurité lorsqu’il fait sombre ;
• Harnais vraiment léger ;
• Bonne solidité ;
• Bien pratique avec sa poignée sur le dessus pour mieux rectifier le mouvement du chiot ou bien pour attacher votre chiot American Staffordshire dans l’automobile.
• Dimensions taille XS : 19,6 x 15,6 x 3,4 cm

Produit super bien noté. Pas mal de commentaires indiquent que ce harnais se trouve être bien adapté aux chiots. Des commentaires insistent sur la qualité du produit et l’aspect utile de ce harnais. Dans ce sens, un internaute confirme que les deux accroches pour fermer le harnais se situent sur le dessus ce qui simplifie la tâche pour l’enfiler… Il rajoute enfin qu’après six mois d’utilisation, il est toujours aussi solide. Une femme déclare qu’elle a acheté ce harnais pour son chiot et que ce harnais a réellement respecté le développement de son ossature et la morphologie de son compagnon. Le rapport qualité-prix est aussi un argument. Une dame mentionne qu’elle trouve que ce harnais est super pour son petit prix, mais qu’il est un harnais de très bonne qualité. Attention toutefois à bien sélectionner la taille car un internaute explique que le guide des tailles ne s’avère pas tout à fait juste.

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Guide des tailles des colliers pour chiens et chats

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Nos colliers pour chats sont disponibles  >   ICI  

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Guide des tailles pour les colliers

Comment bien choisir le collier pour mon animal , collier pour chat :.

Exemple : Le tour de cou de mon chat fait 20 cm. Donc 20 - 5 = 15 cm et 20 + 5 = 25 cm. Il me faut donc un collier pour chat avec un tour de cou entre 15 et 25 cm. 

Collier pour chien :

Pour choisir la taille du futur collier de votre chien, il vous faudra mesurer le tour du cou de votre chien pour trouver la taille idéale qui lui conviendra, de façon à ce que le collier ne soit ni trop serré, ni trop lâche. Pour ce faire, vous pouvez utiliser un mètre de couture souple et en ajoutant 1,5 cm à la mesure obtenue (l'équivalent à l'espace de deux doigts entre le collier du chien et sa peau).

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"Beethoven's 'Egmont' overture, the centerpiece, made the most of the orchestra's warm, generous sound and de Cou's sense of phrasing and character."

American conductor Emil de Cou appears regularly as guest conductor with orchestras across the United States. After serving as Associate Conductor with the National Symphony Orchestra for eight years, he was recently appointed as Music Director of the Pacific Northwest Ballet, a position he began in 2011.

Mr. de Cou was an active participant in a wide range of National Symphony Orchestra performances and events since his debut at Wolf Trap in 2000. He formally joined the National Symphony conducting staff in 2002, and in addition to being Associate Conductor, in the summers he serves as the conductor of the NSO at the Wolf Trap Festival. In that capacity, his responsibilities include leading several of the NSO's concerts at Wolf Trap, and acting as a spokesperson for the overall summer season. He also led the Labor Day Weekend Capitol Concerts on the West Lawn of the US Capitol annually since 2002.

Mr. de Cou has appeared as guest conductor with many leading orchestras, including those of Philadelphia, Chicago, Houston, Saint Louis, Detroit, Montreal, Boston Pops, Minnesota, Denver, Portland, and San Francisco, where he also served as Principal Pops Conductor. He was acting music director for the San Francisco Ballet and conductor of the American Ballet Theatre for eight seasons conducting performances at Lincoln Center as well as national and international tours.

His performance of the ballet Othello was aired on Great Performances (PBS). The soundtrack by Academy Award winning composer Elliot Goldenthal, was recorded by Mr. de Cou for Varese Sarabande; among his other recordings is a disc entitled Debussy Rediscovered for Arabesque, which includes previously unrecorded works by Debussy.

Mr. de Cou made his Carnegie Hall debut as guest conductor for the New York Pops, and also appeared at the gala tribute to Beverly Sills at Lincoln Center with the Orchestra of St. Luke's and a stellar roster of soloists. His innovative concerts at the Wolf Trap Pavilion have included the first screenings of The Wizard of Oz with the score performed with live orchestra, the first ever live Twitter program notes (Beethoven Pastoral Symphony) and live in-time pod cast for a concert called "Fantastic Planet." In 2008 he conducted the first performance of Rodgers & Hammerstein at the Movies.

As part of his work as musical consultant for NASA he has conducted several successful collaborations with the nation's space agency, most recently on July 18, "Salute to Apollo, the Kennedy Legacy" at the Kennedy Center in honor of the 40th anniversary of the moon landing. The sold-out, multi media performance included film excerpts, narration by Buzz Aldrin, and performances with Denyce Graves, Shaka Khan, and the US Army Chorus. In 2010 he will conduct a multi media concert to commemorate the 20th anniversary of the launching of the Hubble Space Telescope.

In 1985 de Cou was hired by Mikhail Baryshnikov to be the conductor of the American Ballet Theatre afterward joining the staff of the San Francisco Ballet where he ended his tenure there as music director in 1998. He has also worked with the New York City Ballet, National Ballet of Canada, Pacific Northwest Ballet and Suzanne Farrell Ballet and others.

Emil de Cou was born in Los Angeles and studied with Daniel Lewis at the University of Southern California. He was the subject of a documentary on National Public Radio and was chosen from 200 candidates to study in Leonard Bernstein's master class at the Hollywood Bowl. He makes his home in San Francisco and Seattle, with his husband (conductor) Leif Bjaland. 

Short Biography

American conductor Emil de Cou is currently the music director of the Pacific Northwest Ballet and appears regularly with orchestras across the country. After his debut with the National

Symphony Orchestra in 2000, he joined the orchestra as associate conductor and led the NSO on national tours and at the U.S. Capitol Building. He has remained a regular figure at the Kennedy Center since his first performances here in 1988. This summer will mark his 14th year as the principal conductor for the NSO’s Wolf Trap performances. His innovative concerts there have included the world premiere screenings of The Wizard of Oz with the score performed by live orchestra, the first-ever live-tweeted program notes (Beethoven’s Pastoral Symphony), and a live, in real time podcast for a concert called Fantastic Planet. In 2006 he led the NSO in the Wolf Trap premiere of NASA’s images with Holst's The Planets narrated by Leonard Nimoy, and in 2008 he conducted the first performance of Rodgers & Hammerstein at the Movies

As part of his work as musical consultant for NASA, he has conducted several successful

collaborations with the nation’s space agency, including Human Spaceflight: The Kennedy Legacy, at the Kennedy Center in honor of the 50th anniversary of John F. Kennedy’s declaration to land a man on the moon. Prior to the performance of 2001: A Space Odyssey, Wolf Trap hosted a pre-performance discussion to mark the 45th anniversary of the moon landing which featured Buzz Aldrin, NASA Administrator Charlie Bolden and de Cou in a talk about the arts and space exploration. He will lead the NSO in three upcoming performances co-produced by the Kennedy Center and NASA leading up to the 50th anniversary of the Apollo 11 Moon landing.

            Emil de Cou was hired by Mikhail Baryshnikov to be conductor of the American Ballet Theatre for eight seasons, conducting performances at Lincoln Center, the Kennedy Center, as well as on national and international tours. His performance of the ballet, Othello, was aired on Great Performances (PBS). The soundtrack by Academy Award-winning composer Elliot Goldenthal was recorded by de Cou for Varèse Sarabande; among his other recordings is Debussy Rediscovered for Arabesque, which includes previously unrecorded works by Debussy.

Emil de Cou has appeared with some of the country's leading orchestras such as those of Philadelphia, Cleveland, and Cincinnati, Pittsburgh, Detroit, Houston, Milwaukee, Minnesota, Saint Louis, and the Boston Pops. He made his Carnegie Hall debut in 2006 with the New York Pops Orchestra and was the Principal Pops Conductor for the San Francisco Symphony.

De Cou was born in Los Angeles and studied with Daniel Lewis at the University of Southern California and was chosen to study in Leonard Bernstein’s master class at the Hollywood Bowl. For his ongoing work with NASA, de Cou was awarded the agency’s Exceptional Public Achievement Medal by Administrator Charlie Bolden, the first musician to be so honored. He makes his home in San Francisco and Seattle with his husband, conductor Leif Bjaland. 

Anatomie d'une icône

Notre tour de cou a été le tout premier du marché. Aujourd'hui, après 30 ans de perfectionnement, c'est aussi le meilleur. Réalisé à partir de bouteilles recyclées et produit à l'aide d'une énergie non polluante, il se séduit par sa matière stretch sans couture, son confort éprouvé et sa polyvalence. Un accessoire unique, imaginé pour les coureurs, les cyclistes, les randonneurs, les grimpeurs, les snowboardeurs et les skieurs. Pour les non-conformistes solitaires et les familles de sportifs. Pour les extravertis et les introvertis. Pour les esprits authentiques qui suivent leurs passions.

Fabriqué localement à Barcelone

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Une polyvalence infinie

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Chaque motif raconte une histoire

À chaque saison ses nouveaux modèles. Nous tirons notre inspiration de la nature, de nos aventures et de la culture, mais aussi de la conviction que chacun de nous est authentique à sa façon.

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Notre collection POW soutient les efforts de l'association Protect Our Winters en faveur de l'environnement.

Un héritage qui perdure

Tout a commencé avec un homme et sa moto, et une passion inconditionnelle pour l'outdoor, qui ont marqué un tournant pour les accessoires sportifs. En imaginant le premier tour de cou sans coutures pour protéger sa tête et son cou il y a 30 ans, Joan Rojas a créé une véritable icône.

Conçu pour compléter à la perfection les équipements de running à haute intensité, il s'inscrit dans une toute nouvelle dimension, où la durabilité rejoint la performance.

ENTREPRISE FAMILIALE QUI PUISE SES ORIGINES À CHAMONIX DEPUIS 1962

Découvrez nos tours de cou, l'accessoire polyvalent alliant style et fonctionnalité. Fabriqués avec soin dans les Alpes, nos tours de cou vous offrent chaleur et confort dans toutes les conditions. Polyvalents et durables, ils ajoutent une touche d'élégance à votre tenue tout en vous protégeant des éléments.

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Marc Chagall and Jewish Theater, Part One

by Jeanne Willette | Nov 11, 2016 | Modern , Modern Art

Marc Chagall in Moscow

The murals for the jewish theater.

To the end of his life, Marc Chagall remained circumspect about his ouster from the People’s Art School in Vitebsk. And the coup against the artist was no small event. Chagall had been appointed by none other than the People’s Commissariat of Enlightenment, Anatoly Lunacharsky (1875-1933), an old friend from their days in Paris, living in the artists’ building, known as La Ruche. Moe than the friendly connection with the new government, there was the symbolic gesture of Lunacharsky appointing a Jewish head of an art school for the people, indicating the end of the Pale of the Settlement, or the erasure of the line that had kept Jews cordoned off and separated from non-Jewish Russians since 1791. Under Catherine the Great and Alexander II, areas beyond the original borders of Russia had been annexed, especially Poland, which continued a large number of Jews. The “Pale of the Settlement,” a phase coined by Nicholas I, scooped up, so to speak, much of this new population, which was subject to restrictions on their movements. For the most part, these restrictions were to eliminate economic competition from Jews and the travel restrictions were based upon a policy of restricting the comings and goings of Russians in general. After centuries, suddenly, in 1917, all Russians were equal, opening unimaginable vistas for Jews who were filled with hope for the future. Therefore, to remove a friend of Lunacharsky and a Jewish artist over aesthetic differences could have been a dangerous move for Chagall’s “enemies,” Kazimir Malevich and El Lissitzky. But, Chagall, embittered, removed himself from the unpleasant situation and left Vitebsk for Moscow and a new project. Writing sadly about these difficult days, the artist later wrote sadly,

I would not be surprised if, after such a long absence, my town effaced all traces of me and would no longer remember him who, laying down his own brush, tormented himself, suffered and gave himself the trouble of implanting Art there, who dreamed of transforming the ordinary houses into museum and the ordinary habitants into creative people. And I understood then that no man is a prophet in his own country. I left for Moscow.”

Marc Chagall. The Fiddler (1912)

Chagall walked into a pause in the historical Russian penchant for anti-Semitism. For the Russians, the war had just ended but during the Great War, local prejudices against Jews ran high. Over six hundred thousand Jews were ousted from their homes by the army and the historical pograms led by Cossacks increased–all because Jews were being scapegoated and blamed for the military’s difficulties with the Germans.  But after the War, the government policy towards Jews changed abruptly. The significance of the sudden surge or influx of Jewish culture into the mainstream of Russian society rests upon political changes that went beyond the Revolution itself. When one looks at a list of prominent Bolshevik leaders of the October Revolution, it become clear that the majority were Jewish. According to Mark Weber’s article “The Jewish Role in the Bolshevik Revolution and Russia’s Early Soviet Regime,”

With the notable exception of Lenin (Vladimir Ulyanov), most of the leading Communists who took control of Russia in 1917-20 were Jews. Leon Trotsky (Lev Bronstein) headed the Red Army and, for a time, was chief of Soviet foreign affairs. Yakov Sverdlov (Solomon) was both the Bolshevik party’s executive secretary and — as chairman of the Central Executive Committee — head of the Soviet government. Grigori Zinoviev (Radomyslsky) headed the Communist International (Comintern), the central agency for spreading revolution in foreign countries. Other prominent Jews included press commissar Karl Radek (Sobelsohn), foreign affairs commissar Maxim Litvinov (Wallach), Lev Kamenev (Rosenfeld) and Moisei Uritsky. Lenin himself was of mostly Russian and Kalmuck ancestry, but he was also one-quarter Jewish. His maternal grandfather, Israel (Alexander) Blank, was a Ukrainian Jew who was later baptized into the Russian Orthodox Church. A thorough-going internationalist, Lenin viewed ethnic or cultural loyalties with contempt. He had little regard for his own countrymen. “An intelligent Russian,” he once remarked, “is almost always a Jew or someone with Jewish blood in his veins.”

According to Weber, over time, when anti-Semitism inevitably returned to this land of the pograms, this early history of active Jewish participation in the Revolution was obscured. But at the time, outside observers such as Winston Churchill were well aware of the role played by Jewish revolutionary leaders. “With the notable exception of Lenin, the majority of the leading figures are Jews. Moreover, the principal inspiration and driving power comes from the Jewish leaders. Thus Tchitcherin, a pure Russian, is eclipsed by his nominal subordinate, Litvinoff, and the influence of Russians like Bukharin or Lunacharski cannot be compared with the power of Trotsky, or of Zinovieff, the Dictator of the Red Citadel (Petrograd), or of Krassin or Radek — all Jews,” Churchill said–and his observations were not necessarily positive.

The most famous member of the inner circle was  Leon Trotsky, targeted by an anti-Semitic cartoon from the White Army

This connection between Jews and Communism or leftism or revolutions was made by others, thus linking Bolshevikism with the Jews, with what would be tragic consequences. Rival factions in the Soviet Union were resentful of the sudden favoritism, and perhaps most unexpectedly, the ranks of the secret police were filled with Jews, also certain to former more discontent. However, in 1920, when Marc Chagall arrived in Moscow, he was part of a vanguard that would attempt to knit the Yiddish culture into Russia, an empire that once kept Jews within the Pale. Once the Jews became full citizens and were granted their rights as citizens of the Provisional Government, the explosion of Jewish culture was immediate. As  Jewish Renaissance in the Russian Revolution , written by  Kenneth B. Moss, explained,

Most Jews in Russia and Ukraine no doubt spent the years of the Revolution and Civil War merely struggling to survive, like most of their countrymen. But a disproportionately large minority participated in Revolutionary Russia’s  tumultuous political life.Most famously, many played important roles across the spectrum of Russian radical and liberal politics..Yet for a significant cohort of intellectuals, writers, artists, patrons, publicists, teachers, activists embedded in this national intelligentsia, February also bore a second imperative..some o Russian Jewelry’s most talented men and women also threw themselves into efforts of unprecedented scale and intensity to crate what they called a “new Jewish culture.”Between February 1917 and the consolidation of Bolshevik power in 1919-1920, European Russia and Ukraine became the sites of the most ambitious programs of Jewish cultural  formation that Eastern Europe had yet seen or indeed would see again.

This Yiddish culture that Chagall would animate and illustrate in the Moscow theater, the Yiddish Chamber Theater, was a folk, rather than an elite, culture. Based upon a distinctive language, Yiddish, that emerged around 1000 CE, emanating from the Ashkenazic Jews or the Jews of Central and Eastern Europe, clustered in large numbers in the Russian Empire by the beginning of the twentieth century. This hybrid language, a mixture of Medieval German and Hebrew, was used exclusively by the Jews of this part of Europe. Jews from the Western nations, such as Germany, could understand smatterings of this very old language but, for Gentiles, the words would be impossible to comprehend. This point is important because the Jewish Theater, moved from Petrograd to Moscow by Lunacharsky, was intended to not just preserve and formalize a part of Russian society, previously excluded, the productions also had to be integrated and assimilated by a non-Jewish audience. For this audience, the task of interpretation was made easier by the fact that the performances were pantomime like. Given that the reception of these Yiddish literary creations would be directed to a mixed audience, the images created by Chagall had to the iconic but not stereotypical and instantly recognizable as paradigm figures of Jewish culture.

When the theater was transferred to Moscow, its name changed slightly, and, indeed, would change off and on until it was extinguished in 1949. In Chagall’s time the theater, which was unexpectedly avant-garde and experimental, was called State Yiddish Chamber Theater or GOSEKT. Under the leadership of Alexei Granovsky, the Theater in Petrograd came into being before the Revolution, the presentations were very sophisticated, devoid of kitsch and imbued with the influence of the German theater director and producer, Max Reinhardt (Maximilian Goldmann), an Austrian who worked in Berlin and reformed the naturalism of the turn of the century into a self-conscious total work of art or  Gesamtkunstwerk . As Curt Levient wrote, “Granovsky had trained in Berlin with legendary director Max Reinhardt and developed a vision of theater that melded acting, set design, costumes, lighting, music, dance, movement, and gesture — even silence — into an organic whole.” In his important book on  The Moscow Yiddish Theater: Art on Stage in Time of Revolution , Benjamin Harshav noted that Granovsky was persuaded by theater critic, Abram Efros, to ask the distinguished artist to paint the back drops. The “theater” was actually a confiscated home of a wealthy merchant who had fled the Bolshevik distaste for the moneyed class. The site of the actual performance was small, holding less that a hundred people who were lucky enough to enjoy the remarkable combination of Marc Chagall and Sholem Aleichem, whose play would be the inaugural production.

Recreation of Chagall’s Box: the Back Wall and Frieze

Working with a young group of players, none over the age of twenty-seven, Chagall had a unique opportunity in a nation at a new starting point to reset the conventions for theater, a desire he shared with Granovsky, to drag theater into the twentieth century. More than that, according to the 1993 catalogue from the Guggenheim Museum on the work of Chagall for GOSEKT (or GOSET), “Chagall presented a unique, and uniquely Jewish, approach. Through specifically Jewish visual puns, Yiddish inscriptions, and references to the festivities of Jewish weddings and Purim — a Jewish analogue to carnival in its emphasis on ludicrous masquerades and outrageous intoxication — he posited a distinctive model for the Jewish Theater.”  For this occasion, Chagall produced what would later be called “Chagall’s Box,” murals which bound the theatrical world inhabited by his sets and costumes. The main set piece was a twenty-sux foot mural on the left wall, “Introduction to the Jewish Theater,” that formed the main backdrop for the three one act plays. He also painted four panels, representing the arts, placed between the windows opposite. Leaving no surface untouched, Chagall painted a frieze and the ceiling and then produced a mural called “Love on the Stage” for the back of the “theater.”

The production was so elaborate and the costumes of painted rags and dotted face make up so Chagall specific, Granovsky accepted the unique contribution but did not invite the artist and his complex and expensive schemes and motifs to do another production. And yet, the spell of Chagall lived on and subsequent set designers were impacted by his unbridled imagination that activated a magical Yiddish cast of characters. The artist was inspired by the nineteenth century authors who created Yiddish literature, Sholem Yankev Abramovitsch, who wrote under the nom de plume, Mendele Moykher Sforim, often referred to as “Mendele,” and Yitzhak Leib Peretz, both of whom elevated and incorporated a folk culture into high literature. The writer whose stories were featured in the 1921 production designed by Chagall is perhaps the most famous, Solomon Rabinovitch, who also wrote under a name other than his own, Sholem Aleichem, which is a play on an old Yiddish greeting of “peace be upon you.” On the evening of January 1st of 1921, “Evening of Sholom-Aleihem” presented two one act plays, “Agentn (Agents)” and “Mazltov,” word that needs on translation.

Set for Mazltov

The plays may have been classic Yiddish literature but the action was totally avant-garde , based upon Granovsky’s idea that theater began in silence and a dark room and that the actors emerged in and out of the dream space. The actors were directed or guided, as it were by a “system of dots,” something like pantomime, in which the actors would freeze and pose in place, following “an assembly of dots,” as Abram Efros put it. In other words, theater was de-naturalized and flattened with the actual actors mimicking the painted figures of Chagall, binding the surrounding “Chagall Box” to the audience and to the actors, negating the theatrical stage and turning it into a dark non-space from which characters emerged as if from a canvas, becoming the artist’s creations.

The next post will discuss the famous murals, displayed until 1925 and hidden away for another five decades.

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette and  Art History Unstuffed.    

[email protected]

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MIA   >  Archive   >  Mandel

Ernest Mandel

De gaulle’s trip to moscow.

Source: From World Outlook , 29 July, 1966, Volume 4, No. 24, Paris and New York City Written: July, 1966 Translated: by World Outlook Transcrition & Marked-up: by David Walters for the Marxists’ Internet Archive 2009. Public Domain: Creative Commons Common Deed . You can freely copy, distribute and display this work; as well as make derivative and commercial works. Please credit “Marxists Internet Archive” as your source, include the url to this work, and note any of the transcribers, editors & proofreaders above.

[The following article has been translated from the July 9 issue of the Belgian left socialist weekly La Gauche.]

“As to alliances, we would think that they ought to be constructed ‘in three stages’: a Franco-Russian treaty procuring a first degree of security; the Anglo-Soviet pact and an agreement to be concluded between France and Great Britain constituting a second degree; the future pact of the United Nations, in which America would be a capital element, crowning the whole and serving as the ultimate recourse.” It was in these terms that Charles de Gaulle in December 1944, at the time of his first trip to Moscow, defined his concepts concerning European security, according to his Memoirs. (Volume III, p. 83, “Livre de Foche” edition.) Many things indicate that he has not changed his mind twenty-two years later. Wasn’t his second trip to Moscow designed to advance this concept?

Those with a more dour outlook will immediately object. The head of the Fifth Republic had something much more Machiavellian in mind. What he is aiming at is the predominance of France in Europe, or at least Western Europe if he is unable to extend it “from the Atlantic to the Urals.”

Since France doesn’t have the necessary economic weight, it must neutralize the drive of German industry through military superiority and diplomatic ruses. Hence it has two interests in common with the Kremlin—to block the Bundeswehr from getting nuclear arms and to break the American grip on “little Europe.” Thus the trip to Moscow was a power play against Washington and Bonn.

No doubt these analysts are right on the long-range aims of the general. But the nature of things is such that the designs of men—no Tatter how imbued with their own “grandeur”—are not at all sufficient to shape the destiny of the world. This is determined by the relationship among the big social forces. More than once in history, the diplomatic maneuvers of a power that was too weak have ended in serving the ‘big ones” despite the best intentions in the world. Didn’t this happen once again with the trip to Moscow?

Thus in the United States, the most cunning, like the servile tools of the (Johnson administration, carefully refrained from denouncing the general. “De Gaulle in Moscow served the United States despite the United States,” said some. ‘He worked for the whole West,’ others said approvingly. In Bonn, after weeks of glacial chill, the barometer of Franco-German relations again points to “fair weather.”

The truth is that de Gaulle, contrary to the groundless fears of some, did not betray his West German class brothers any more than he did his Polish class brothers at the time of his first trip.

In December 1944, Stalin dangled a “good, firm alliance,” real support against the Anglo-Saxons, in return for immediate recognition of the Lublin committee. But de Gaulle was not deceived. This would moan betraying a perhaps ‘democratic’ but certainly bourgeois Poland in behalf of a perhaps despotic but certainly noncapitalist Poland. And he did not want to take responsibility for an act contrary to “honor and honesty.” (Memoirs, Volume III, p sa.)

In June 1966, Brezhnev and Kosygin dangled an offer of just as real support against the United States, even genuine political leadership in Europe. In exchange they asked for recognition of the German Democratic Republic; that is, “of the two German states.” Be Gaulle brusquely replied that there could be no question of recognizing this “artificial construction. And with that rejoinder the serious conversation came to an end. The balance was nothing but decorations and fine talk.

Of course, the differences between Paris and Washington, between Fans and Bonn, are real in relation to the political future of our continent, its relations with the United States and the best strategy to follow to block the rise of the anti-imperialist and anticapitalist forces in the world.

Be Gaulle seeks a Europe freed largely from American supremacy. He seeks an Atlantic alliance on the basis of equality between North America and a Western Europe combined under his guidance. He favors a more supple policy, with regard to the USSR, which in his opinion should be definitively separated from China and the “extremists” among the revolutionists of the Third World, through some indispensable concessions.

He holds that it is necessary to “relax” the tensions to be able to resolve the questions in dispute, such as the reunification of Germany, while the Americans and the Germans of Bonn maintain that without this reunification no real relaxation is possible in Europe. But at bottom, they all defend a common cause—the cause of Big Capital. They all seek to hold back the enemy—socialism and the peoples of the Third World who are rising and seeking to break out of the capitalist world market. They all seek refuge under the “nuclear umbrella” of the Pentagon, without which they cannot counterbalance Soviet military power on the European continent (if anything confirms this, it is the explosion of the ridiculous French nuclear device in Polynesia which amounts to nothing in face of the power of the USSR). The means may differ, the aim is the same.

In this respect the Soviet Union represents something else again. The means are perhaps the same, but the aim is entirely different. Thus treaties on mutual consultation can be concluded—even by means of a direct telephone line!—treaties on technical cooperation, or whatever cultural and commercial exchanges are desired; the fundamental opposition between the interests of the French bourgeoisie and the Soviet leaders will by no means make it possible to form a genuine alliance in the present world context.

The Soviet leaders are aware of the weakness of the present Communist parties in Western Europe (for which they are in part responsible). They are aware of the temporary stabilization of caitalism in this part of the world (which they largely contributed to). From this they draw the conclusion that it is necessary to return to a policy that seeks to ‘exploit the interimperialist contradictions,” as before the second world war. They commit an error in believing that de Gaulle is ready to follow them into a têtei-tête, when he seeks in reality only to increase his power and prestige within the Atlantic Alliance

The French Communist leaders would obviously make a still greater error in concluding that the time has come for an ‘agonizing revision” of their political orientation in France, as in 1935 or 1944.

It is true that the policy of the USSR places them before a cruel dilemma; they no longer know if they should applaud or complain when the Soviet crowds cheer the person who remains, until proved otherwise, the fiercest and most dangerous class enemy of the French workers. If they oppose him, they are tempted to make an alliance with de Gaulle’s pro-American adversaries like Nollet and Nitterrand—and then the capitals of Eastern Europe are not very contented. And if they approve, what remains of their role as an opposition in France? There remains the socialist perspective which stands in complete opposition to the politics of de Gaulle; but the leaders of the French Communist party do not think this is any more “realistic’ than do the Social Democratic leaders of the SF10, or even the technocratic ideologists of neocapitalism.

That will the practical results of the trip amount to? The American Newsweek summarized the situation as follows: “At least he will have succeeded in engaging the Russians in a new diplomatic dialogue with the West.” That puts it in a nutshell. At a time when the intensification of the American aggression against the Vietnamese people makes a public dialogue between Moscow and Washington more difficult, de Gaulle is playing, objectively, the role of go-between for the Atlantic Alliance as a whole Thanks to him, the head of one of the capitalist states in this alliance has been acclaimed by crowds in the Soviet Union. For the first time in many years they have been shown a face of capitalism which their own leaders now say is benevolent, attractive, peaceful, full of good intentions toward the peoples of the world.

Pravda in connection with this trip, talks about an ‘irreversible process.” Let them beware of certain processes, which while still reversible, bode nothing good for the USSR. By attending mass in Leningrad, de Gaulle, like a good politician, was already prepa:ing for his coming trip to Poland. Rumania, ceaselessly increasing its trade with the West, already told the Russians in Bucharest that it would like to see the Warsaw pact modified just as de Gaulle wants to modify NATO. Decidely, if things are in movement, thanks not a little to the general, not everything is stirring in favor of socialism and not everything is stirring against the interests of American imperialism.

Back to the Ernest Mandel Internet Archive

Last updated on 7 February 2009

Guest Conductor: Emil deCou

American conductor Emil de Cou is currently the music director of the Pacific Northwest Ballet and appears regularly with orchestras across the country. After his debut with the National Symphony Orchestra in 2000, he became associate conductor and led the NSO on national tours and at the U.S. Capitol. This summer will mark his 14th year as the principal conductor for the NSO’s Wolf Trap performances. His innovative concerts there have included the world premiere screenings of The Wizard of Oz with the score performed by live orchestra, the first-ever live-tweeted program notes (Beethoven’s 6th Symphony), and a live podcast of his Fantastic Planet concert. In 2006 he led the NSO in the Wolf Trap premiere of Holst’s The Planets narrated by Leonard Nimoy with NASA’s images, and in 2008 he conducted the premiere of Rodgers & Hammerstein at the Movies.

As musical consultant for NASA, he has conducted several collaborations, including Human Spaceflight: The Kennedy Legacy at the Kennedy Center for the 50th anniversary of John F. Kennedy’s declaration to land a man on the moon. De Cou will lead the NSO in three performances of 2001: A Space Odyssey, co-produced by NASA and The Kennedy Center, for the 50th anniversary of the Apollo 11 Moon landing. For his work with NASA, de Cou was awarded the agency’s Exceptional Public Achievement Medal; he is the first musician to receive this honor. 

For eight seasons, Mikhail Baryshnikov engaged Emil de Cou to conduct American Ballet Theatre in New York and on national and international tours. De Cou’s performance of Academy Award-winning composer Elliot Goldenthal’s ballet Othello was aired on PBS’s Great Performances series, and the soundtrack was released on the Varese Sarabande label. Among de Cou’s other releases is Debussy Rediscovered on Arabesque, which includes first-ever recordings of music by Claude Debussy.

Born in Los Angeles, Emil de Cou studied with Daniel Lewis at USC and was chosen for Leonard Bernstein’s master class at the Hollywood Bowl. De Cou made his Carnegie Hall debut with the New York Pops in 2006. He has led many of America’s leading orchestras, including those of Philadelphia, Cleveland, Cincinnati, Pittsburgh, Minnesota and St. Louis. He has also led the Boston Pops, and served as principal conductor of the San Francisco Symphony Pops. Emil de Cou now makes his home in both San Francisco and Seattle with his husband, conductor Leif Bjaland.

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The Opening Days of Trump’s First Criminal Trial

Here’s what has happened so far in the unprecedented proceedings against a former u.s. president..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

It’s the first day of the Trump trial and just walking out the door in my house. It’s a beautiful day, 6:11 AM. The thing that keeps running through my head is it’s kind of amazing that hundreds of jurors are going to show up at the Manhattan courthouse. And some of them are going to know what they’re there for — probably talking to their friends, their relatives about it.

Some of them are going to learn this morning talking to other jurors in line, asking what all the fuss is about. But I really do imagine that there’s going to be at least one potential juror who, headphones on, getting into court. Here they’re going to be there for the first criminal trial of Donald J. Trump. And just, I mean, how would you react?

[MUSIC PLAYING]

From “The New York Times,” I’m Michael Barbaro. This is “The Daily.” Today, what it’s been like inside the lower Manhattan courtroom, where political and legal history are being made? My colleague, Jonah Bromwich, on the opening days of the first criminal trial of a US President. It’s Thursday, April 18.

Is that his mic? Hi, there.

Hello. How are you?

I’m doing good.

OK. Thank you for coming in, Jonah —

Thank you for having me.

— in the middle of a trial. Can you just explain why you’re able to even be here?

Sure. So we happen to be off on Wednesdays during trial, so.

We being not “The New York Times,” but the courts.

That’s right.

Which is why we’re taping with you. And because we now have two full court days of this history-making trial now under our belts. And the thing about this trial that’s so interesting is that there are no cameras in the courtroom for the wider world.

There’s no audio recordings. So all we really have is and your eyes and your notebook, maybe your laptop. And so we’re hoping you can reconstruct for us the scene of the first two days of this trial and really the highlights.

Yeah, I’d be happy to. So on Monday morning, I left the subway. It’s before 7:00 AM. The sun is just rising over these grandiose court buildings in lower Manhattan.

I’m about to turn left onto Center Street. I’m right in front of the big municipal building.

And I turn onto Center Street. That’s where the courthouses are.

I’m crossing.

And I expected to see a big crowd. And it was even bigger than I had anticipated.

Here we go. Here we go. Here we go. Now, I finally see the crowd.

You have camera banks. You have reporters. You have the beginnings of what will eventually become a protest. And you have this most New York thing, which is just a big crowd of people.

[CHUCKLES]: Who just know something is going on.

That’s right. And what they know is going on is, of course, the first trial of an American president.

All right, I’m passing the camera, folks. Camera, camera, camera, camera. Here we go.

Let’s start with Sharon Crowley live outside the courthouse in Lower Manhattan.

I want to get right to ABC’S Aaron Katersky who’s outside of the courthouse.

Robert Costa is following it outside the courthouse in Lower Manhattan. Bob, I saw the satellite trucks lined up all in a row. Good morning.

Talk to us how we got here exactly.

So this is the case that was brought by the Manhattan district attorney. So prosecutors have accused Donald Trump of covering up the actions of his former fixer, Michael Cohen, after Cohen paid hush money to Stormy Daniels. Stormy Daniels had a story about having had sex with Donald Trump, which Trump has always denied.

Cohen paid her money, and then Trump reimbursed Cohen. And prosecutors say that Trump essentially defrauded the American people because he hid this information that could have been very important for the election from those people when he reimbursed Cohen.

Right. And as I remember it, he also misrepresented what that reimbursement was. Claimed it was a legal fee when, in fact, it was just reimbursing Michael Cohen for a hush money payment.

Exactly, yeah. He definitely didn’t say reimbursement for hush money payment to Stormy Daniels. It’s a cover up case. It’s a case about hiding information you don’t want people to see.

Right. And of course, the context of all this is that it is in the middle of a presidential election. It’s 2016. Trump wants to keep this secret, prosecutors allege, so that the American public doesn’t know about it and potentially hold it against him.

Right. And prosecutors are telling a story about election interference. They’re saying that Trump interfered with an election. And Trump himself is also using the phrase “election interference.” But he’s painting the trial itself as election interference as he now runs again in 2024.

Fascinating.

And because we’re in Manhattan, and because the jury pool is going to be largely Democratic, and the judge is a Democrat, and the district attorney is a Democrat, Trump keeps claiming he cannot get a fair shake. This is democrat central. And in democrat central, Trump doesn’t have a chance.

OK. So, what happens once you actually enter the courthouse?

Outside, there’s all this fanfare. But inside, it’s a little bit business as usual. So I go up to the 15th floor, and I walk into the courtroom, and I sit down, and it’s the same old courtroom. And we’re sitting and waiting for the former president.

Around 9:30, Trump walks in. He looks thin. He looks a little tired, kind of slumping forward, as if to say with his body like let’s get this over with. Here we go.

The judge walks in a little bit after that. And we think we’re all set for the trial to start, but that’s not what happens here. And in fact, there are a series of legal arguments about what the trial is going to look like and what evidence is going to be allowed in.

So, for example, prosecutors ask that they be allowed to admit into evidence headlines from “The National Enquirer” that were attacks on Trump’s 2016 opponents — on Ted Cruz, on Marco Rubio, on Ben Carson.

Because prosecutors are in some sense putting Trump’s 2016 campaign on trial. These headlines are a big part of that because what prosecutors say they show is that Trump had this ongoing deal with “The National Enquirer.” And the publisher would promote him, and it would publish damaging stories about his opponents. And then crucially, it would protect Trump from negative stories. And that’s exactly what prosecutors say happened with Stormy Daniels. That “The National Enquirer” tipped Cohen off about Stormy Daniels trying to sell her story of having had sex with Donald Trump, which he denies. And that led to the hush money payment to her. So what prosecutors are doing overall with these headlines is establishing a pattern of conduct. And that conduct, they say, was an attempt to influence the election in Trump’s favor.

And the judge agrees. He’s going to admit this evidence. And this is a pretty big win for the prosecution. But even though they win that one, they’re not winning everything.

They lose some important arguments here. One of them was that after the Access Hollywood tape came out, there were allegations of sexual assault against Donald Trump. And you know this, Michael, because you reported two of them — two of the three in question at this very trial.

Prosecutors had hoped to talk about those during trial in front of the jury to show the jurors that the Trump campaign was really, really focused on pushing back against bad press in the wake of the Access Hollywood tape in which Trump seemed to describe sexual assault. That was a big problem for the campaign. Campaign did everything it could to push back, including against these allegations that surfaced in the wake of the tape.

But the judge, saying that the allegations are hearsay — that they’re based on the women’s stories — says absolutely not. That is incredibly prejudicial to the defendant.

Interesting.

And that Donald Trump would actually not get a fair trial were those allegations to be mentioned. And so he will not let those in. The jurors will not hear about them.

So this is a setback, of course, for the prosecution, a victory for Trump’s legal team.

It’s a setback. And it also just shows you how these pre-trial motions shape the context of the trial. Think of the trial as a venue like a theater or an athletic contest of some sort. And these pre-trial motions are about what gets led into the arena and what stays out. The sexual assault allegations — out. “The National Enquirer” headlines — in.

OK. And how is Trump sitting there at the defense table reacting to these pre-trial motion rulings from the judge?

Well, as I’ve just said, this is very important stuff for his trial.

Right. Hugely important.

But it’s all happening in legal language, and I’m decoding it for you. But if you were sitting there listening to it, you might get a little lost, and you might get a little bored. And Trump, who is not involved in these arguments, seems to fall asleep.

Seems to fall asleep — you’re seeing this with your own eyes.

What we’re seeing, overall, including our colleague, Maggie Haberman, who’s in the overflow room and has a direct view of Trump’s face — I’m sitting behind him in the courtroom, so I can’t see his face that well.

You guys are double teaming this.

That’s right. I’m sitting behind him, but Maggie is sitting in front of him. And what she sees is not only that his eyes are closed. That wouldn’t get you to he is asleep.

And we have to be really careful about reporting that he’s asleep, even if it seems like a frivolous thing. But what happens is that his head is dropping down to his chest, and then it’s snapping back up. So you’ve seen that, when a student —

I’ve done that.

(CHUCKLES) Yeah. We all kind of know that feeling of snapping awake suddenly. And we see the head motion, and it happens several times.

Lawyers kind of bothering him, not quite shaking him, but certainly trying to get his attention. And that head snapping motion, we felt confident enough to report that Trump fell asleep.

During his own criminal trial’s opening day.

Does someone eventually wake him up?

He wakes up. He wakes up. And in fact, in the afternoon, he’s much more animated. It’s almost as if he wants to be seen being very much awake.

Right. So once these pre-trial motions are ruled on and Trump is snapped back to attention, what happens?

Well, what happens in the courtroom is that the trial begins. The first trial of an American president is now in session. And what marks that beginning is jurors walking into the room one by one — many of them kind of craning their necks over at Donald Trump, giggling, raising their eyebrows at each other, filing into the room, and being sworn in by the judge. And that swearing in marks the official beginning of the trial.

The beginning is jury selection, and it’s often overlooked. It’s not dramatized in our kind of courtroom dramas in the same way. But it’s so important. It’s one of the most important parts of the case. Because whoever sits on the jury, these are the 12 people who are going to decide whether Trump is guilty or whether Trump is innocent.

So how does jury selection actually look and feel and go?

So, jury selection is a winnowing process. And in order to do that, you have to have these people go through a bunch of different hurdles. So the first hurdle is, after the judge describes the case, he asks the group — and there are just short of 100 of them — whether they can be fair and impartial. And says that if they can’t, they should leave. And more than half the group is instantly gone.

So after we do this big mass excusal, we’re left with the smaller group. And so now, jurors are getting called in smaller groups to the jury box. And what they’re going to do there is they’re going to answer this questionnaire.

And this part of the process is really conducted by the judge. The lawyers are involved. They’re listening, but they’re not yet asking questions of the jurors themselves.

And what’s on the questionnaire?

Well, it’s 42 questions. And the questions include, their education, their professional histories, their hobbies, what they like to do whether you’re a member of QAnon or Antifa.

Whether you’re far left or far right.

That’s right. Whether you’ve read “The Art of the Deal,” Trump’s book, which some prospective jurors had.

Right. It was a bestseller in its time.

That’s right. And some of it can be answered in yes/no questions, but some of it can be answered more at length. So some of the prospective jurors are going very, very fast. Yes, no, no, no, yes.

Right. Because this is an oral questionnaire.

That’s right. But some of them are taking their time. They’re expanding on their hobbies. So the potential juror in seat 3, for example, is talking about her hobbies. And she says some running, hiking. And then she said, I like to go to the club, and it got a huge laugh. And you get that kind of thing in jury selection, which is one of the reasons it’s so fun. It’s the height of normality in this situation that is anything but normal.

Right. The most banal answer possible delivered in front of the former president And current Republican nominee for president.

Well, that’s one of the fascinating parts about all this, right? is that they’re answering in front of Trump. And they’re answering questions about Trump in front of Trump. He doesn’t react all that much. But whenever someone says they’ve read “The Art of the Deal —” and there are a few of those — he kind of nods appreciatively, smiles. He likes that. It’s very clear. But because there are so many questions, this is taking forever, especially when people are choosing to answer and elaborate and digress.

This is when you fall asleep.

This Is. When I would have fallen asleep if I were a normal person.

And by the end of the day. Where does jury selection stand?

Well, the questionnaire is another device for shrinking that jury pool. And so the questionnaire has almost these little obstacles or roadblocks, including, in fact, a question that jurors have seen before — whether they would have any problem being fair and impartial?

Hmm. And they ask it again.

They’re asked it again. And they’re asked in this more individualized way. The judge is questioning them. They’re responding.

So, remember that woman who said she liked to go to the club got a big laugh. She reaches question 34. And question 34 reads, “Do you have any strong opinions or firmly-held beliefs about former President Donald Trump or the fact that he is a current candidate for president that would interfere with your ability to be a fair and impartial juror?” She said, yes, she does have an opinion that would prevent her from being fair and impartial. And she, too, is excused.

So that’s how it works. People answer the questionnaire, and they get excused in that way, or they have a scheduling conflict once they reach the jury box. And so to answer your question, Michael. At the end of day one, given all these problems with the questionnaire and the length of time it’s taken to respond to and people getting dismissed based on their answers, there is not a single juror seated for this trial.

And it’s starting to look like this is going to be a really hard case for which to find an impartial jury.

That’s the feeling in the room, yeah.

We’ll be right back.

So Jonah, let’s turn to day 2. What does jury selection look like on Tuesday?

So when the day begins, it looks almost exactly like it looked when the day ended on Monday. We’re still with the questionnaire, getting some interesting answers. But even though it feels like we’re going slow, we are going.

And so we’ve gone from about 100 people to now there’s about 24 the room there’s 18 the jury box. And by the time we hit lunch, all those people have answered all those questions, and we are ready for the next step in the process.

Voir dire. And what it is the heart of jury selection. This is the point where the lawyers themselves finally get to interview the jurors. And we get so much information from this moment because the lawyers ask questions based on what they want out of the jurors.

So the prosecution is asking all these different kinds of questions. The first round of wajir is done by a guy named Joshua Steinglass, a very experienced trial lawyer with the Manhattan District Attorney’s Office. And he’s providing all these hypotheticals. I’ll give you one example because I found this one really, really interesting. He provides a hypothetical about a man who wants his wife killed and essentially hires a hitman to do it. And what he asked the jurors is, if that case were before you, would you be able to see that the man who hired the hitman was a part of this crime?

And of course, what he’s really getting at is, can you accept that even though Michael Cohen, Trump’s fixer, made this payment, Trump is the guy who hired him to do it?

That’s right. If there are other people involved, will jurors still be able to see Donald Trump’s hands behind it all?

Fascinating. And what were some of the responses?

People mostly said, yes, we accept that. So that’s how the prosecution did it.

But the defense had a totally different method of voir dire. They were very focused on their client and people’s opinions about their client.

So what kind of questions do we get from them?

So the lawyer, Todd Blanche, is asking people, what do you make of President Trump? What do you think of President Trump?

And what are some of the responses to that?

Well, there’s this incredible exchange with one of the jurors who absolutely refuses to give his opinion of Donald Trump. They go back and forth and back and forth. And the juror keeps insisting you don’t need to know my opinion of him. All you need to know is that I’m going to be fair and impartial, like I said. And Blanch pushes, and the guy pushes back. And the only way the guy budges is he finally kind of confesses almost at the end that, yes, I am a Democrat, and that’s all we get.

And what ends up happening to this potential juror?

Believe it or not, he got dismissed.

[LAUGHS]: I can believe it. And of course, it’s worth saying that this guy and everybody else is being asked that question just feet from Trump himself.

That’s right. And you might think you were going to get a really kind of spicy, like, popcorn emoji-type exchange from that. But because these are now jurors who have said they can be fair and impartial, who, to some extent, want to be on this jury or at least wouldn’t mind being on this jury, they’re being very restrained.

Mostly, what they are emphasizing — much like that guy just described dis — is that they can be fair. They can be impartial. There’s one woman who gives this really remarkable answer.

She says, I thought about this last night. I stayed up all night. I couldn’t sleep, thinking about whether I could be fair. It’s really important to me, and I can.

What ends up happening to that particular juror?

She’s also dismissed. And she’s dismissed without any reason at all. The defense decides it doesn’t like her. It doesn’t want her on the jury. And they have a certain number of chances to just get rid of jurors — no questions asked.

Other jurors are getting dismissed for cause — I’m doing air quotes with my hands — which means that the lawyers have argued they actually revealed themselves through their answers or through old social media posts, which are brought up in the courtroom, to be either non-credible, meaning they’ve said they can be fair and they can’t, or somehow too biased to be on the jury.

Wait, can I just dial into that for a second? Are lawyers researching the jurors in real time going online and saying — I’m making this up — but Jonah Bromwich is a potential juror, and I’m going to go off into my little corner of the courtroom and Google everything you’ve ever said? Is that what’s happening in the room?

Yeah, there’s a whole profession dedicated to that. It’s called jury consultant, and they’re very good at finding information on people in a hurry. And it certainly looked as if they were in play.

Did a social media post end up getting anybody kicked off this jury?

Yes, there were posts from 2016 era internet. You’ll remember that time as a very heated one on the internet, Facebook memes are a big thing. And so there’s all kinds of lock him up type memes and rhetoric. And some of the potential jurors here have used those. And those jurors are dismissed for a reason.

So we have these two types of dismissals, right? We have these peremptory dismissals — no reason at all given. And we have for cause dismissals.

And the process is called jury selection. But you don’t actually get selected for a jury. The thing is to make it through all these obstacles.

You’re left over.

Right. And so when certain jurors are not dismissed, and they’ve made it through all these stages, by the end of the day, we have gone from zero juror seated to seven jurors who will be participating in Donald Trump’s trial.

Got it. And without going through all seven, just give us a little bit of a sketch of who so far is on this jury. What stands out?

Well, not that much stands out. So we’ve got four men. We’ve got three women. One lives on the Upper East Side. One lives in Chelsea. Obviously, they’re from all over Manhattan.

They have these kind of very normal hobbies like spending time with family and friends. They have somewhat anonymous jobs. We’ve got two lawyers. We’ve got someone who’s worked in sales.

So there’s not that much identifying information. And that’s not an accident . One of the things that often happens with jury selection, whether it be for Donald Trump or for anyone else, is the most interesting jurors — the jurors that kind of catch your attention during the process — they get picked off because they are being so interesting that they interest one or the other side in a negative way. And soon they’re excused. So most of the jurors who are actually seated —

Are not memorable.

Are not that memorable, save one particular juror.

OK. All right, I’ll bite. What do I need to know about that one particular juror?

So let me tell you about a prospective juror who we knew as 374, who will now be juror number five. She’s a middle school teacher from Harlem. And she said that she has friends who have really strong opinions about Trump, but she herself does not. And she insisted several times, I am not a political person.

And then she said this thing that made me quite surprised that the prosecution was fine with having her on the jury. She said, quote, “President Trump speaks his mind, and I’d rather that than someone who’s in office who you don’t know what they’re thinking.”

Hmm. So she expressed approval of President Trump.

Yeah, it was mild approval. But the thing is, especially for the defense in this trial, all you need is one juror. One juror can tie up deliberations in knots, and you can end with a hung jury. And this is actually something that I saw firsthand. In 2019, I was the foreperson on a jury.

How you like that?

Yeah. And the trial was really complicated, but I had thought while we were doing the trial, oh, this is going to be a really easy decision. I thought the defendant in that case was guilty. So we get into deliberations, but there’s this one juror who keeps gumming up the works every time we seem to be making progress, getting a conversation started.

This juror proverbially throws up his hands and says, I am not convicting. This man is innocent. And we talked and we talked. And as the foreperson, I was trying to use all my skills to mediate.

But any time we made any progress, this guy would blow it up. And long story short, hung jury — big victory for the defense lawyer. And we come out of the room. And she points at this juror. The guy —

The defense lawyer.

The defense lawyer points at this juror who blew everything up. And she said, I knew it. I knew I had my guy.

OK. I don’t want to read too much into what you said about that one juror. But should I read between the lines to think that if there’s a hung jury, you wonder if it might be that juror?

That’s what everyone in the courtroom is wondering not just about this juror, but about every single person who was selected. Is this the person who swings the case for me? Is this the person who swings the case against me?

These juries are so complex. It’s 12 people who don’t know each other at the start of the trial and, by the end of the trial, have seen each other every morning and are experiencing the same things, but are not allowed to have talked about the case until deliberations start. In that moment when deliberations start —

You’re going to learn a whole lot about each other.

That’s right. There’s this alchemical moment where suddenly, it all matters. Every personality selected matters. And that’s why jury selection is so important. And that’s why these last two days are actually one of the most important parts of this trial.

OK. So by my math, this trial will require five more jurors to get to 12. I know also they’re going to need to be alternates. But from what you’re saying what looked like a really uphill battle to get an impartial jury or a jury that said it could be impartial — and Trump was very doubtful one could be found — has turned out to not be so hard to find.

That’s right. And in fact, we went from thinking, oh, boy, this is going awfully slowly, to the judge himself saying we could be doing opening arguments as soon as Monday morning. And I think that highlights something that’s really fascinating both about this trial and about the jury selection process overall.

One of the things that lawyers have been arguing about is whether or not it’s important to figure out what jurors’ opinions about Donald Trump are. And the prosecution and, I think, the judge have really said, no, that’s not the key issue here. The key issue is not whether or not people have opinions about Donald Trump.

Right. Who doesn’t have an opinion about Donald Trump?

Exactly. They’re going to. Automatically, they’re going to. The question is whether or not they can be fair and impartial. And the seven people we already have seated, and presumably the five people that we’re going to get over the next few days and however many alternates — we expect six — are all going to have answered that question, not I hate Trump; I love Trump, but I can weigh in on the former president’s innocence or guilt, and I can do it as fairly as humanly possible.

Now, Trump is not happy about this. He said after court yesterday, quote, We have a highly conflicted judge, and he’s rushing this trial.” And I think that he is going to see these beats of the system the criminal justice system as it works on him as he is experiencing it as unfair. That is typically how he talks about it and how he views it.

But what he’s getting is what defendants get. This is the system in New York, in the United States. This is its answer to how do you pick a fair jury? Well, you ask people can you be fair? And you put them through this process, and the outcome is 12 people.

And so I think we’re going to see this over and over again in this trial. We’re going to see Trump experience the criminal justice system.

And its routines.

Yeah, openings, witnesses, evidence, closings. He’s going to go through all of it. And I think, at every turn, it makes sense to expect him to say, well, this is not fair. Well, the judge is doing something wrong. Well, the prosecutors are doing something wrong. Well, the jury is doing something wrong.

But at the end of the day, he’s going to be a defendant, and he’s going to sit, mostly silently if his lawyers can make him do that, and watch this process play itself out. So the system is going to try and treat him like any other defendant, even though, of course —

— he’s not. And he is going to fight back like no other defendant would, like no other defendant could. And that tension, him pushing against the criminal justice system as it strives to treat him, as it would anyone else, is going to be a defining quality of this trial.

Well, Jonah, thank you very much. We appreciate it.

Of course. Thanks so much for having me. [MUSIC PLAYING]

PS, have you ever fallen asleep in a trial?

I have not.

[CHUCKLES]:

Here’s what else you need to know today.

It’s clear the Israelis are making a decision to act. We hope they do so in a way that does as little to escalate this as possible and in a way that, as I said —

During a visit to Jerusalem on Wednesday, Britain’s foreign Secretary left little doubt that Israel would retaliate against Iran for last weekend’s aerial attack, despite pressure from the United States and Britain to stand down. The question now is what form that retaliation will take? “The Times” reports that Israel is weighing several options, including a direct strike on Iran, a cyber attack, or targeted assassinations. And —

Look, history judges us for what we do. This is a critical time right now, critical time on the world stage.

In a plan that could threaten his job, Republican House Speaker Mike Johnson will put a series of foreign aid bills up for a vote this weekend. The bills, especially for aid to Ukraine, are strongly opposed by far-right House Republicans, at least two of whom have threatened to try to oust Johnson over the plan.

I can make a selfish decision and do something that’s different, but I’m doing here what I believe to be the right thing. I think providing lethal aid to Ukraine right now is critically important. I really do. I really — [MUSIC PLAYING]

Today’s episode was produced by Rikki Novetsky, Will Reid, Lynsea Garrison, and Rob Zubko. It was edited by Paige Cowett, contains original music by Marion Lozano, Elisheba Ittoop, and Dan Powell, and was engineered by Chris Wood. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly Lake.

That’s it for “The Daily.” I’m Michael Barbaro. See you tomorrow.

• April 19, 2024   •   30:42 The Supreme Court Takes Up Homelessness
• April 18, 2024   •   30:07 The Opening Days of Trump’s First Criminal Trial
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• April 16, 2024   •   29:29 A.I.’s Original Sin
• April 15, 2024   •   24:07 Iran’s Unprecedented Attack on Israel
• April 14, 2024   •   46:17 The Sunday Read: ‘What I Saw Working at The National Enquirer During Donald Trump’s Rise’
• April 12, 2024   •   34:23 How One Family Lost $900,000 in a Timeshare Scam
• April 11, 2024   •   28:39 The Staggering Success of Trump’s Trial Delay Tactics
• April 10, 2024   •   22:49 Trump’s Abortion Dilemma
• April 9, 2024   •   30:48 How Tesla Planted the Seeds for Its Own Potential Downfall
• April 8, 2024   •   30:28 The Eclipse Chaser
• April 7, 2024 The Sunday Read: ‘What Deathbed Visions Teach Us About Living’

Hosted by Michael Barbaro

Featuring Jonah E. Bromwich

Produced by Rikki Novetsky ,  Will Reid ,  Lynsea Garrison and Rob Szypko

Edited by Paige Cowett

Original music by Dan Powell ,  Marion Lozano and Elisheba Ittoop

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music

Political and legal history are being made in a Lower Manhattan courtroom as Donald J. Trump becomes the first former U.S. president to undergo a criminal trial.

Jonah Bromwich, who covers criminal justice in New York, explains what happened during the opening days of the trial, which is tied to Mr. Trump’s role in a hush-money payment to a porn star.

On today’s episode

Jonah E. Bromwich , who covers criminal justice in New York for The New York Times.

Background reading

Here’s a recap of the courtroom proceedings so far.

Mr. Trump’s trial enters its third day with seven jurors chosen.

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The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Dan Farrell, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

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Jonah E. Bromwich covers criminal justice in New York, with a focus on the Manhattan district attorney’s office and state criminal courts in Manhattan. More about Jonah E. Bromwich

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