Vider describes his large collection of Yiddish music cassettes. He says he recorded Yiddish concerts from television, in a place whose name is unclear in the transcript, using an old tape recorder, and that he worked winters and travelled in summer. Kerler asks whether a particular song can be found on the tapes and suggests listening to some. Most of the passage has almost no transcribed speech, apparently while the tapes play, with Russian remarks about a museum and photographs near the end and a mention that Yiddish songs follow.
Gives the source of the recordings (Yiddish concerts from television) and shows that long stretches are silent or non-Yiddish; no Hasidic tunes are visible in the transcript.
A recorded Yiddish comic sketch plays. A man and a woman banter about a matchmaker named Moshe, a prospective bride, the man's claim to be a modern cantor, his earnings and his age. Kerler's closing remark is that no Yiddish items can be found in the catalogue shown on camera.
Shows the played material is a staged matchmaking comedy with a cantor; the camera on the collection list is only suggested by Kerler's last remark.
Vider says his catalogue does not list the Yiddish items he has on records, and a song about a Jewish peddler selling cheap cigarettes is heard. He and Kerler discuss a theater and ensemble from Ivano-Frankivsk that perform Yiddish songs, Ukrainian artists who learned Yiddish, and a similar group in Chernivtsi. Kerler then asks for pictures of Vider's parents, and Vider and a woman look for photographs, partly in Russian.
Adds the discussion of non-Jewish artists singing in Yiddish, the Chernivtsi group, and the search for parents' photographs.
Vider shows family photographs to Kerler: his father, who seems to have been born in the 1890s (the exact year is unclear), a brother-in-law and mother-in-law, his sister, and himself as a young man in photographs from different decades. He also points out his brother's daughter in a Purim costume, the Iraqi-born wife of a younger brother in Israel, and a sister who had worked in a mine. Kerler asks the year of each photograph, and 1964/65 (?) is mentioned.
Names the relatives shown (sister, in-laws, brother's daughter and wife) and the Israel/Iraq connection, which the catalogue's "parents and himself" does not mention.
Vider answers Kerler's question about a handwritten copy he has, which seems to be a prayer text connected with the penitential prayers (selichot, ?). He explains that he had no prayer book and prays at home, and that he copied the text down when an old woman came. The catalogue's recitation of the prayer is not visible in the transcript.
Shows he prays at home because he lacked a prayer book; no recitation is heard.
