3. Over the course of five months in spring 2011, I held six qualitative and informally structured interviews (each lasting between one and two and a half hours) with seven individuals, all involved in one way or another with Yiddish music in and around Amsterdam. This was in addition to the countless casual conversations with these individuals and their fellow Yiddish music enthusiasts. Some are professional singers, some are choir leaders, some play klezmer, some write and translate Yiddish. All but two interviewed for this paper are of the postwar generation and were born and raised in the Netherlands; this demographic – over-fifty, white, middle class and with varying degrees of past or present involvement in different folk-leftist activities and scenes – forms the focus of this ethnography. Their opinions are not meant to be representative of the Amsterdam or Dutch population as a whole, but should be taken as indicative of a predilection characteristic to this rather specific demographic. The names have been changed in accordance with the wishes of the people concerned or in an effort to protect their privacy.