Uncategorized
‘Dirty Dancing’ be damned. A new musical shows another side of the Borscht Belt
When the Woodstock Music and Art Fair defined a generation, Pamela Gray was on the outside looking in — literally.
She was 13 and summering at Dr. Locker’s Bungalow Colony in Mountaindale, New York. She remembers sitting by the pool with her little brother while the moms and bubbies played mahjong and glimpsing some long hair or fringe through the chainlink: hippies headed to Yasgur’s Farm.
“Looking back now, it’s like I literally was on the wrong side of history,” Gray said.
That moment was stamped in her memory for years, along with her attachment to the bungalow colony, where she got her first taste of nature away from the Flatlands in Brooklyn. Since around the time Dirty Dancing came out in 1987, she had struggled to explain to people the working-class version of the Borscht Belt she grew up with, a far cry from the resorts favored by dentists and lawyers.
In the early 1990s, Gray was in film school at UCLA and interning in the writers room on Star Trek: The Next Generation when she endeavored to capture the disappeared world of her youth in a screenplay. She recalled thinking, “I want to be the first person to set a movie in a bungalow colony.’”
I met Gray, a high school friend of my father’s, at a cafe steps away from where her Off-Broadway musical A Walk on the Moon, based on her 1999 film, is in rehearsals. She wore a cat-themed Catskills t-shirt and a Nova Festival dog tag.
She told me she’d seen a documentary about the colonies — narrated by an Attenbourighian Brit, with the same nature doc detachment — and glimpsed one in South Fallsberg in Enemies: A Love Story, but knew she wanted a more substantial tribute.
The script, with a working title of The Blouse Man, became A Walk on the Moon, directed by Tony Goldwyn and starring Diane Lane as frustrated young housewife Pearl Kantrowitz, Liev Schreiber as her TV repairman husband, Viggo Mortenson as Pearl’s goyische hippie lover and a 15-year-old Anna Paquin as Pearl’s teenage daughter. It features a pivotal Woodstock sequence, and a glimpse of naked hippies trespassing at the bungalow’s lake.
Gray said there was resistance to the material when the script was being shopped around. She was told films centering women lost money. Some asked if it had to be Jews in the Catskills in the 1960s. For the musical, she’s amped up some of the Jewishness both in casting and content.
Directed by Sheryl Kaller and starring Talia Suskaauer and Max Chernin, the show has been in the works for over a decade, and had a previous run with a different score at the George Street Playhouse in New Brunswick. It’s set to open in a climate Gray thinks is in need of Jewish stories. Not a Holocaust story, not a story of antisemitism (though some of that has been added) but one about a family, and, importantly, one without much money.
Gray was first approached to sell the rights to her film for a musical adaptation in the 2010s. A librettist and songwriter prepared a presentation to convince her, but she decided she wanted to take the project on herself. She had, in a sense, written musicals before.
Technically, Gray, whose other films include Music of the Heart starring Meryl Streep in a singular non-horror outing by director Wes Craven and the legal drama Conviction (also with Goldwyn and starring Hilary Swank), began her life in the theater in middle school.
She wrote The Girl from A.C.N.E. — a parody of The Girl from U.N.C.L.E. — for her hygiene class in sixth grade and later, while editor of the yearbook at James Madison High School, penned A Log Day’s Journey into Night an evident sendup of Eugene O’Neill.
Her first brush with an audience hearing her words came when she worked on Sing!, a student-run musical competition for outer borough high schools, which was a stealth incubator of talents like Paul Simon, Neil Sedaka and, at James Madison, where Gray and my dad are alumni, Carole King and Gerry Goffin.
Gray and my dad, Mark a retired optometrist who also writes screenplays, wrote parody lyrics, and probably fought a fair bit as script co-chairs. Gray remembers one year’s production, themed around clothing throughout history, had her kitted out in a French Revolutionary outfit and smacking my dad in the face while he was dressed like Napoleon.
Sing!, had a Borscht Belt Bungalow quality to it. When director Michael Greif was discussing the musical with Gray several years ago, they bonded over Sing!, which he directed at Abraham Lincoln High School on Ocean Parkway.
Music was central to Gray’s film, with needledrops from the Grateful Dead, Jefferson Airplane and Janis Joplin and Big Brother and the Holding Company’s cover of Gershwin’s “Summertime.” The ending has Pearl and her husband, Marty (Schreiber), transition from Dean Martin’s version of “When You’re Smiling” to trying their best to groove to Jimi Hendrix’s “Purple Haze.” (Gray said it was supposed to be “Light My Fire,” but Ray Manzarek wanted too much money.)
The musical’s new score by AnnMarie Milazzo, a vocal designer and arranger for shows like Spring Awakening and Next to Normal, captures the trapped-in-amber quality of the bungalows, with inspiration from the 1950s in the scenes with adults and, in a sequence with Pearl’s teenage daughter Alison and her summertime beau, a protest song.
“We’re living in a time right now where musicians and music artists are speaking out and talking about politics and talking about women’s rights and talking about antisemitism,” said Kaller, the director, whose parents took her to Catskills hotels as part of their temple bowling league. The show, she says, is “reminding audiences that in 1969, we were doing the same thing.”
A love letter to her parents’ generation and her own coming of age, Gray says the project may be even more personal in this iteration. Scenic and video designer Tal Yarden has incorporated Gray’s home movies into his projections. Also new to the musical is a moment when Alison learns the history of the Catskills, where Jews weren’t always welcome.
Gray said the addition came with “Trump 2,” a reference to his second term, that could also serve as an allusion to the film’s 1999 premiere, where the future president was in attendance.
“I still remembered the exact moment,” Gray said. She was on the aisle, and across from her was my father, their friend Karen and, next to Karen, Donald Trump and a blonde woman who was his date.
“The first thing he did was he ripped all the reserved signs off,” Gray recalled. “When your dad went to go to the bathroom, Trump put his leg up, and he had to climb over him. Is that your dad’s story?”
Not exactly. My dad now maintains that he was going to the lobby to tell Gray’s parents their seats were taken. It’s only when I said this that Gray remembers who the seats were reserved for. She then called Trump a certain Yiddish epithet, meaning pig.
(The White House did not immediately respond to a request for comment regarding Trump’s presence or actions at the premiere, his enjoyment of the film or any plans to see the musical.)
Though a presidential encore is unlikely, members from Gray’s extended shtetl of Brooklyn are coming, along with a group of children who met at a bungalow colony for Holocaust survivors. (In other Jewish geography, the show’s casting director, Merri Sugarman, has known Kaller since they were around 2 — her parents were also in the bowling league.)
When Gray first wrote a treatment for the musical version of her film, she couldn’t help thinking of the first musical she ever saw: Fiddler on the Roof. It too had a forgotten Jewish milieu, with a self-contained community, an aura of nostalgia and an outside world pressing for change.
“It had to have influenced me, and I’m proud of that influence,” Gray said.
At this point I told her when my father and I saw the Yiddish Fiddler on the Roof, Charles Kushner, Trump’s mechutan, sat in front of us. What are the odds?
The post ‘Dirty Dancing’ be damned. A new musical shows another side of the Borscht Belt appeared first on The Forward.
Uncategorized
The battle between tradition and revolution in Soviet-Yiddish culture
די סאָװעטיש־ייִדישע קולטור איז געװען עסטעטיש אָדער אידעאָלאָגיש פֿילזײַטיק, לכל־הפּחות אין משך פֿון די ערשטע פּאָר צענדליק יאָר. דאָס איז דער עיקר־טעזיס פֿון דער װאָגיקער שטודיע „רױטע ייִדן: דער ייִדיש־סאָװעטישער קולטור־פּראָיעקט“ פֿון דער ליטעראַטור־פֿאָרשערין דאַריע װאַכרושאָװאַס (אוניװערסיטעט פֿון מינכען).
דער ציל פֿון דער פֿאָרשונג איז צו לאָזן דעם הײַנטיקן לײענער הערן די פֿאַרשײדענע שטימען אינעם אַלגעמײנעם כאָר פֿון סאָװעטישע ייִדישע ליטעראַטן, קינסטלער און כּלל־טוער.
ווי האָבן אָט די פֿיגורן פֿאַרשטאַנען די צוקונפֿטיקע ייִדישע קולטור? װי אַזױ האָבן זײ בדעה געהאַט צונױפֿצוברענגען ייִדישקײט און סאָװעטישקײט? װוּ שטײט די סאָװעטישע ייִדישע קולטור אױף דער ייִדישער װעלטמאַפּע? דאָס זײַנען די פֿראַגן, װאָס װאַכרושאָװאַ באַהאַנדלט.
זי גיט זיך ספּעציעל אָפּ מיט לינגװיסטישע פּרטים — טערמינען, מעטאַפֿאָרן, אימאַזשן — װאָס מען האָט גענוצט אין די קריטישע װיכּוחים פֿון יענער תּקופֿה. דערבײַ באַטראַכט זי ניט נאָר די מער באַקאַנטע ליטעראַרישע טעקסטן, נאָר אַ ברײטערן פֿאַרנעם פֿון מקורים פֿון צײַטונגען.
װאַכרושאָװאַ פּרוּװט צו אַנטפּלעקן די פֿילשטימיקײט פֿונעם סאָװעטיש־ייִדישן קולטורעלן פּראָיעקט. זי איז ספּעציעל פֿאַראינטערעסירט אין פֿאַרשײדענע װיזיעס פֿון דער צוקונפֿט פֿון ייִדיש אין סאָװעטן־פֿאַרבאַנד, װאָס מען האָט אַרומגערעדט אין די 1920ער יאָרן.
דאָס בוך באַשטײט פֿון דרײַ טײלן. אינעם ערשטן באַטראַכט װאַכרושאָװאַ כּלערלײ עסטעטישע מאַניפֿעסטן און קינסטלערישע פּראָגראַמען פֿון ייִדישער קולטור, װאָס מען האָט אַרױסגעגעבן נאָך דער ערשטער װעלט־מלחמה אין קיִעװ, מאָסקװע, לאָדזש, װאַרשע און בערלין.
דער צװײטער טײל איז געװידמעט דעם נסתּרס זאַמלונג רײַזע־פֿאַרצײכענונגען „דרײַ הױפּטשטעט“(1934). דער לעצטער חלק אַנאַליזירט די סטיליסטישע און לינגװיסטישע אַספּעקטן פֿון סאָװעטישע ליטעראַרישע איבערזעצונגען אױף ייִדיש פֿון רוסיש און אײראָפּעיִשע שפּראַכן.
די יאָרן נאָך דער ערשטער װעלט־מלחמה זײַנען געװען אַ בלי־תּקופֿה פֿון ייִדישן אַװאַנגאַרד אין ליטעראַטור און קונסט. אין װאַרשע זײַנען דערשינען די זשורנאַלן „רינגען“, „אַלבאַטראָס“, „כאַליאַסטרע“, „די װאָג“; אין בערלין — „מילגרױם“; אין קיִעװ — דיאַלמאַנאַכן „אײגנס“ און „אױפֿגאַנג“. לרובֿ האָבן די דאָזיקע פּובליקאַציעס ניט לאַנג געדױערט, אָבער זײ האָבן געמאַכט דרײסטע פּראָקלאַמאַציעס װעגן דער רעװאָלוציע אין דער ייִדישער קולטור.
למשל, אינעם ערשטן נומער פֿון דער סאָװעטישער קאָמוניסטישער צײַטונג „דער עמעס“ דעם 7טן נאָװעמבער 1920 האָט פּרץ מאַרקיש פֿאַרעפֿנטלעכט אַן אַרטיקל „אױף די װעגן פֿון ייִדישער דיכטונג“. עס איז מערקװירדיק, באַמערקט װאַכרושאָװאַ, װאָס דער דאָזיקער מאַניפֿעסט פֿון דער נײַער סאָװעטישער ייִדישער פּאָעזיע פֿאַרמאָגט ניט קײן מאַרקסיסטישע קאָמוניסטישע מליצה.
אַנשטאָט דעם רעדט מאַרקיש װעגן טיפֿע איבערלעבונגען, װאָס פֿאַרכליניען דעם מענטשן אין דער צײַט פֿון דער רעװאָלוציע. די רעװאָלוציע האָט גורם געװען אַן איבערבראָך אין דער טראַדיציע, „און טאַקע דערפֿאַר קאָנען די דיכטער פֿון אונדזער נײַער שטורעמדיקער תּקופֿה ניט שאַפֿן קײן מאָנומענטאַלע װערק, זײ זײַנען קױלן־גראָבערס […] פֿאַר נײַע תּקופֿות, פֿאַר קומעדיקע דורות,“ שרײַבט מאַרקיש.
אָבער מיט פֿיר יאָר שפּעטער האָט מאַרקיש זיך באַרעכנט װעגן דער המשכדיקײט פֿון דער ייִדישער קולטור. אין אַ רעפֿעראַט אין װילנע אין 1924 האָט ער געזאָגט, לױטן באַריכט אין דער װילנער צײַטונג „טאָג“: „ניטאָ קײן צװײ ליטעראַטורן, ס’זײַנען בלױז פֿאַראַן צװײ ליטעראַרישע עפּאָכעס, מיט פֿאַרשײדענע פֿאָרמעס, אָבער מיט אײן גרונד־ליניע, אײן ענדציל.“
דאָ האָט מאַרקיש פּראָקלאַמיט די המשכדיקײט צװישן די קלאַסיקער װי מענדעלע, שלום־עליכם און פּרץ און דער נײַער ליטעראַטור, װי מאַרקיש אַלײן, װאָס איז אַנטשטאַנען נאָך דער ערשטער װעלט־מלחמה.
אָט די צװײ קעגנזײַטיקע דעות װעגן דער ליטעראַרישער אַנטװיקלונג — אַן איבערבראָך אָדער המשכדיקײט — האָבן באַשטימט צװײ שטרעמונגען אין דער אַלװעלטלעכער ייִדישער ליטעראַטור נאָך דער ערשטער װעלט־מלחמה, סײַ אין סאָװעטן־פֿאַרבאַנד, סײַ אין פּױלן און סײַ אין אַמעריקע.
אין אונטערשייד צו דער הײַנטיקער אַמעריקאַנער שיטה אין ייִדיש־פֿאָרשונגען, װאָס פּרוּװן כּסדר צופּאַסן ייִדישע טעקסטן צו דער הײַנטיקער מאָדע אין ליטעראַרישער טעאָריע, איז װאַכרושאָװאַס מעטאָד דער עיקר אַ פֿילאָלאָגישער.
זי באַזירט אירע אױספֿירן אױף אַ גרונטיקן אַנאַליז פֿונעם שפּראַכלעכן סטיל פֿון ייִדישע מקורים. אַזאַ צוגאַנג מאַכט אירע אַרגומענטן גלײַכצײַטיטק מער װאָגיק און מער ניואַנסירט. זי דערװײַזט פּינקטלעך, װי אידעיִשע און עסטעטישע חילוקי־דעות צװישן ייִדישע ליטעראַטן האָבן זיך אַנטפּלעקט דורך שאַטירונגען אין זײער זאַצבױ, װאָקאַבולאַר, אינעם אױסקלײַב פֿון גערמאַנישע, סלאַװישע און לשון־קודשדיקע קאָמפּאָנענטן.
װאַכרושאָװאַ באַמערקט, אַז כּסדר שאַצט מען אָפּ די פּאָזיציעס פֿון סאָװעטישע שרײַבער, אַזעלכע װי מאַרקיש און דוד בערגעלסאָן, פֿונעם שפּעטערן שטאַנדפּונקט, װען מען איז שױן געװױר פֿון זײער טראַגישן אומקום. זי פּרוּװט, להיפּוך, לײענען זײערע טעקסטן דורך דעם מיטצײַטלערישן שפּאַקטיװ. זי ברענגט דעם לײענער אַרײַן אינעם סאַמע ברען פֿון קריטישע װיכּוחים פֿון די 1920ער יאָרן.
אַן אינטערעסאַנטער בײַשפּיל פֿון דעם, װי אַזױ מען האָט זיך געפּרוּװט צופּאַסן צו די נײַע סאָװעטישע באַדינגונגען, זײַנען דעם נסתּרס פֿאַרצײכענונגען װעגן די שטעט כאַרקעװ, לענינגראַד און מאָסקװע אינעם זאַמלבוך „הױפּטשטעט“. דאָס איז געװען זײַן פּרוּװ אַריבערצוגײן פֿונעם סימבאָליסטישן סטיל פֿון זײַנע פֿריִערדיקע דערציילונגען צו דעם רעאַליסטישן סטיל פֿונעם זשאַנער פֿון רײַזע־פֿאַרצײכענונג.
װאַכרושאָװאַ האַלט, אַז דער נסתּר האָט בכּװוּן אָפּגעהיט עלעמענטן פֿון זײַן סימבאָליסטישן סטיל – אַזעלכע װי ריטמישע איבערחזרונגען פֿון די אײגענע װערטער אין אײן זאַץ, דער שװערלעכער דײַטשמערישער זאַצבױ, דער ניט־פֿאַרלאָזלעכער נאַראַטאָר – כּדי אונטערצורײַסן די פּאָזיטיװע שטימונג, װאָס עס האָט געפֿאָדערט די אָפֿיציעלע סאָװעטישע ליטעראַטור. „הױפּטשטעט“ איז אַ דאָקומענט פֿון דעם נסתּרס אַנטױשונג אינעם פּראָיעקט פֿון אױפֿבױען די ייִדישע קולטור אינעם סאָװעטן־פֿאַרבאַנד, פֿאַרסך־הכּלט װאַכרושאָװאַ.
װי אַ צאָל אַנדערע ייִדישע און ניט־ייִדישע מחברים, װאָס זײַנען געשטאַנען אױף די ראַנדן פֿון דער אָפֿיציעלער סאָװעטישער ליטעראַטור, האָט דער נסתּר געפֿונען אַ מקום־מקלט אין איבערזעצערישער אַרבעט. ער האָט איבערגעזעצט אויף ייִדיש די װערק פֿון די רוסישע קלאַסיקער לעװ טאָלסטאָי, פֿיאָדאָר דאָסטאָיעװסקי, איװאַן טורגענעװ, און פֿון אַ היפּשער צאָל דײַטשישע, פֿראַנצײזישע און אַנדערע שרײַבער.
איבערזעצונגען פֿון דער רוסישער און אײראָפּעיִשער בעלעטריסטיק און דיכטונג, פֿון פּאָליטישער און װיסנשאַפֿטלעכער ליטעראַטור אױף די סאָװעטישע מינאָריטעט־שפּראַכן זײַנען געװען אַ װיכטיקער עלעמענט פֿון דער סאָװעטישער קולטור־פּאָליטיק, און ייִדיש איז ניט געװען קײן אױסנאַם. דערצו איז דאָס געװען אַ מער־װײניקער סטאַבילע פּרנסה, װײַל די האָנאָראַרן האָבן באַצאָלט מלוכישע פֿאַרלאַגן.
דװקא די איבערזעצונגען האָבן אַ סך בײַגעטראָגן צו דער אַנטװיקלונג פֿונעם אײגנאַרטיקן סאָװעטישן נוסח פֿון ייִדיש. איבערזעצונגען זײַנען אויך געװאָרן אַ װיכטיק ליטעראַריש פֿעלד פֿאַר שפּראַכלעכע עקספּערימענטן, בפֿרט װען די פּאָליטישע באַדינגונגען זײַנען אין די 1930ער יאָרן געװאָרן אַלץ שװערער, פֿאַרסך־הכּלט װאַכרושאָװאַ. אַזױ האָט זיך די ייִדישע שפּראַך װײַטער אַנטװיקלט, ניט געקוקט אױף דעם פּאָליטישן דרוק.
The post The battle between tradition and revolution in Soviet-Yiddish culture appeared first on The Forward.
Uncategorized
A Jewish nonprofit was training men to prevent sexual abuse. Then the funding disappeared
When Jewish Women International began speaking out on behalf of Israeli women who experienced sexual violence during the Oct. 7 Hamas attack, or during captivity in Gaza, the organization quickly received new funding and partners for its “I Believe Israeli Women” campaign.
Another project, focused on supporting young Jewish women who have felt isolated “in a post-October 7th world,” has also been popular with philanthropic foundations.
But its work to support female victims of violence in the U.S. — historically a core part of its mission — relies on federal government grants that have evaporated in the second Trump administration, sending the whole organization reeling.
The Department of Justice has refused to release more than $200 million in funds allocated by Congress to help prevent violence against women, including the “culturally specific” grants that funded work educating Jewish men — including helping Orthodox leaders in Philadelphia reduce the stigma around reporting domestic violence and training members of ZBT, a Jewish fraternity, on sexual consent.
“I have been struggling to keep my staff employed,” said Meredith Jacobs, the group’s CEO, in an interview with the Forward. “I’ve taken money from a line of credit — I’ve gone into investment funds — with the hope that, ‘Maybe next month we’ll hear,’ ‘Maybe next month we’ll hear,’ ‘Maybe next month we’ll hear.’”
Jacobs eliminated two senior executive roles at the small organization, which currently has 12 employees and a budget of around $2.5 million, laying off its vice president of government relations in April and declining to replace the chief of programming who retired in December.
Grants awaiting approval
Congress appropriated $713 million to the Department of Justice to spend last year on grants required by the Violence Against Women Act, but the department has only distributed $472 million so far with no announcement as to when the rest of the money will be delivered to organizations.
The Trump administration has gummed up the grant distribution process across the federal government with new requirements that a senior political appointee approve each individual grant. Elon Musk’s team of consultants also removed information about how to receive funding from the Justice Department’s Office on Violence Against Women last spring before adding it back with new restrictions.
One grant program, which provides funding for religious minorities, LGBTQ individuals and people with disabilities, has still not been restored.
Jacobs said her organization had been receiving around $200,000 per year in federal grants but was expecting closer to $1 million last year as it expanded its work training other faith-based nonprofits on how to run domestic violence prevention programs.
The Department of Justice did not respond to questions Thursday about when Jewish Women International and other grant applicants would receive responses to their 2025 funding requests.
JWI was founded in 1897 as the women’s auxiliary of B’nai B’rith and, like many legacy organizations that previously relied on mass membership, it has grappled with how to modernize its operations in recent decades. (The National Council of Jewish Women, a larger peer of JWI, is in the process of a restructuring that has entailed severing ties with several local chapters around the country.)
After years of shrinking spending, Jacobs grew JWI’s budget from around $1.5 million when she started the job in 2020 to nearly $3 million last year with new programs that include a gun violence prevention coalition and financial literacy classes for survivors of domestic violence.
Jacobs said that even in the absence of federal funding JWI remains committed to women’s security and is bringing what she called a “trauma-informed” lens, honed through work with victims of violence, to its women’s leadership network.
Sexual violence in the Oct. 7 attacks and their aftermath spurred a wave of private funding focused on Israel, and on the climate for Jews in the diaspora.
“After Oct. 7, the interest shifted to Israel and antisemitism,” said Jacobs. But domestic violence within U.S. Jewish communities, an especially sensitive subject, has drawn little funder interest. “It’s really hard getting donor attention on our work around domestic and sexual violence,” Jacobs admitted.
Some of the group’s core work may be paused indefinitely until either the Justice Department grants are released or private donors step up to cover the gaps.
“It’s hard to talk about the idea that people within the Jewish community would be abusers,” Jacobs said. “It’s something people don’t like hearing about or talking about.”
The post A Jewish nonprofit was training men to prevent sexual abuse. Then the funding disappeared appeared first on The Forward.
Uncategorized
Meet Matt Turner, the only Jewish player on Team USA in the World Cup
(JTA) — When the U.S. squad suits up Friday night to face off against Paraguay in its opening contest in the 2026 World Cup, one Jewish player will be in the mix.
Goalkeeper Matt Turner is not only the lone Jew on the U.S. team but he could well be the only Jewish player in the entire tournament, which is being jointly hosted by the United States, Mexico and Canada starting on Thursday. It’s the first edition of the tournament to be hosted by three countries, and the first to feature 48 teams.
Israel did not qualify for the World Cup and hasn’t since 1970 — due, in part, to geopolitics that pushed its soccer federation to compete in the talented European body, not in Asia.
Jewish players DeAndre Yedlin and Daniel Edelman, who both play in the MLS and have previously played for the national team, are not on the roster this summer. Yedlin played with Turner in the ‘22 tournament in Qatar, where Turner, 31, was a star.
Turner, a New Jersey native, discovered his Jewish heritage by finding his paternal great-grandmother’s emigration papers that had allowed her to flee Lithuania during the Holocaust.
“Once I found the documents, I was certainly very, very excited,” Turner told the Jewish Telegraphic Agency in 2023. “America, in general, it’s a melting pot, and everybody has those roots elsewhere. So to understand your story, your history, a little bit is really nice.”
The revelation allowed him to obtain a Lithuanian passport, which made it easier for the goalie to pursue soccer opportunities in Europe. It also changed his relationship to his Jewish identity.
“The more my father and I dug, the more we learned, the more connected I felt to my Jewish side, the Jewish culture of my family,” Turner said at the time. “It really changed a lot of me.”
Turner, who now plays for the New England Revolution in MLS, started all four matches in 2022 for an American club that advanced to the Round of 16. He was the first American goalie with back-to-back shutouts in a World Cup since 1930.
Turner has 53 career appearances with the national team, with a 29-16-8 overall record, including 27 matches in which the opposing team did not score at all. He has also played in the Premier League and was the 2021 MLS Goalkeeper of the Year.
This time around, he is seen as less likely to start, following the ascent of a teammate to the top goalie slot. Still, he says he is moved to be part of the national team once more.
“I’ll probably cry when the national anthem goes,” he told FOX Sports. “It’s just such a huge honor — overwhelming honor — to be granted that responsibility to be on this team to do our best in those roles and ultimately, change soccer here forever.”
Although there are few Jews on the field during the 39-day tournament that ends July 19, one familiar Jewish face — or more accurately, voice — will return this year. Legendary Argentine broadcaster Andres Cantor, whose famous “Goooooooal” calls have helped popularize the sport in the United States, will be calling his 12th consecutive World Cup.
Cantor was born in Buenos Aires to a Romania-born mother and a father whose family fled the Nazis in Poland. He moved to the United States as a teenager and has publicly embraced his Jewish identity.
The post Meet Matt Turner, the only Jewish player on Team USA in the World Cup appeared first on The Forward.
