Uncategorized
On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival
(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.
Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.
This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1.
“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”
The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva.
”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section.
Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.
Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.
Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.
Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.
Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”
Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”
Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)
Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage.
Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.
“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”
In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).
He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddler” translating a couple of sentences at a time between scenes.
Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.
Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls.
His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.
“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”
Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.
Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol” (“Never Say”), the anthem of the Vilna partisans.
And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.
He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.”
“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”
—
The post On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival appeared first on Jewish Telegraphic Agency.
Uncategorized
Mamdani isn’t the real resistance against Netanyahu — Israelis are
If you, like so many American Jews this week, are focused on New York Mayor Zohran Mamdani’s video message urging protests against Israeli Prime Minister Benjamin Netanyahu when he visits the city in September, you’re missing the real story.
Pay attention, instead, to what is happening thousands of miles away — not in Manhattan, but in Israel, where the latest polls show Netanyahu and his ruling coalition trailing badly.
In New York, it’s the same old story: Israel guilty, Palestinians blameless, nothing in between. In Tel Aviv and Jerisalem, in Nazareth and Eilat, something else is brewing: change, maybe even hope.
Gadi Eisenkot — the former IDF chief of staff who broke with Netanyahu’s government over the Gaza War — now leads a new party, Yashar. Projections suggest his bloc would win 59 seats if the election were held today, compared to 51 for Netanyahu’s ruling coalition, according to the latest poll,
Eisenkot also beats Netanyahu head-to-head as the preferred prime minister, 43% to 37%.
If Eisenkot joins with Arab parties his coalition would receive 69 seats, substantially more than the 61 seats needed to govern. Though Eisenkot has not said yet whether he would link up with Arab parties, a plurality of Eisenkot’s potential voters (44%) said they would support such a move, in a country where Arab parties have only once been part of a governing coalition.
Eisenkot is no dove. He is someone who has concluded, rightly, that the threats Israel faces include the ones it’s inflicting on itself.
He has vowed to strengthen Israeli democracy and pursue diplomacy with Israel’s neighbors. His party’s platform calls for non-military national service for Arabs, something 75.8% of them favor. His likely coalition partners will include the Democrats, a smaller party expected to win 10 to 11 seats, for whom resolving the Israeli-Palestinian issue is a defining issue. “I see the conflict and the continued occupation as the greatest tragedy of our lives,” Emilie Moatti of the Democrats said at a party rally last month. “The most moral and patriotic act is to end it.”
These are the most hopeful winds to blow through Israeli politics in memory, ahead of the Oct. 27 election — the closest Israelis have come to real, structural change in years. Meanwhile, in the United States, it’s Mamdani’s admission that he lacks the power to arrest Netanyahu — and call for the federal government to do so instead — that has captured the media’s attention and consumed American Jews all week. But one of these stories is theater, the other is real.
We’ve let ourselves become consumed by an empty threat from a politician with no power to carry it out, instead of doing everything we can to support those Israelis who actually have the power to change their country.
In this farce, Netanyahu and the anti-Israel movement each need a cartoon version of the other to keep telling their one-sided story.
Imagine if Mamdani used his platform to draw attention to Makom Lekulanu, “A Place for Us All,” the only Arab-Jewish party standing for election. Instead the mayor of the American anti-Israel movement keeps the focus relentlessly on Netanyahu — because a country full of Netanyahus is a much darker story to tell, and a much more useful foil, than the complicated, pluralistic reality the polls actually show.
Netanyahu and his American supporters need Mamdani for the same reason — to paint Israel as besieged and alone, and all of Israel’s critics as clownish and illegitimate. But Netanyahu’s real critics aren’t clowns. They’re serious, Israel-loving Israelis — a former army chief among them — and they are beating him at the polls.
With Netanyahu offering voters more of the same — attacks on the judiciary, fear-mongering over Arab citizens voting and deeper dependence on his religious and far-right partners — a growing number of centrist Israelis have concluded that a Netanyahu win would put Israel’s very future at risk.
“If Netanyahu wins, it’s going to be a significant crisis, maybe a final crisis for many segments of Israeli society,” journalist Nadav Eyal said on the Jonah Platt podcast.
In this context, Mamdani’s theatrics are one more sign of how untethered the American conversation about Israel has become from what’s actually at stake on the ground. American Jews should stop reacting to him and start paying attention to the people with the power to actually change Israel’s future.
They can’t donate to Israeli political parties, but they can support Israeli NGOs that fund get-out-the-vote and voter education campaigns. They can back U.S. nonprofits that help promote better Israeli policies. And they can do the simplest thing of all: talk about this election — online, in shul, at the Shabbat table, anywhere the conversation has gotten stuck on Mamdani, which is everywhere. Doing that will add real dimension to a very stale debate.
New York voters will, in time, vote on whether their mayor’s selective obsession with Israel is making their city a better, more affordable place to live. That’s their business. But anyone who cares about Israelis and Palestinians should put their energy and focus where it really matters: on the people and movements who haven’t been this close to real, positive change in years.
The post Mamdani isn’t the real resistance against Netanyahu — Israelis are appeared first on The Forward.
Uncategorized
Why do I work for the “Foe-ward”? I traced my accent’s journey to find out
I began my internship at The Forward in May, just a few weeks after I finished my sophomore year at Duke, where I’m majoring in religion and history. My initial days back in my home city were a whirlwind: dinners at Top Thai; long walks up to the Met; reconnecting with friends. The period also included a still ongoing linguistic journey that has fostered a connection with my great-grandmother.
When my friends asked me how I was spending my summer, I was struck by how few of them had heard of the Forward. Initially, I assumed this was because my friends were younger or not Jewish (which was likely the main reason), but I later realized that their confusion was also connected to how I say the paper’s name.
I pronounce “forward” non-rhotically, meaning that I drop the first r so that the word sounds more like Foe-ward. My mom — though born in San Francisco — pronounces the word the same way, and has encountered the same confusion whenever she does. She decided to ask around to find other kindred spirits. My maternal grandmother’s family, we discovered, all pronounced the word the same way: “foe-ward.”
We attribute this to my great-grandmother, whom we call “Bubby Classic.”
My great-grandmother Sadie — my namesake, along with my other maternal great-grandmother — grew up on the Lower East Side. Originally, her family was from Vilna, Lithuania. Her father came to the country at the age of 9 and spoke excellent English, but her mother didn’t speak a word.
My family says that Sadie described her childhood as the happiest period in her life. No one around her was wealthy, but it didn’t matter. Her father was a tailor, which brought in a steady income. As he always said, even if people were poor, they still needed clothes — but he would also donate clothes to those who couldn’t afford them. Sadie had three older brothers, and she told stories about them running after the ice truck together and jumping onto it.
At the time, Jews frequently changed their names to assimilate. Sadie, who wasn’t in love with her name, adopted Syde after the dancer Cyd Charisse. In the last decade of her life, though, she returned to her given name. At one point, she told my family that she didn’t know why she had changed it in the first place.
Sadie was the last member of my maternal family to speak Yiddish, and she spoke with a heavy New York accent; she grew up on “Hestuh” (Hester) Street, as my mom likes to say. When she started a family, Sadie moved out to Long Island, but she brought her children to the Lower East Side every Sunday; my great-uncle and Bubby recall sitting in family members’ apartments, playing with their cousins, eating and talking for hours.
This culture, though, began to fade. My great-uncle Michael tells me that his New York accent was still strong during childhood, but after the family moved to Florida, it softened. Though he still says many words with the accent, he’s been told that he also gained a slight southern twang. Bubby and my grandfather were San Francisco hippies, and she grew up there without a heavy accent, leaving none to pass on to me.
When my family realized how all we pronounced forward, we decided it had to have come from Sadie. We knew “foe-word” wasn’t her exact New York accent, but we thought dropping the “r” must run in the family.
The truth, as I discovered while speaking with linguist David Braun, was that our theory probably wasn’t the most accurate. The New York accent, like Sadie had, is non-rhotic and modifies the pronunciation of “er.” This is typically considered a type of vowel sound, which is stressed in words like her, bird, or person. When it’s unstressed, it is called a schwa and sounds like “uh”: “watuh,” “doctuh,” “fuh-wuhd.” Given that New York was an original colony, these pronunciations were heavily influenced by British speaking patterns, which are similarly non-rhotic.
As time went on, New Yorkers began to pronounce more and more words rhotically, with the accent being rare among newer generations. This was an evolutionary process, which could have resulted in some New Yorkers pronouncing forward as “foe-ward,” but there would also have been those who pronounced the word as “for-wuhd.” In any case, this wouldn’t have been the only word these New Yorkers pronounced non-rhotically: they’d still say caw-nuh instead of corner or regu-luh instead of regular.
My pronunciation of forward — dropping the first r, but not the second — is often interpreted as a phenomenon called dissimilation, which is the process when two similar sounds in a word become less alike. In this case, “r” is used in two back-to-back syllables, and one is dropped to ease pronunciation: “sup-rise” instead of “sur-prise,” “gov-enor” instead of “gov-er-nor,” and of course “foe-ward” instead of “for-ward.” Dissimilation occurs across many regions: unlike the accent, it’s not necessarily tied to New York.
This habit, though I’m not sure where it originated, is more than likely where my family’s pronunciation came from. Still, when I say “foe-ward,” I can’t help but think of my great-grandmother who lived on “Hestuh” Street, and feel connected to the place where she grew up.
How do you pronounce “Forward”? Let us know in this google form.
The post Why do I work for the “Foe-ward”? I traced my accent’s journey to find out appeared first on The Forward.
Uncategorized
Trump administration drops demand that Penn turn over list of Jewish employees
(JTA) — The Trump administration has withdrawn a controversial demand for the University of Pennsylvania to produce a list of Jewish employees as part of a larger investigation into alleged employment discrimination at the Ivy League university.
The withdrawal ends a round of lawsuits over the legality of such a demand, which alarmed Jewish groups on campus and beyond.
The federal Equal Employment Opportunity Commission, which is overseeing the probe, did not explain its decision to drop the subpoena in its Thursday court filing. A representative for the agency declined further comment to the Jewish Telegraphic Agency.
In its own statement, Penn, which had been engaged in a legal back-and-forth over the school’s refusal to compile such a list, said it had “protected its employees’ rights.” The school had shared the names of Jewish staff who had consented to the probe, but resisted sharing the names of all Jewish staff.
“Penn remains committed to fighting antisemitism and all other forms of discrimination, to ensure everyone it serves can learn, work, and thrive,” a university spokesperson said.
The unusual demand, first made in November, came as the Trump administration has aggressively targeted a handful of elite schools accused of failing to curb antisemitism on campus. Most of the time, its intervention has come through the education and health and human services departments, which have cited civil rights violations in seeking to yank billions of dollars in federal funding.
But the EEOC has gotten involved, too, arguing that Penn, in particular, had failed to protect its Jewish and Israeli employees from discrimination. Its case against Penn originated in 2023, and its subpoena had included demands to reveal members of “all clubs, groups, organizations and recreation groups” that were “related to the Jewish religion, faith, ancestry/national origin.” The subpoena also targeted the school’s Jewish studies personnel.
Jewish groups, including Penn Hillel, had argued against the demand, as did free-speech organizations. In an email, Penn Hillel’s director, Rabbi Gabe Greenberg, told JTA the organization welcomed the news.
“Over the past year, I have spoken with hundreds of students, faculty, and staff across the University of Pennsylvania regarding this issue. Every single person expressed objections to the EEOC’s attempt to compel the University to surrender data on Jewish identity and affiliation,” Greenberg said.
He continued, “While many in our community share Penn Hillel’s conviction that campus antisemitism requires urgent, sustained action, demanding ‘lists of Jews’ was a fundamentally incorrect and inappropriate way to address it.”
Earlier this year the agency chair, Andrea Lucas, defended the list-of-Jews demand during an antisemitism conference at Harvard. Lucas told the roomful of Jewish professionals that her office needed the list to identify “potential victims,” including as a means of distributing potential payouts.

(L-r) Andrea Lucas, chair of the federal Equal Employment Opportunity Commission, speaks with Brandeis Center founder Kenneth Marcus at an antisemitism conference held at Harvard University in Cambridge, Massachusetts, April 16, 2026. (Dillon Meyer Media)
“At some point, either the government will know information about individuals related to their religion or we will not be able to enforce the laws on their behalf,” Lucas said at the time.
A federal judge had ruled in March that the request was reasonable, dismissing efforts by Penn and Jewish groups to declare the ruling unconstitutional. However, the judge delayed the deadline by which Penn would have been forced to comply, giving the university more time to appeal.
The EEOC’s larger antisemitism inquiry into Penn continues.
This article originally appeared on JTA.org.
The post Trump administration drops demand that Penn turn over list of Jewish employees appeared first on The Forward.

