By BERNIE BELLAN Often the most interesting story ideas come in the oddest of circumstances.
Such was the case recently when I was attending the unveiling of an old friend. The rabbi who was officiating at the unveiling was Rabbi Anibal Mass.

Following the unveiling I walked over to Rabbi Mass to say hi. We were engaging in an amiable conversation when out of the blue he asked me: “Have you ever heard of Zwi Migdal?”
“Zwi Migdal?” I answered. “What is a Zwi Migdal?”
Rabbi Mass proceeded to tell me a story that I found so utterly amazing I told him that I would definitely follow it up – and write about it.
Zwi Migdal, Rabbi Mass explained to me, was the name of a leader of Argentinean Jewish gangsters who had originally come from Poland – thus the name of the group came from his name.
But it was the principal activity in which those gangsters were engaged that I found so horrifying, and almost unbelievable: They lured young Jewish women from Poland into coming to Argentina with promises that they would find work there – perhaps as au pairs or as seamstresses, but once they arrived to Argentina they were forced into prostitution.
They were forcibly kept in brothels and warned that if they ever tried to escape they would be hunted down and forced back. The enforced confinement of thousands of Jewish women in brothels in Argentina occurred over a very long period – from the 1860s to 1939.
According to Wikipedia, “During the 1920s the organization grew to its largest-ever size. At its height, 430 individuals, acting as pimps and in other criminal roles, oversaw a network of 2,000 brothels and approximately 4,000 women in Argentina alone.”
There were also branches of Zwi Migdal in other countries, including Brazil, the United States , Poland, South Africa, India and China.
Actually, if you want to read a detailed description of how Zwi Migdal operated, the entire Wikipedia article lays it out in graphic detail, including the modus operandi that Jewish pimps in Poland used to lure young women – who almost always came from poor families where the opportunity to have a better life in Argentina was so alluring that thousands of women fell prey to those false promises

Now, there was a reason Rabbi Mass brought up the story of Zwi Migdal in a cemetery. As he told me more about what happened in Argentina – and I was quite stupefied by the story he was telling me, he explained that eventually – and it was as a result of one very brave woman by the name of Raquel Liberman, that the members of Zwi Migdal were finally brought to justice.
Over 100 of them were put on trial – but even though many of them were convicted and sentenced to prison, the judicial system in Argentina was so corrupt that all but three were released from prison in short order. However, the public outcry over the release of all those pimps was so huge that justice officials were forced to rescind their releases. Many of them ended up moving to Uruguay.

It was what happened to them when they ended up being buried in one particular cemetery in Buenos Aires, Rabbi Mass told me, that was so unusual – and was the reason he was telling me this particular story in a cemetery: They were all buried in one section of that cemetery and a huge wall was built around the area of their graves – so as to forever cordon them off from the rest of the cemetery.
Something else that Rabbi Mass mentioned to me during our conversation was that Orthodox conversions are not allowed in South America. I asked him why that was? He said it was because many Jewish men had been marrying non-Jewish women who had gone through a “conversion of convenience.”
Here’s what I found when I asked AI why Orthodox conversions are not allowed in South America:
“Mainstream Orthodox communities in Latin America are traditionally highly tight-knit and conservative. Local leadership often uses the restriction to filter out ‘conversions of convenience’ (converting solely to marry a Jewish partner). By requiring candidates to travel to Israel or North America for final conversion, authorities ensure the applicant has the financial means, intense dedication, and long-term commitment required to live an Orthodox life.”
Later that same day Rabbi Mass sent me even more information about Zwi Migdal, including a link to a movie about Raquel Liberman on Vimeo. The movie is called “Raquel: a marked woman.”

The movie is somewhat of a docudrama in that it intersperses actual footage from the early 20th century with dramatizations of Raquel Liberman’s life in Argentina. Her courage in defying the gangsters who were forcing her to work as a prostitute is something to behold.
Another fascinating aspect of Zwi Migdal is that, while its members were held in total contempt by mainstream Argentinean Jewish society, they were able to fashion their own separate society, including building their own Orthodox synagogue – for which they had rabbis who were willing to serve as rabbis despite knowing what complete degenerates the members of Zwi Migdal were.
The notion that there was a Mafia type organization made up entirely of Jews is not in itself so difficult to comprehend. After all, there is a long tradition of Jewish gangsters; Murder Incorporated, for instance, which was made up of murderers for hire, was a Jewish organization.
But to think that hundreds of Jewish men – for a period lasting almost 70 years, were engaged in forcing young Polish Jewish women into prostitution? I was so amazed by the story Rabbi Mass told me that when I told him I would just have to write about that story, he responded that “This is worth, at least, a Limmud session.”
I responded in kind, saying that while it was something I would certainly consider proposing to the organizers of Limmud, rather than me conducting a session about Zwi MIgdal, given his own South American background, he would be far more suited to telling the story of Zwi Migdal at Limmud. Wouldn’t that be fascinating? 

By HENRY SREBRNIK Mississippi: A Yiddish Play about the Scottsboro Affair, by Leib Malach, edited by Alyssa Quint,  translated by Ellen Perecman and Alyssa Quint (Bloomsbury Academic, New York, 2026; 128 pages, $89.50USD hardcover, $29.50USD paperback). 

On March 22, 1935, enthusiasts of Warsaw’s avant-garde theatre scene slipped into a community hall at 19 Dluga Street to see an edgy, new play called “Mississippi” performed by the Yiddish experimental theater group, Yung Teatr (Young Theatre; in Polish, “Teatr Mlodych”).

A new book that includes a translation of the play retells the story of the notorious Scottsboro Affair. Alyssa Quint, the editor, is the author of The Rise of the Modern Yiddish Theaterand the editor of two forthcoming volumes on the Yiddish theatre, Women on the Yiddish Stage and Avrom Goldfaden’s Shulamis: a Critical Edition. Ellen Perecman holds a Ph.D. in Linguistics from the City University of New York. Her book, Ten Yiddish Plays in Translation, includes translations of plays by Sholem Aleichem, Sholem Asch, Peretz Hirshbein, H. Leivick and David Pinski. 

Although devoid of any Jewish themes, “Mississippi” is, nonetheless, an original Yiddish play. In their English translation” Perecman and Quint have undertaken what the publishers call “a work of cultural salvage.” Penned in 1935 by Polish-Jewish playwright Leib Malach, “Mississippi” was performed on the Warsaw stage by the experimental Yiddish theatre company Yung Teater (Young Theatre) led by legendary director and drama theoretician Mikhl Weichert. Yung Teater dramatized favorite themes of the international left, including the trials of the anarchists Sacco and Vanzetti and the Scottsboro trial. Malach and Weichert were keen to depict a dramatic episode from contemporary life that reflected their humanistic and leftist political ideas as well as avant-garde theatrical practices. Weichert praised the cultural activities of the Soviet Union, especially its innovations in the theatre, but he and Malach were not members of the Communist Party, as Communism in interwar Poland was illegal, though they saw their production as contributing to this movement.

Writing in the weekly Literarishe Bleter on the eve of Mississippi’s premiere in March 1935, Malach explains how watching Weichert’s theater group inspired him to write about the Scottsboro Affair:

“I itched to write something with a social theme. I had just been in America. . . . I had attempted to represent in dramatic form the tragic event of the Scottsboro incident, the tragic lynch-sentence of nine Black boys. The event is well known to everyone. But the living drama is so big that my first attempts at capturing it struck me as lifeless . . . But seeing the youth of Yung Teatr in their performance [. . .] brought the Scottsboro tragedy back to my head.”

Malach, Quint tells us, researched and laboured over the play “in the context of a growing corpus of literature by Yiddish writers who trained their focus on racism in the Jim Crow South, and who identified with the socialist and Communist Party politics attached to the ordeal of the Scottsboro Boys. Moreover, they also found that the racism and lynchings depicted in the play bore a deep resemblance to the injustices perpetrated against Jews both historically and contemporaneously.”

Quint notes that historically, Malach’s most significant encounter with Black Americans and Black American culture was in Harlem, and the very specific details with which one of the Scottsboro Boys, Peter, dreams of Harlem are likely a product of this encounter. 

The Yiddish composer Henekh Kon wrote all the songs that appear throughout the play. They are in Yiddish but based on Kon’s understanding of African-American genres including gospel, freedom songs and jazz. A self-taught musician who grew up immersed in Jewish music — tunes of the Hasidim, of the klezmorim and of the wedding jesters — and who later trained at the Music Academy of Berlin, Kon composed music for over forty works, including the film version of S. Y. Ansky’s The Dybbuk (1937).

“Today’s readers of Mississippi will note that it is not a play that might have been written or performed today,” Quint writes. “Its portrait of African-American life tilts toward stereotype, its Communist ideological aspirations are also too baldly expressed, and the play lends itself to charges of cultural appropriation.” Since the actors are all white, they also perform in blackface. Presumably, there were few, if any, Yiddish-speaking Black actors in Poland, so the problem of how to present the actors playing the Scottsboro Boys as Black Americans without the production’s resorting to make-up might have seemed insurmountable.

I’ve written books and articles on American Jews and Communism, so I’m familiar with the story of the “Scottsboro Boys.” But I knew almost nothing about Leib Malach and “Mississippi,” though it has been mentioned in some books by, among others, Amelia Glaser, in Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine; Joshua Morris, in The Many Worlds of American Communism; and the very many others who have written shorter articles on the Jewish left and theatre, like Zack Rothbart and Jeffrey Veidlinger. In fact Alyssa Quint herself has written about the play in a volume, Oyfn Sheydveg: At the Crossroads: Jewish Intellectuals and the Crisis of 1939, edited by Joshua Karlip.

Leib Malach (the pen name of Leib Zalzman, 1894-1936) was born in Zwolen, Poland where he received a traditional Jewish education. He moved to Warsaw as a teenager, supporting himself by working in various trades. His literary talents were discovered by Hersh Dovid Nomberg, who helped him publish his first ballad in 1915. He later became a prose writer and noted dramatist. He emigrated to Argentina in 1922 and traveled widely in South America. After his return to Poland in 1929, he continued to travel and write popular travel sketches. He lived in Mandate Palestine from 1934-35 and was active with the Labour Zionists. Many of his plays reflect his leftist politics and concern with social injustices. He died after an illness in a Paris hospital, aged 41.

Born in Podhajce in eastern Galicia and raised in Stanislawow, Weichert received his education at kheders and in Polish schools. He attended law and humanities programs at universities in Lwów, Vienna, and in Berlin, where he studied avant-garde theatre with the preeminent German director Max Reinhardt. 

“Mississippi” is a fictionalized retelling of the Scottsboro Affair, which began with the wrongful arrest of nine African American youths accused of rape in Alabama in 1931. It was staged in Warsaw in early 1935 and hundreds of times thereafter at various theatres in Poland, Israel, Canada, and Argentina. While the Scottsboro trial played out in the state of Alabama, the playwright thought it best to set the play in Mississippi, a name closely associated with the American South. The internationally acclaimed play highlighted the injustices of the American South, resonating with Eastern European Jewish audiences. It demonstrated how important it was to Yiddish writers of the 1920s and 1930s to grapple with the persecution of American Blacks. 

In her introductory essay, Quint treats the political aspirations that animated Malach and Weichert, and the vulnerability felt by European Jewry that it saw reflected in the experience of Black Americans. It was the first play on the Yiddish stage — and possibly on a Polish stage — to depict the oppression of Black Americans. It traveled to multiple Polish cities and was met by the Jewish press with almost uniform enthusiasm and curiosity. That the Scottsboro trial unfolded against the backdrop of the rise of Nazism in Germany lent Jewish works more urgency in seeking solidarity across ethnic lines.

In the 1930s, the story of the Scottsboro Boys, nine black teenagers accused of raping two white women on a train in Alabama, was reported in newspapers around the world. From the American south to the Yiddish stages of Eastern Europe, news of the affair and the injustice that followed spread quickly. Many believe the high-profile series of events was an inspiration for the book and movie To Kill a Mockingbird.

The Scottsboro Boys case began on March 25, 1931, when nine young Black men and boys hopped aboard a Southern Railway train in search of work in Memphis, Tennessee. At some point a fight with whites on board erupted, and the Black riders forced some white travelers off the train. The ejected riders then claimed that they had been attacked, and two of the female white riders then asserted that they had been raped. An all-white jury convicted the nine, and all but the youngest, who was 12 years old, were sentenced to death. Numerous retrials followed, all resulting in guilty verdicts.

No crime in American history– let alone a crime that never occurred — produced as many trials, convictions, reversals, and retrials as this one did. Over the course of the next two decades, the struggle for justice of the Scottsboro Boys launched and ended careers, wasted lives and produced heroes, opened southern juries to African Americans, exacerbated sectional strife, and divided America. 

The Scottsboro Boys, thanks to the efforts of, among others, a New York Jewish lawyer, Samuel Leibowitz, who later took over their defence and was himself under attack by antisemites, avoided execution. The fact that Leibowitz was Jewish and brought in by Communists certainly did not help his cause, nor that of his clients, once the retrial commenced. His style and bravado were not welcome in Alabama.

But he prevailed and they were all ultimately spared the death sentence. In the years and decades that followed, all of them had their convictions overturned or were pardoned. This included three posthumous pardons granted by the governor of Alabama in 2013, more than two decades after the last of them had passed away. 

A cause celebre, Scottsboro has been the subject of countless articles and books, and this new one, about a Yiddish play that dramatized the affair, provides an interesting lens to how deeply it resonated with Jews in Canada, the United States and Europe. 

Henry Srebrnik is a professor emeritus of political science at the University of Prince Edward Island.

By Ann Levin August 31, 2026

This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.

American Scoundrel: Roy Cohn’s Dark Journey from Joe McCarthy to Donald Trump
By Kai Bird with Susan Goldmark
Scribner, $32, 528 pages

By the beginning of the new millennium, Roy Cohn, the red-baiting scourge of the McCarthy hearings, lived largely in the pages of U.S. history books, trotted out on occasion to illustrate how America always manages to overcome its worst nativist impulses. But just in case someone never knew or had forgotten about Cohn’s malign influence on U.S. politics, Tony Kushner brought him back as a villain in his brilliant drama of the early 1990s, Angels in America.

Then, in 2016, Donald Trump was elected president and suddenly, Cohn was breaking news again. The very next year, when Trump was furious at then-Attorney General Jeff Sessions for recusing himself from an investigation into whether Russia meddled with the election, the president cried out to his advisers, “Where’s my Roy Cohn?”

Now, as if in answer to that question, Kai Bird has written a magisterial biography of the notorious lawyer and Trump whisperer that is indispensable reading for anyone who wants to understand the current political moment. Bird, the co-author of American Prometheus, the Pulitzer Prize-winning biography of Robert J. Oppenheimer and inspiration for the Oscar-winning movie, began it in 2022, a couple years before Trump’s re-election. He collaborated with his wife, Susan Goldmark, who did the research for this riveting account of the unseemly, outrageous life of the hustler and con man about whom Trump once said, “If you need somebody to get vicious, hire Roy Cohn.”

Though Cohn has been long gone from public life — he died of AIDS at age 59 in 1986, insisting to the very end that he had succumbed to liver cancer — Bird demonstrates how he practically invented the dark political arts of resentment and division adopted by his former client, protégé and future president of the U.S.

Indeed, over the recent 4th of July weekend — decades after the collapse of the Soviet Union — Trump used Cohn’s divisive, inflammatory rhetoric in back-to-back speeches, including one at Mount Rushmore, branding his political opponents as evil, godless communists.

Bird walks us through Cohn’s life decade by decade. He grew up as an only child in a wealthy Jewish family on the Upper East Side and attended elite private schools, where his boyhood friends included Si Newhouse Jr., heir to the Condé Nast media empire, Gene Pope Jr., who would go on to found the National Enquirer, and, improbably, Al Lowenstein, later a well-known liberal Democratic activist and politician.

After Cohn graduated from Columbia Law School, his father, a judge, pulled strings to get him a job in the U.S. attorney’s office for the Southern District of New York, where he made a name for himself as the boy prosecutor who sent Julius and Ethel Rosenberg to the electric chair in 1953 for passing nuclear secrets to the Soviets. His tactics were highly irregular, including private meetings with the trial judge.

Not long after that, he went to work as chief counsel to Wisconsin Senator Joe McCarthy, using his position to force U.S.-funded libraries abroad to purge 30,000 books on the flimsy pretext that the authors were communists or Soviet sympathizers. He was also a central figure in the so-called Lavender Scare, when hundreds of federal employees thought to be gay lost their jobs because they were deemed a security risk.

By the 1960s, Cohn was back in New York, hanging out at the Stork Club and 21, squiring Barbara Walters around town, and representing mobsters though still living at home with his mother at 1165 Park Avenue. Over the next decade he would be indicted three times by U.S. Attorney Robert Morgenthau Jr. for bribery, perjury, extortion and other white-collar crimes. In each case, he managed to beat the rap though months before his death he was finally disbarred for unethical conduct.

After Cohn’s mother died in 1967, he moved into a stately townhouse on East 68th Street, where he established his law practice and stopped the pretense of dating women though he never publicly came out as gay. Then, in 1973, Cohn met his most consequential client. At the time, Trump was the 27-year-old son of a Queens real estate mogul trying to break into the Manhattan market and living in a rent-controlled studio on East 75th Street with a view of a water tank on an adjacent building.

Cohn advised the family on how to fight a Justice Department lawsuit accusing the real estate company of violating the Fair Housing Act by refusing to rent to Black tenants. Over the course of the litigation, Cohn taught Trump his signature moves: Keep your name in the paper. Never settle. Countersue. Claim victory. Don’t pay the bills.

Cohn also advised Trump on his first major real estate deal in Manhattan — buying the dilapidated Commodore Hotel on East 42nd Street, next to Grand Central Terminal. To get the deal done, Cohn worked his extensive connections to New York’s first Jewish mayor, Abraham Beame, a player in Democratic machine politics and an old friend of Cohn’s father.

For more than a decade, Trump continued to model himself after his mentor, adopting his penchant for personalized license plates and his snarling, scowling demeanor. Bird argues that in the decades since Cohn died, the McCarthyism of the 1950s has morphed into a nativist, America Firster politics that transformed the Republican Party into one of resentments against the old establishment, multiculturalism, globalization and liberal culture — in other words, the MAGA movement of today.

Cohn’s “values, his unethical behavior, and his political mindset have survived and replaced the values of the establishment he so resented,” Bird writes. “Perhaps his life is proof of the ability of one individual to change the arc of history. Certainly, he gave us the narcissistic politics of Donald Trump.”

Ann Levin is a writer and book reviewer who worked for many years at The Associated Press. Read full bio →

This story was originally published on the Forward.