Features
Mitch Podolak: ‘A Citizen of Earth’
By KINZEY POSEN (Ed. note: This story first appeared in the October 11, 2017 issue of The Jewish Post & News. With the Annual Winnipeg Folk Festival about to celebrate 50 years since its inception – and which MItch helped create – along with his wife Ava Kobrinsky and Colin Gorrie, we thought it an appropriate time to reprint Kinzey’s moving tribute to Mitch.)
Last November Mitch Podolak was leaving one of his favourite Winnipeg restaurants, the Evergreen on Pembina, when he suddenly fell outside. As he lay there somewhat stunned, he realized that this fall was about to change his life. He couldn’t feel the lower part of his body after landing hard on his neck.
Fast forward to September 2017 and I’m sitting with Mitch in his apartment on Sterling Lyon Parkway in Tuxedo. He just turned 70 on September 21st. When I said, “Imagine, Mitch Podolak living in Tuxedo,” he quickly says, “It’s the wrong side of the tracks.”
In a way I guess he’s right – you can see and hear the rail line close up from his window and Ikea is across the road. He and his wife, Ava Kobrinsky, moved there after he was released from the hospital in April of this year. They still have their home in Wolseley, but Mitch can’t negotiate the stairs and living on one floor is the way to go for now. These days, Mitch uses a motorized wheelchair to get around and his apartment has specialized equipment to help him stand and perform his physiotherapy. He admits he loves the exercise.
Mitch has come a long way from that fateful day last November and can now stand on his own, walk unaided for a short distance, and has regained much of the feeling in his body. There’s still a long way to go to be considered normal, but he’s confident that by the end of this year, he’ll be more mobile.
For those who know him, Mitch’s name is synonymous with the Winnipeg Folk Festival, the Edmonton and Vancouver Folk Festivals, the West End Cultural Centre, The Stan Rogers Festival in Canso, Home Routes… the list goes on. He’s also well known for his political action and work in trying to bring about change. His efforts have led to his being awarded an Honourary Doctorate from Brandon University and the Order of Manitoba from the Province.
When Mitch had to attend the award’s ceremonies, he knew that he had to wear something a bit more sophisticated than his usual black T shirt and jeans. He called up friend and magician Brian Glow to be his fashion consultant. After spending $600 on a dapper black suit, black shirt and silver tie, Mitch shocked many by appearing in his new clothes.
So how did Mitch come to be where he is now, a veritable living legend – a man with more stories to tell than a recovering addict at a 12 step meeting?
It all started in Toronto in 1947, when he was born to Rhoda Layefsky and Noach Podolak. His dad was 20 years older than his mum. Mitch is the youngest of three children – after Alice, the oldest, who lives in Cape Breton, and his brother Mark, a retired Treasury Board Analyst in Ottawa, who’s known as the “white sheep” of the family.
The Podolak family lived on Major Street, in a neighbourhood full of Jews and Europeans located between Bathhurst and Spadina. His father Noach, originally from Poland, was a housepainter, who also did theatrical sets for the Yiddish Theatre in New York for a period of time and was a friend of the well known Jewish actor, Paul Muni. His mum Rhoda was a strong, loving woman, who was born in Canada. Her dad, Mitch’s grandfather Avram Liebe, played a special role in his life and was his hero. The two had a special relationship. During the Spanish Civil War, Rhoda was an organizer for the Friends of the Mackenzie-Papineau Battalion.
Both Mitch’s parents were passionate socialists and he grew up in a rich atmosphere full of fervent political discussions. Mitch’s dad was a member of the Communist Party, but pulled out of the organization in 1956, over the invasion of Hungary and anti-Semitism in the Soviet Union. It was also the year he died, when he was only 56. Mitch was only nine years old at the time and Rhoda, who was now widowed in her thirties, turned her energy to providing for her three kids. She worked as a bookkeeper and remained a widow until her passing in 2005.
At the age of seven, Mitch started to learn how to play the clarinet. The lessons were classical and he really didn’t like it. Although he grew up in an era when rock & roll was making its debut and was just beginning to move the world in a different direction, Mitch was destined to follow a different musical path altogether. When he was 13, his older sister Alice had two tickets to go to a concert at Massey Hall with a guy who was a no-show. Instead, she took Mitch, who thought his sister was going to take him to the symphony. To his surprise, it was to a concert that forever changed his life. The featured performer was folk legend Pete Seeger and young Mitch was simply awestruck, especially by one song. On the way home, Alice explained to him what that particular piece, the “Bells of Rhymney,” was about and what the performer was trying to get across to the audience. He connected with the songs in a way that was new and liberating. Since that day, Mitch has become an ultra passionate supporter and fan of folk music, the kind we call “singer songwriter” now. Along the way, he also learned how to play the banjo quite well.
Mitch comes by his musical ability quite honestly. His uncle Philip on his dad’s side was the conductor of the Polish Army Symphony and his dad, Noach, played the clarinet.
Growing up in a very socialist family, Mitch was sensitive to the actions of the McCarthy era. He recalled two television shows in the fifties that were anti-Communist: “The Man called X” and “I Led Three Lives.” Both seemed to have the communists meeting in basements, with peeling paint and bare wire light bulbs hanging from the ceiling. The plots were often about how to recruit new members and sabotage buildings. On the walls there were portraits of Marx, Lenin, Engels, and Stalin, and they all spoke in bad Russian accents.
As Mitch’s awareness of how socialism could benefit society deepened, he recalled one event that sticks with him till today. It was seeing a hungry man eat chicken out of a garbage can – an image that’s put much into perspective for him.
In 1961, at the age of 14, he joined what was known at the time, as the Y.S.A – the Young Socialist’s Alliance, in Toronto – a Trotskyite youth movement, where everyone called each other “comrade”. Mitch was the youngest member by only a few months. When he first attended a meeting, much like the TV shows, there were portraits on the wall of Marx, Lenin and Engels, but instead of Stalin, there was Leon Trotsky. His involvement gave him the tools and inspiration to engage in socialism and later the anti Viet Nam war movement. Around that time, he met Harry Paine at a movement meeting – a man who would go on to become one of his best friends.
In 1968, Mitch made the move to Winnipeg to study as a mature student at the University of Manitoba and specifically do political organizing. He also established the Vietnam Mobilization Committee. Mitch recalled one particular scene during this period, when he and his friend, Joe Flexer, organized a major event at the U of M. They wanted to go to the Dow Chemical Company’s recruitment centre on campus to demonstrate. At the time, Dow was one of the manufacturers of napalm, a rather nasty incendiary weapon used in Viet Nam against the Viet Cong and innocent people. It would stick to the skin and cause severe burns.
In anticipation, Mitch and Joe went to a hardware store and bought the biggest chains and padlocks they could find to lock the doors to the centre. After entering and insisting they be able to talk to the Human Resources manager, he eventually came out to hear their statement. It was Joe Flexer who yelled out, “Our statement is, get the f_____ off our campus you war-mongering c__k s___s!”
That’s when the situation escalated. The manager went back into the building and the protestors pulled out the lock and chains to stop people from entering and exiting. Soon, there were a thousand people and fights began to break out. As Mitch recalls, it was a crazy time. Mitch recalls that his salary as an organizer was a hundred dollars a month.
In 1970, he left Winnipeg and began to do more political work in Halifax. It was during that time that Mitch first met Winnipegger Ava Kobrinsky, his wife of 40 plus years. They met in 1971 at the Trotskyist Hall in Toronto and were soon married. They returned to Winnipeg in 1972 when Mitch was 24.
Two years later, Mitch co-founded the Winnipeg Folk Festival with Ava and Colin Gorrie and his life took on a completely different dimension. Over the years, his expertise and vision helped establish almost all of the major folk festivals throughout Western Canada, plus others in Ontario and the Maritimes. He was a bona fide Folk Festival consultant.
As we talked, the subject shifted to music and Mitch showed me how he couldn’t use his left hand any more to play the banjo. Some of the fingers had lost their feeling and were also muscle damaged. He used his electric wheelchair to move over to his desk and grabbed a harmonica. He blew a few fat notes and told the story of how he came to play.
One night, while still in the hospital, at around 10:30 pm Mitch was in bed. He was startled to hear a familiar voice asking people outside his room, “Where’s Mitch?” when suddenly, well known blues musician, Big Dave McLean barged in.He handed him a harmonica and in his gruff voice said, “Here, learn how to play it,” and quickly left.
His multi-month experience in the Health Sciences Centre taught him several things. He can’t say enough about the doctors, nurses and staff who touched him through their professionalism, dedication and caring. He reflects a lot about what will happen with the impending cutbacks and what will happen when more baby boomers enter the system.
Back in January, Mitch’s good friend , singer, songwriter, and artist, Heather Bishop, organized a crowdfunding initiative to help finance necessary renovations to his home. It’ll allow him to live there eventually.
The goal was $20,000. It went live on Thursday and by Friday, the goal had been reached. Mitch was deeply touched by the outpouring of good wishes, stories and funds. It’s something he’ll never forget.
I asked Mitch if he had any regrets so far in his 70 years and his response was an immediate: “None.” I then asked what he was most proud of and he said, “The work we did to help stop the war in Vietnam, the West End Cultural Centre,” and, he added, the numerous folk festivals he established. Then, pausing for a few seconds, he smiled in his chair and said,“I’m proud of my relationship with my wife, our partnership, and my children.”
“Ava is an unsung hero, brilliant at organization, without her, none of this would have happened,” he added.
It’s not difficult to see what drives Mitch Podolak in terms of inspiration.
Basically, it’s two things: politics and music – in no particular order. It’s where it started for him and where he continues to flourish and contribute as a human being.
Mitch is constantly thinking of where to go next. His medical problems as a human being have given him plenty of time for introspection and he wards off any negativity by staying focused on his projects. His body may have slowed down, but his brain doesn’t rest.. The power of a moving lyric tied to a melody never fails to move him. Pair that with his love of freedom, justice and “menshlechkeit,” and you realize that what his family inculcated him is ever present.
He has three major projects he’s working on right now. One of them is a book entitled “Passing Through.” It will consist of 71 essays of people he has known throughout his life, including: his Uncle Meyer, who jumped off
the train on the way to Auschwitz, but whose family refused to follow him; his Zeida Avram Leibe – his mum’s dad whom he idolized and who taught him how to play gin; plus Mitch’s very close friends, Joe Flexer and Harry Paine, among 67 others.
Throughout the years, Mitch has kept in touch with his siblings, cousins, nephews and nieces. He appreciates family and the connections it brings. He calls it the core Podolak: people caring about other people.
I ended our conversation by asking Mitch how he feels about being a Jew. His Hebrew name is Melech which, of course, means king – and he likes the name. His mum Rhoda often used it: “Melech Ben Noach”, a.k.a. Mitch Podolak. Suffice to say, you’re not going to find Melech at any of the synagogues on Yom Kippur or on any other holidays. He loves the culture, the food, the music, the humour, but he’s an avowed atheist. He’s well aware of Jewish values and ethics and uses them to form his vision of a better world, especially the aspects of brotherhood and sisterhood. When it comes to Israel, Mitch has hopes of it becoming a socialist country, in the context of a socialist Middle East in which all Semites are equal and united in making a better world. In his way, Mitch Podolak has found a path to peace.
At the age of 70 and having to undergo a traumatic health setback, he’s remarkably selfless, stubborn, surprisingly traditional, and ever hopeful and optimistic. In fact, these days, at a time when his injuries won’t allow him to play his beloved banjo, Mitch says, “At least I can sing badly!”
(Ed. note: MItch Podolak passed away in August 2019.)
Features
“Lessons from the Holocaust for Today”
By HENRY SREBRNIK On April 12, I spoke at our annual Yom Hashoah memorial ceremony in Charlottetown. The last time I did so was in April 1976, in Montreal. It was, for Canadian Jews, a completely different time. Montreal was still the first city of Canadian Jewry, with Toronto a distant second. Israel seemed a secure country, having won a hard-fought victory three years earlier in the Yom Kippur War.
There were clouds gathering, true – after all the UN General Assembly had passed the “Zionism is a form of racism” the previous December, and a powerful Communist bloc led by the Soviet Union was still a formidable enemy.
Today, Jewish life has become far more precarious. Two things are essential for an anti-democratic political movement to succeed: ideological justification by academics and intellectuals, and control of the streets by violent mobs. Since Oct. 7, 2023, when Hamas invaded Israel, we have seen both.
At McGill University in Montreal, a March 21 referendum by the Law Students’ Association (LSA) supported amending the group’s constitution to boycott Israeli academic bodies, though it was deemed illegitimate by the university’s president. Similar actions are taking place across Canada. Indeed, at Vanier College, a Montreal CEGEP, it abruptly cancelled its Holocaust commemoration on March 25 because it didn’t think it could keep guests and the college community safe.
Unfortunately, we know a terrible precedent for this union of the intellectuals and the mob. Nazi ideology, too, was not formulated by street thugs. Historian Max Weinreich published his book Hitler’s Professors in 1946, noting that German scholarship provided the ideas and techniques that led to and justified unparalleled slaughter. All too many Nazi war criminals were holders of PhDs.
As historian Niall Ferguson reminds us, in an article published in the New York Free Press of Dec. 11, 2023, “Anyone who has a naive belief in the power of higher education to instill morality has not studied the history of German universities in the Third Reich.” The “final solution of the Jewish question” began, he has written, with words — “to be precise, it began as lectures and monographs and scholarly articles.”
The American writer Vivian Gornick, reviewing a book, “Turning a Blind Eye, A memoir of daily accommodation to fascism,” by the German historian Joachim Fest, about Hitler’s Germany in the 1930s (before the Holocaust), quotes this passage:
“Everyone sees that life for the Jews is gradually shutting down. Take their neighbor and good friend, Dr. Meyer: one day he can no longer subscribe to newspapers and magazines; another, he has to hand in his bicycle and typewriter; another, he can no longer keep a pet or buy flowers. Then all the Jews simply start disappearing from the neighborhood.” The Nazi march to power literally begins with shutting Jews out of public life while using academia as the heavy hand of indoctrination.
Is this slowly happening to Jews in Canada today, as they are pushed out of or refused admittance to cultural events, colleges, universities, and graduate schools, academic university positions, publishing, music, theatre, and so on? In “Canada’s Polite Pogrom,” By Jesse Brown, Atlantic, March 24, 2026, he writes: “Is a national tolerance for zealotry purging Jews from public life?” Jewish life in Canada may have “forever changed,” he argues. “I can no longer take for granted that people like me are represented in Canada’s hospitals, schools, newsrooms, and legislatures.”
We may see the quiet withdrawal of Jews from Canadian society “without any glass or bones being broken,” simply because the evidence that they are no longer welcome has become overwhelming. Another writer calls it the social and academic “shtetelization” of Western Jewry.
We even face obstruction from the Canadian government. In just the last two years, eight explicitly Jewish non-profit charities, including the Jewish National Fund, have been stripped of their ability to collect tax-deductible donations by the Canada Revenue Agency — often amid pressure campaigns from anti-Israel activists. The delisting was also celebrated by the Professional Institute of the Public Service of Canada (PIPSC), the union representing CRA workers.
We now witness continuous large “pro-Palestinian” rallies through our cities, invasions of shopping malls and thoroughfares, including intimidating behaviour against Jewish passersby. Today, police stand and watch mobs chant for Israel’s destruction, call for the genocide of its people, harass visibly Jewish citizens, and drive antisemitic intimidation deep into urban life. They now believe their job is to enforce the law only if it does not risk upsetting violent constituencies. This makes Jews expendable, because defending them risks confrontation.
And these events are not just “political protests.” At an al-Quds rally in Toronto March 14, protesters held signs that showed rats crawling out of a Star of David, depicting a Jewish man as a goblin-like creature emerging from a cave, and showing a Jewish man as a hook-nosed caricature.
Three Jewish synagogues in Toronto were hit with gunfire in one week in March. After every such incident, we hear that “antisemitism has no place in Canada.” But if that were true, synagogues would not require concrete barriers. Jewish schools would not need armed security. Community institutions would not conduct threat assessments before hosting events. Yet big city mayors like Toronto’s Olivia Chow don’t seem, to put it diplomatically, be losing much sleep over what’s going on in their cities.
The attacks on Jews, including physical assaults and social media campaigns, are part of a purposive campaign designed to make Jews think twice about gathering with other Jews, entering a synagogue, going to kosher restaurants, putting a mezuzah on the doorpost of their apartments or dorm rooms, or wearing a Jewish star around their necks. In fact people have been attacked on the street for speaking Hebrew.
If each Jewish holiday will now be seen by antisemites as an opportunity for terror, then the prognosis for diaspora Jewry is bleak. Unless things change, Jewish life in the diaspora will become more sealed off from the larger society.
We may be returning to a time that we thought was long behind us. And we are less prepared for it than our forebearers were, because they were used to living in a semi-segregated world, and expected less from the larger society. As large swaths of the Jewish community are beginning to retreat inward, the greater long-term fear is the collapse of Jewish life here altogether.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
Features
Streaming the Diaspora: Jewish Stories in the Digital Age
The digital era has transformed how cultural narratives are created, shared, and preserved. For Jewish communities around the world, streaming platforms have become powerful tools for storytelling — enabling voices from different countries, traditions, and generations to connect in ways that were once impossible. What used to rely on local gatherings, printed texts, or regional broadcasts is now accessible globally, instantly, and interactively.
Streaming has allowed Jewish stories to transcend geography. Whether it’s historical documentaries, modern dramas, or personal testimonies, audiences can now explore a wide spectrum of perspectives — from Ashkenazi and Sephardic traditions to contemporary Israeli culture and diaspora experiences in North America, Europe, and beyond. This shift reflects not only technological progress but also a deeper need for identity, continuity, and shared memory.
A New Era of Cultural Storytelling
Streaming platforms have opened doors for creators who might previously have struggled to find mainstream distribution. Independent filmmakers, historians, and content creators now have the ability to reach global audiences without relying on traditional gatekeepers.
This has led to:
- more diverse representation of Jewish identities
- storytelling that blends history with modern perspectives
- greater visibility for lesser-known traditions and communities
As media scholar Henry Jenkins noted,
“Digital culture allows stories to travel, evolve, and find new audiences beyond their original context.”
Jewish storytelling, rooted in centuries of oral and written tradition, naturally adapts to this model — evolving while maintaining its core themes of resilience, identity, and community.
The Role of Streaming in Preserving Memory
One of the most significant contributions of streaming platforms is the preservation of historical memory. Documentaries about the Holocaust, migration stories, and cultural archives are now widely accessible, allowing younger generations to engage with history in a more immediate and emotional way.
Streaming enables:
- access to survivor testimonies and historical footage
- educational content for global audiences
- preservation of languages like Yiddish and Ladino
This accessibility helps ensure that stories are not lost, but instead reinterpreted and shared across generations.
Bridging Generations Through Digital Media
Another important aspect of streaming is its ability to connect different age groups. Older generations may bring lived experiences, while younger viewers engage through modern formats such as series, podcasts, and short-form video content.
This creates a dynamic exchange:
- elders share traditions and personal histories
- creators reinterpret these stories for modern audiences
- viewers engage, discuss, and reshape narratives in digital spaces
The result is a living, evolving cultural dialogue rather than a static archive.
Entertainment, Identity, and Digital Habits
In today’s digital ecosystem, cultural content exists alongside many forms of online entertainment. Users often move fluidly between watching series, engaging with interactive platforms, and exploring different types of digital experiences.
For instance, while streaming culturally rich content, users may also explore entertainment platforms featuring zoome slots, where interactivity, design, and engagement play a central role. Although the purposes differ, both environments reflect how digital platforms are designed to capture attention, create immersion, and keep users engaged through evolving content.
This coexistence highlights a broader reality: modern digital life blends education, culture, and entertainment into a single, continuous experience.
Challenges of Representation in the Digital Space
While streaming has expanded opportunities, it also raises important questions about representation and authenticity. Not all stories are told equally, and some narratives may be simplified or commercialized for broader appeal.
Key challenges include:
- balancing authenticity with accessibility
- avoiding stereotypes or oversimplification
- ensuring diverse voices are included
Creators and platforms must navigate these issues carefully to maintain cultural integrity while reaching wider audiences.
The Globalization of Jewish Narratives
Streaming platforms have also contributed to the globalization of Jewish stories. A viewer in Canada can watch an Israeli drama, a French documentary, or an American series — all within the same platform. This interconnectedness allows for a richer understanding of how Jewish identity varies across regions while still sharing common roots.
This global reach encourages:
- cross-cultural dialogue
- broader empathy and understanding
- new interpretations of identity in a modern context
Streaming vs Traditional Media
| Aspect | Streaming Platforms | Traditional Media |
| Accessibility | Global, on-demand | Limited by region and schedule |
| Diversity of content | High | Often restricted |
| Viewer interaction | Possible (comments, sharing) | Minimal |
| Content longevity | Long-term availability | Time-limited broadcasts |
| Entry for creators | Lower barrier | High barrier |
This comparison shows why streaming has become such a powerful medium for cultural storytelling.
Final Thoughts
The digital age has reshaped how Jewish stories are told, preserved, and experienced. Streaming platforms have turned local narratives into global conversations, allowing voices from across the diaspora to connect in meaningful ways.
By combining accessibility, diversity, and interactivity, streaming has created a new space where tradition meets innovation. As audiences continue to explore these stories alongside other forms of digital engagement, the importance of thoughtful, authentic storytelling becomes even more significant.
In this evolving landscape, Jewish narratives are not just being preserved — they are being reimagined, shared, and lived in real time across the digital world.
Features
U.S. Senate candidate from Michigan calls Israeli government ‘evil’ like Hamas
Abdul El-Sayed, doubled down on his criticism of the Netanyahu government and defended campaigning with controversial streamer Hasan Piker
By Jacob Kornbluh (Posted April 19, 2026) “This story was originally published in the Forward Click here to get the Forward’s free email newsletters delivered to your inbox.”
FoAbdul El-Sayed, a U.S. Senate candidate from Michigan, said in an interview aired Sunday that the Israeli government is as “evil” as Hamas, sharpening his criticism of Israel in the closely-watched Democratic primary.
“Killing tens of thousands of people makes you pretty damn evil,” El-Sayed told CNN congressional reporter Manu Raja on the network’s Inside Politics program. “It’s not how evil is this one versus that one — Hamas: Evil, Israeli government: Evil. We can say both.”
El-Sayed, 41, is a physician and the son of Egyptian immigrants. He is seeking to channel the energy of the 2024 Uncommitted movement, which protested the Biden administration’s support for Israel in the war against Hamas in Gaza. He is also hoping to build on the surprise success of the New York City mayoral campaign of Zohran Mamdani in taking on the Democratic establishment.
He is locked in a dead heat with state Sen. Mallory McMorrow and Rep. Haley Stevens. The primary is set for Aug. 4.
Earlier this month, El-Sayed faced backlash for appearing alongside streamer Hasan Piker, who has been accused of antisemitic rhetoric — including saying that Hamas “is a thousand times better” than Israel. McMorrow, who is married to a Jewish man, and Stevens, who is closely aligned with AIPAC, have both criticized El-Sayed.
In the CNN interview, El-Sayed defended his decision to campaign with Piker, framing it as an effort to reach voters who feel alienated from traditional politics. “My understanding of America is, it’s a place where we have freedom of speech,” he said.
The Michigan Senate race is shaping up as one of the starkest tests of the Democratic coalition and how the party navigates policy towards Israel in Congress amid the wars in Gaza and Iran. The state is home to the largest concentration of Arab Americans in the United States.
Last week, 40 Senate Democrats voted to block $295 million for the transfer of bulldozers, used by the Israeli military to demolish homes in the West Bank and Gaza; 36 of them also supported a measure to block the sale of 1,000-pound bombs to the Jewish state. It shattered a previous high of 27 Democrats who backed a similar pair of resolutions of disapproval to block some weapons transfers last year.
Sen. Elissa Slotkin of Michigan, who is Jewish, was among those who voted for the measures. In remarks as they announced their votes, Democrats highlighted their opposition to the Israeli government’s policies in the occupied West Bank, the humanitarian situation in Gaza and the war with Iran.