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A Brooklyn concert will celebrate the forgotten history of women cantors
(New York Jewish Week) — Jeremiah Lockwood, the singer, composer and frontman of The Sway Machinery, is preparing for an upcoming concert by “doing a lot of talking to ghosts.”
These “ghosts” are those of the Jewish women singers and cantors of the past century. As it happens, many women — not just men — have made deep contributions to Jewish spiritual life and music, but their stories were rarely told or preserved.
Lockwood, 31, is hoping to rectify that. On Sunday, at the Brooklyn Conservatory of Music, Lockwood will unveil his newest composition of vocal music: “In di vayber shul” (“In the women’s synagogue”), which is inspired by the legacy of these nearly forgotten Jewish women.
“Chazzanus [cantorial music]is very important to me,” said Lockwood, who is currently a fellow at the Yale Institute of Sacred Music. “It’s the music that inspires my creative work and it’s part of my family heritage. It’s just the essential musical organizing point for my life.”
Lockwood’s father, Larry Lockwood, was a composer and his grandfather, Jacob Konigsberg, was a renowned cantor. “Growing up in a cantorial family, we were given the ideology that it was a male art form — that was a viewpoint that was held by both the male and female members of the family. But that’s not true,” he said.
A lifelong New Yorker, Lockwood has been leading efforts to recognize and revive “the golden age of cantorial music,” sacred singing by Eastern European cantors on records and in live performances that became widely popular on record and live performances among Jewish audiences in the 1920s. Last year, he produced “Golden Ages: Brooklyn Chassidic Cantorial Revival Today,” a 10-track album featuring six Brooklyn cantors singing in the style of this music, which is operatic with lots of technical flourish and improvisation.
Lockwood describes the past year studying women’s voices — voices both cantorial and in a broader sense — as a “shock of recognition.” “There were women who were prayer leaders in small towns in Europe,” he said. “There were women who were priests, professional healers and exorcists, parallel to the Baal Shem Tov [the 18th-century founder of Hasidic Judaism]. There were women who were doing healing work.”
Since beginning his study, Lockwood said he’s come to understand the historic power of women’s voices: in synagogues and spiritual spaces, on the Yiddish stage and radio, in community initiatives and in family life. They include women like Goldie Malavsky, who along with her father and six siblings formed the Malavsky Family Choir, which performed in concert halls and hotels. Malavsky went on to become an independent soloist who toured around the world in the second half of the 20th century. Another cantorial star was “Khazante” (female cantor) Perele Feig, who in the 1950s had a weekly radio program on WEVD, the Yiddish language radio station in New York, and toured the Eastern Seaboard.
“It’s not shocking, it makes total sense. It fits well with what I understand about Jewish life,” he said of these women’s success. “The thing that’s surprising is just how thoroughly it’s been erased from contemporary Jewish life. I feel that is a problem.” Lockwood has mainly been using Jewish press archives to conduct his research and uncover these stories.
Lockwood’s piece, a tribute to these women’s voices and stories, is the culmination of his studies. The lyrics draw upon American and Yiddish language ethnographies — descriptions of Jewish society both in Europe and the immigrant communities of New York— as well as Eastern European folklore, Yiddish vaudeville and even contemporary music, like that of the late Jewish music composer Jewlia Eisenberg, a friend of Lockwood’s who died in March 2021.
On Sunday, the one-hour concert will be performed by singers Judith Berkson, Yula Be’eri and Rachel Weston. (The program premieres the previous day in New Haven.)
“It’s important to me to get deeper into why their [women cantors’] story disappeared,”Lockwood said. “There’s a throughline of stories that have been eroded from public Jewish consciousness that has to do with the roles that women play in sustaining the spirit life of the community.”
“In di Vayber Shul” will be performed at Brooklyn Conservatory of Music (58 Seventh Ave.) on Sunday at 7:30 p.m. Tickets, from $11.44, are available here.
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The post A Brooklyn concert will celebrate the forgotten history of women cantors appeared first on Jewish Telegraphic Agency.
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Pentagon Preparing for Weeks of Ground Operations in Iran
US Secretary of Defense Pete Hegseth holds a briefing with Chairman of the Joint Chiefs of Staff General Dan Caine, amid the US-Israeli war on Iran, at the Pentagon in Washington, DC, US, March 19, 2026. Photo: REUTERS/Evan Vucci
The Pentagon is preparing for weeks of ground operations in Iran, the Washington Post reported Saturday, citing US officials.
The plans could involve raids by Special Operations and conventional infantry troops, the Post reported. Whether President Donald Trump would approve any of those plans remains uncertain, according to the Post.
The Trump administration has deployed US Marines to the Middle East as the war in Iran stretches into its fifth week, and also has been planning to send thousands of soldiers from the US Army’s 82nd Airborne to the region.
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America’s oldest synagogue closed. Then an unlikely group tended its cemetery.
In 1833, Herald of the Times, a Newport, Rhode Island, newspaper, reported that the remains of Mrs. Rebecca Lopez had been brought from New York by steamboat and placed inside Touro Synagogue.
Dedicated in 1763, the building is now recognized as the nation’s oldest surviving synagogue. Newport had once been home to a thriving colonial Jewish community, but after the Revolutionary War and the city’s economic decline, that community had largely faded. The cemetery remained, and so did the synagogue. It was during that long interval of near-absence that Lopez’s funeral briefly reopened Jewish ritual life in Newport.
After prayers were read by Rabbi Isaac Seixas of New York, the body was carried to the cemetery on Touro Street, with “the clergy, town council, and a numerous concourse of spectators” joining the funeral procession. The paper noted that a Jewish ceremony had not been performed there “for the space of forty years.”
Newport’s Jewish burial ground dated to 1677. In 1822, Abraham Touro left money for the upkeep of the cemetery, the synagogue, and the street on which they stood. The fund was placed under trustees appointed by the Rhode Island legislature, and Newport’s Town Council was later authorized to use the interest for repairs.
While Newport’s Jewish population declined, the endowment ensured that the synagogue building and cemetery grounds continued to be maintained. In 1826, the Town Council reported that it had tried to repair the synagogue using the Touro fund, but could not proceed because it had not been able to obtain the keys from Shearith Israel in New York. Many of Newport’s former Jewish residents had relocated there, and the congregations had longstanding ties.
In 1842, the council contracted to enclose the synagogue lot with a substantial stone wall and an ornamental cast-iron fence, modeled on the fence around the Jewish cemetery. The work included a Quincy granite base and a gateway on Touro Street designed to correspond with the synagogue’s portico. The project cost $6,835.
The synagogue’s doors rarely opened, and often only for moments of mourning. In June 1854, Newport received the body of Judah Touro, one of the most prominent American Jews of his era, a native of the town and brother of Abraham Touro. The Herald of the Times reported that “the streets was [sic] crowded with people, the stores all closed, and the bells tolled.”
The City Council assembled at City Hall and marched in procession to the synagogue, where “thousands remained outside” during the service. At the funeral, Newport’s mayor, William C. Cozzens, spoke of the trust that had long existed between the city and local Jewish families, recalling that the synagogue and cemetery had been left in Newport’s care and maintained there “with ample means for their preservation.”
When Henry Wadsworth Longfellow visited Newport’s Jewish cemetery that same year, he wrote of the graves as “silent beside the never-silent waves.” He noticed, too, what endured there: “Gone are the living, but the dead remain,” he observed, “and not neglected.”
Newport’s preservation of Jewish sacred space was shared. Jews endowed these places and returned to bury their dead there. Christian officials repaired, protected, and publicly honored them. In this way, a Jewish inheritance was carried forward until communal life returned.
In 1883, Touro Synagogue was rededicated and a new Jewish community established in Newport. But even in the window of years when the congregation was gone, the dead were not abandoned.
The graves were kept.
The post America’s oldest synagogue closed. Then an unlikely group tended its cemetery. appeared first on The Forward.
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Milwaukee rabbi and son ordered to pay $1,000 to muralist who reportedly praised Hamas in court
(JTA) — A retired rabbi and his son were sentenced Wednesday in Milwaukee for having destroyed a local mural in 2024 that depicted the Star of David transforming into a swastika.
Rabbi Peter and Zechariah “Zee” Mehler were ordered to pay $1,000 total in restitution to Ihsan Atta, the property owner who had put up the mural. Peter, who pleaded no contest to a misdemeanor charge for criminal damage, was also fined $50, while Zee, who had pleaded guilty in December, was given a withheld sentence of 25 hours of community service.
The sentencing hearing took another turn when Atta, who is Palestinian, praised Hamas and walked out of the courtroom before being brought back in by deputies to finish the proceedings, according to local news reporters who were present. A transcript of the exchange could not immediately be obtained.
Zee Mehler told the Jewish Telegraphic Agency that, despite pleading guilty, he felt “vindicated.”
“What we did was illegal and needed to be answered for. But at the same time, what we saw was a very strong response from the city and the court that showed that they have no patience or time for this anti-Israel narrative,” he said. “They recognize the way that it has spread antisemitism, and they recognize the way that it’s caused so much global harm to the Jewish community.”
The case dates back to September 2024, when the Mehlers used a hammer and other tools to tear down Atta’s recently installed mural in full view of security cameras. They have long maintained that, while they understood it was illegal to destroy the mural, they did so out of concern for the safety of the local Jewish community.
Atta’s mural included the words “The irony of becoming what you once hated” surrounding a Star of David transforming into a swastika; the background of the mural appeared to depict scenes of destruction in Gaza. The Mehlers viewed the mural as incitement. At the time of their actions, it had already been condemned by local Jewish groups and the Milwaukee City Council.
In the courtroom, Zee, wearing long dreadlocks, escorted his father, who is 74 years old and has Guillain-Barre syndrome, in a wheelchair. Peter recently lost the ability to walk, his son said: “This has been a really rough few years for him.”
According to reports, circuit court judge Jack Dávila interrupted Atta when he began praising Hamas and instructed him not to make comments unrelated to the crime.
“We’re not going to solve the world’s problems with this hearing,” the judge reportedly told Atta, who apologized for his actions. In a video posted after the verdict, Atta called the proceedings a “kangaroo court” and stated, “We must have judges that are on the Epstein files, because we’ve got clowns running the courthouse.”
Atta’s actions in court, Zee Mehler said, meant “I didn’t really need to do much.”
“He was called to testify, and he absolutely buried himself,” Mehler said. “I can’t believe he said that he supports Hamas in a court, on the record. That’s a crazy thing to do.”
This article originally appeared on JTA.org.
The post Milwaukee rabbi and son ordered to pay $1,000 to muralist who reportedly praised Hamas in court appeared first on The Forward.