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Car talk: Jewish auto writers gather for a Passover seder at Katz’s Deli
(New York Jewish Week) — The idea of eating pastrami with matzah instead of rye bread may strike some as a sacrilege, but for members of the Jewish Auto Writers Society of America (JAWS), who will gather this week for a Passover seder at Katz’s Delicatessen, it’s become a tradition.
“Frankly, bread is a filler,” said Joel Feder, a senior producer for the web sites Motor Authority, The Car Connection and Green Car Reports. “You can eat more pastrami if you don’t waste space on the bread.”
Feder will lead the JAWS seder on Wednesday evening, the first night of Passover. About 30 automotive industry journalists and public relations professionals are expected to attend the gathering, which is held in a back room at the iconic Lower East Side deli. The annual event, which began in 2013, is timed for the press day at the massive New York International Auto Show at Javits Center, which opens to the public this year on Friday. A bus brings JAWS members and their guests to the deli on Houston Street.
The seder is JAWS’s big annual event, though there are efforts underway to gather in Los Angeles at the Genghis Cohen Chinese restaurant in the Fairfax section of the city during the Los Angeles Auto Show in November. The seder is sponsored by Volvo and Nissan and, yes, it has been duly noted that Passover takes place in the Hebrew month of Nisan.
“If a rabbi ever walked in, I think he’d have a heart attack,” joked the seder’s founder, Russel Datz, the national media relations manager for Volvo Car USA.
But not necessarily: Though the gathering is decidedly informal, and the food is not kosher, the JAWS seder features all the accouterments you’d expect at a seder: a seder plate, matzah, wine and a festive meal that, in addition to pastrami, includes brisket, corned beef, tzimmes and matzah ball soup.
What’s more, the group uses a haggadah written by an Orthodox rabbi. “The World’s Shortest Kosher Hagaddah” by Rabbi Yonah Bookstein of the Pico Shul in Los Angeles fulfills all the halachic (Jewish legal) requirements of the Passover seder, and it takes just 10 minutes to get from the blessing on the first cup of wine to the concluding “Next year in Jerusalem!”
The haggadah was found on the internet by Dan Passe, who worked for Nissan for 17 years and left recently to take a job as global head, communications and marketing, for the Nikola Motor Company, an electric truck manufacturer.
Passe has embraced the speedy seder concept for years and readily concedes it is an act of rebellion. “I grew up going to my grandparents in Bayside, Queens, who did a three-hour long seder where you thought you were going to pass out before you got to eat,” he said. “This haggadah, if you want to call it that, is such a great way of making [the holiday] really clear and making it very snackable, if you will.”
Bookstein, who created the 10-minute seder in 2010 for the Jewish rapper known as Kosha Dillz, was delighted that the car guys and women would be, um, speeding through his haggadah. “That’s awesome. I’m originally from Detroit so I have a soft spot for the automobile writers,” he told the New York Jewish Week.
According to its Facebook page, JAWS has 110 members. Datz started the group in 2013 as a way for Jewish industry people to gather as a community during the New York auto show, which is almost always held during the week in which Passover falls.
Feder, who hails from Plymouth, Minnesota, said he is getting grief from his mother for not being home for the holiday this year. (He’ll catch a flight Thursday morning and land in Minneapolis in time to make it to the second seder.) As this year’s seder leader, Feder is filling in for Datz and Passe, who aren’t coming to the New York auto show this year because of family commitments.
Russel Datz, right, leads the annual JAWS seder at Katz’s Deli in Manhattan in 2022. (Kevin Albinder)
In addition to the traditional wine cup left for the prophet Elijah, there will be two unoccupied seats for Datz and Passe, said Evelyn Kanter, president of the International Motor Press Association and a regular at the JAWS seder since its first year. (When Datz was informed of the empty seat gesture, he quipped: ”Is she lighting yahrzeit candles as well?”)
Kanter called the deli gathering “a beloved tradition. It’s a family of people in the automotive business who are all homeless [during the auto show].”
An Upper West Sider, Kanter grew up in Inwood, back when the nearby neighborhood of Washington Heights was known as Frankfurt-on-the-Hudson because of its large German Jewish immigrant population. After stints as an investigative consumer reporter for New York radio and TV stations, Kanter became known as the ecoXplorer, writing about travel and the environment, in addition to cars.
This year, Kanter’s daughter is in Los Angeles and her son in New York is working the night of the first seder. So, in addition to the JAWS seder, she’ll attend a virtual seder on the second night. “I’ll have dinner with my son early next week and we’ll have a delayed Passover,” Kanter said.
According to Passe, half of the seder’s participants at the deli are not Jewish. “They ask to attend because they’ve never been to a seder before,” he said. “We have people who return year after year after year who are not Jewish because they love the ceremony.”
Jenni Newman, the Chicago-based editor-in-chief of cars.com, was invited by two Jewish colleagues at her company and attended JAWS seders in 2019 and 2022. She’s planning to go to her third this week. (There were no seders during the pandemic.) Although Newman describes herself as “super active” in the Lutheran Church growing up, she considers it a gift to experience other peoples’ religions and cultures. “I really enjoyed going through the ritual with everyone and having people sitting next to me explain things,” she said. “I was kind of overcome emotionally just being part of it.”
Last year Newman “found” the afikomen, though it wasn’t much of a hunt: At the JAWS seder, the hidden piece of matzah is taped underneath a random seat. The person who finds the afikomen gets their choice of a high-end Nissan or Volvo to drive for a week after the auto show.
But the real prize goes to local JAWS members, Passe noted. “If you are local and you attend, you go home with the biggest doggy bag you can possibly imagine,” he said.
Kanter, the recipient of said doggy bags, concurs. “Leftovers at Katz’s are simply too good to waste,” she said.
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The post Car talk: Jewish auto writers gather for a Passover seder at Katz’s Deli appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”