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ESPN’s Jeff Passan opens up on his Hebrew school upbringing, interviewing Sandy Koufax and Jewish baseball history
(JTA) — For tuned-in baseball fans, Jeff Passan is everywhere. As ESPN’s senior MLB insider, he frequently breaks some of the sport’s biggest news and appears on several of the global sports network’s television, radio and podcast programs.
After two decades of reporting, can anything make him nervous? There is one athlete who does: Jewish legend Sandy Koufax.
“Generally speaking, when I’m talking to people, I’ll call them by their first name. He was Mr. Koufax,” Passan told the Jewish Telegraphic Agency about the pitcher he once wrote a paper about for Hebrew school.
While a columnist for Yahoo! Sports, Passan spent about four years reporting his 2016 New York Times best-selling book “The Arm: Inside the Billion-Dollar Mystery of the Most Valuable Commodity in Sports,” a deep-dive into pitching and the epidemic of what’s known in the sport as Tommy John surgery, or ulnar collateral ligament reconstruction.
Koufax, known for his on-the-field dominance and his refusal to pitch on Yom Kippur during the 1965 World Series, walked away from baseball at only 30 years old because of injury. So as Passan began work on his book, he knew he needed to talk to Koufax.
Koufax is famously private, and securing a rare interview wasn’t easy — Passan enlisted fellow Jewish writer Jane Leavy, Koufax’s biographer, who put in a good word for him. When the time came to talk, Passan said it was the most nervous he’s ever been for an interview.
“I was in awe the whole time,” Passan said in a phone interview from Arizona, where he’s covering spring training.
Koufax’s pitching prowess aside, Passan praised the principled stance the former Dodger took all those years ago.
“The way that he represented himself, the way he honored Judaism, and, when it was an incredibly difficult thing, stuck by what mattered to him, I think that’s applicable across religions, across cultures, across backgrounds,” Passan said. “If you feel passionate about who you are, and something is important to you, even when it’s uncomfortable, you should stand by it. That’s exactly what he did. I have an undying amount of respect for him for both doing that and just for the way that he has and continues to carry himself.”
A Cleveland native, Passan fell in love with both baseball and writing at a young age. His father, Rich, worked at the Plain Dealer for 42 years, and Passan said he got his first byline at 14 years old. He would go on to cover sports at Syracuse University, the Fresno Bee, the Kansas City Star, Yahoo! Sports and, since 2019, at ESPN.
Passan, 42, grew up in a Conservative Jewish household, attending Hebrew school three times a week. He said he considers himself a “cultural Jew” — noting that his wife is Catholic and they are raising their kids without religion.
“I look at religion now as being a really important thing for lots of people, but the sort of thing that for me and my family, we’d like for our children to be a little more worldly until, or if, they decide to choose to go the religious route,” he said.
Jeff Passan at his bar mitzvah, Oct. 9, 1993. (Courtesy of Passan)
Passan said he and his family celebrate Hanukkah — he’s a big fan of latkes — and he fasts on Yom Kippur. And then there’s Jewish geography.
“When I run into someone who’s Jewish, even though I’m not particularly religious, and he or she may not be particularly religious, there’s still a connection there because of how we were raised and the things that you learn growing up a Jew,” he said. “If there’s one thing that I look at with regret that my kids don’t have, because we’re not raising them Jewish, it’s that.”
That instant connection is present in the press box, too.
“We know who we are,” Passan said. “There was one World Series where I think there were like seven or eight Jewish writers sitting in a row. And we said all we need is a few more and we got a minyan here.”
Passan said he also feels that camaraderie with Jewish players — especially those who play for Team Israel during the World Baseball Classic, which is coming up next month.
“It’s different than Team USA or the Dominican Republic or Venezuela,” he said. “It’s a cultural team. It’s a team that’s often based around your religion or the religion in your family, and I think that makes it a unique group of players who may not have that same connection or that same feel to Israel, but they have that shared experience of being Jewish and knowing what that entails.”
The presence of Jewish talent in Major League Baseball — and on Team Israel, which features more big leaguers this year than ever before — is noticeably greater than it has been in years. The 2021 World Series, which featured four Jewish players, is a prime example.
“I think it’s just another way to illustrate that we can be everything,” Passan said. “If you are growing up and you want to be a rabbi, that’s wonderful. If you’re growing up and you want to get into media, that avenue is there for you. And if you’re growing up and want to be a baseball player, there are no limitations. The history of Jewish baseball players, while not extensive, is nevertheless rich.”
And what is it, exactly, about baseball that has endeared the sport to American Jews for so long? Passan has some theories.
First, he noted the historical significance New York has held in both baseball and American Judaism. For a period in the early-to-mid 20th century, New York was home to three MLB teams — the Yankees, Brooklyn Dodgers and New York Giants.
“As Jews, we really gravitate toward things that have history and substance,” Passan said. “Baseball being so big in the emergence of sporting culture in the United States, there’s a gravitas to that, there’s an import to that, that I think Jews really are attracted to.”
The other aspect that has bonded Jews and baseball, Passan said, is its shared culture of family tradition.
“It’s something that can be passed on from fathers and mothers to sons and daughters,” he said. “Family is such a vital part of being Jewish. Just as we pass down customs and traditions, sports are among those customs and traditions and baseball is a generational sport.”
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The post ESPN’s Jeff Passan opens up on his Hebrew school upbringing, interviewing Sandy Koufax and Jewish baseball history 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.”