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Joseph Borgen was beaten in the streets while wearing a kippah. Now, he’s fighting in the NYC court system
(New York Jewish Week) — Before Joseph Borgen was beaten in the street nearly two years ago, on the way to a pro-Israel rally, he enjoyed playing basketball after returning home to the Upper East Side from his day job as an accountant.
In the time since Borgen, now 30, was attacked, that hasn’t been possible. The incident — in which five men shouting antisemitic slurs punched, kicked, pepper-sprayed and beat Borgen with crutches — left him needing surgery on his wrist. Only recently has he started going back to the gym.
“It’s something that is still lingering and I’d love to put it in my rearview,” Borgen, who is the eldest of five siblings, told the New York Jewish Week. “It doesn’t just only affect me. My little brother was seeing me on the news. He’s still a kid. We’re very close.”
The attack on Borgen drew national attention, and came amid a string of antisemitic assaults in the United States surrounding the May 2021 conflict between Israel and Hamas in Gaza. Now, Borgen is caught in a conflict of a different kind, one that illustrates the long tail of hate crimes that have faded from public consciousness. He doesn’t want the beating to define him, but finds that its after-effects have festered — and that a controversy over the ensuing trial of his alleged attackers has spurred him to become a passionate, if ambivalent, advocate against antisemitism.
“There is some value and good in speaking about what happened and just getting the message out there,” Borgen said. “But it’s not something I want to harp on.”
Joey Borgen, victim of a violent antisemitic attack last yr which took place few blocks from Times Square, said “The attack on me was no isolated incident. Pittsburgh to Poway to across the river in NJ— violent, deadly antisemtism is increasing to record levels”#ShineALight pic.twitter.com/4x29t9Pzi2
— JCRC of New York (@JCRCNY) November 29, 2021
Borgen was walking to a pro-Israel rally when he was attacked in the street in midtown Manhattan on May 20, 2021 — the same day Hamas and Israel announced a ceasefire after 11 days of conflict. A blurry video of the attack that circulated on social media showed a small crowd of men surrounding Borgen, kicking him and beating him with sticks. A photo of Borgen from later that night shows Borgen with a puffy red face, and wearing a neck brace.
“I was just wearing a kippah, listening to music, just minding my own business — and it all just erupted,” Borgen said, recalling the incident. “Before I can even really react or do anything, there’s a group of individuals surrounding me. I didn’t have the time to process what was going on.”
Borgen is still facing those who have been accused of attacking him — but that confrontation has moved to the courts. The lead perpetrator, Waseem Awawdeh, was charged with hate crime assault, along with a list of other charges. The case is still in process, and the next hearing is on April 20.
“I can’t even tell you how hard personally I’ve been fighting for this,” Borgen told the New York Jewish Week. “If there’s no accountability or consequences of what took place, what happened to me is going to happen to someone else.”
Borgen is currently worried that Awawdeh will go to prison for a small fraction of the maximum sentence he faces, which, according to Borgen’s attorney, is 15 years. That concern stems from reports in the New York Post and New York Sun that Manhattan D.A. Alvin Bragg offered Awawdeh a six-month plea deal.
Those reports have sparked a chorus of criticism, as well as a letter to Bragg by nearly two dozen groups lobbying against the deal. The signatories were a mix of right-wing, pro-Israel and Orthodox groups, including the Rabbinical Council of America, an association for Orthodox rabbis; the Zionist Organization of America, a right-wing organization; and Americans Against Antisemitism, a group founded by former New York State Assemblymember Dov Hikind, who represented a Brooklyn district.
“Failing to impose severe consequences here would send the dangerous and unacceptable message that Jews can be brutally attacked with impunity,” said the letter, which was sent earlier this month.
Hikind told the New York Jewish Week that he wants more Jews to vocally support Borgen. “We need to fill the courtroom,” Hikind said. “Unfortunately, we’re just not there. The community needs to come out.”
The six-month deal, however, seems like far from a sure thing. Awawdeh’s lawyer, Peter Marc Frankel, confirmed the deal to the Post in January, as did prosecutors on the case. But speaking to the New York Jewish Week on Monday, Frankel said he was unsure if the deal would come to fruition.
“I don’t know if it’s going to happen, frankly,” Frankel said. “It’s unclear at this point. I don’t know if it’s going to be a six-month deal, but I would not expect a shorter deal, certainly.”
The deal has not yet been openly discussed in court, and Borgen’s lawyer, Ross Pearlson, who is representing his client pro-bono on behalf of the Anti-Defamation League, told the New York Jewish Week that “it’s not clear” if the six-month deal will hold.
“I’m unaware of any offers being made,” Pearlson said. “I believe that a year would be more appropriate. Six months to me still seems a little light considering the mob violence and the damage that was done to [Borgen].”
Bragg’s office declined to comment on the deal. The ADL likewise did not respond to requests for comment on the case.
Shortly after the attack, in 2021, a prosecutor on the case said that Awawdeh had told one of his jailers, “If I could do it again, I would do it again,” according to the Post. But Frankel told the New York Jewish Week that “that quote was taken completely out of context” and that Awawdeh has offered to meet and apologize to Borgen. He also met with the prosecutors to explain how remorseful he felt.
“[Awawdeh’s] behavior was the result of bad impulse control and a bad reaction to a bad situation, rather than an effort to try to seek someone out who is Jewish to commit a hate crime,” Frankel said.
Pearlson added that Borgen “has been traumatized by this event.”
“He’s very emotional when I speak to him about it,” Pearlson said. “He gets agitated for each one of these court appearances. When we talk about the case, he’s passionate about it.”
There are now five defendants in the case, including Awawdeh, and the D.A.’s office is treating them differently based on their alleged respective roles in the beating.
“Justice is not one size fits all,” Pearlson said. “It doesn’t move quickly, but in this case, it’s not the D.A.’s office delaying things or dragging its heels. There’s going to be some element of justice done.”
The fact that Borgen’s case is being prosecuted at all puts it in the minority of hate crimes complaints in Manhattan. According to NYPD statistics, police precincts in the borough received 241 hate crime complaints in 2022, and made 118 arrests based on those complaints.
Bragg’s office told the New York Jewish Week that 92 hate crimes were prosecuted in Manhattan last year. His office currently has 20 open hate crime cases related to antisemitism for this year. A report last year in The City, a local publication, found that most hate crimes charges are dropped before any convictions take place.
Although Borgen remains involved in the case, and has spoken about his experience publicly, he suggested that it was still hard to think about.
“Some people have said, ‘God only put you through this because you can handle it,’” said Borgen, who is modern Orthodox and puts on tefillin daily. “But if I start to think about it in those terms, I don’t want to go there. I don’t want to let it factor into my views on God and spirituality because if I did, it might make me start to question and wonder about things. I don’t want to go down that road.”
On March 9, Borgen appeared in court, sitting in the same room as his alleged attackers. While he could not comment on the specifics of the hearing, not wanting to impact court proceedings, he said that “it sucks to be in the same room as individuals who could have killed me.”
“I don’t like going to court,” Borgen said. “I do it because when I’m there with other people, a large group of Jewish individuals, it sends a message that we’re not lying down and taking this.”
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The post Joseph Borgen was beaten in the streets while wearing a kippah. Now, he’s fighting in the NYC court system 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.”