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March comes in with a roar of new Yiddish music
(New York Jewish Week) — As they say in the mameloshn (mother tongue), “Dos Yidish lid iz umetum.” In other words, “Yiddish song is in the air.”
This month a collection of new Yiddish songs will be performed for the first time in America at a Manhattan museum; two Brooklyn blues musicians will release their recordings of old Yiddish folk songs and a new web site preserving the work of a couple who played a pivotal role in promoting Yiddish song is set to debut.
If all that weren’t enough, the stars of the Yiddish stage will also appear at an event celebrating the woman who was dubbed “the Sherlock Holmes of Yiddish song.”
“Because we all have this weird relationship with Yiddish, every project that people do takes it to a different place,” Alex Weiser, director of public programs at YIVO, told the New York Jewish Week. “Interesting, weird things are currently happening with Yiddish song.”
Read on for ways to get your Yiddish on.
Sister act
As part of Carnegie Hall’s multi-venue celebration of women in music, on Sunday, March 5, the Paul Shapiro Quartet takes the stage at the Museum of Jewish Heritage in Battery Park to perform “Di Shvester: The Sisters.” The sisters (by another mother, anyway) in this concert of Jewish and Yiddish music are Eleanor Reissa, the singer/director/actress who is fluent in Yiddish, and Cilla Owens, the superb jazz vocalist who teaches at Hunter College and can sing in Yiddish as well.
Reissa and Owens will perform some songs by the Barry Sisters, the Bronx-born trio of the mid-20th century who brought Yiddish songs into the mainstream. One of the songs they will perform is based on a poem by the Yiddish poet Aliza Greenblatt, aka Woody Guthrie’s mother-in-law. In a cross-genre segue, Reissa and Owens will follow “Zumer Bay Nakht Oyf Dekher” (“Summer At Night On The Roof”) with “Up On the Roof,” the Carole King/Gerry Goffin sung memorably by Laura Nyro.
Shapiro, whose albums for John Zorn’s Radical Jewish Culture series were critically acclaimed, has worked with Owens, who has spent most of her life in Crown Heights, since 1990. Shapiro first started collaborating with Reissa, who grew up in Brownsville, at Yiddish New York in 2017.
“To me they’re both Brooklyn royalty,” said Shapiro, who hangs his fedora in the Lower East Side’s Grand Street Co-ops.
“When I sing with Cilla, I feel like I’m home,” Reissa said
The two vocalists have appeared together several times in Shapiro’s Ribs and Brisket Revue, which began at the now-shuttered Cornelia Street Café.
Percussionist Ricky Gordon, right, and Jeremiah Lockwood, the front man for The Sway Machinery, form the duet Gordon Lockwood. (Courtesy)
A right to sing the blues
For the entire month of March a free five-song EP titled “Once Upon a Time the Fire Burned Brighter: Ballads from the Yiddish Gothic” is available for download. Created by the Brooklyn-based blues performers Gordon Lockwood, these are re-interpretations of Yiddish folk songs, three of them by Lifshe Schaecter Widman, a Yiddish folksinger who begot the Yiddish poet Beyle Schaechter-Gottesman, who begot the Yiddish scholar and former newspaper editor Itzik Gottesman, now a senior lecturer in Yiddish language and culture at the University of Texas at Austin whose Yiddish Song of the Week blog is an important source for lovers of Yiddish song.
The EP will be accompanied by videos of the five songs, plus additional multimedia that will be viewable online. Gordon Lockwood may sound like a Canadian folk singer, but it is actually a duo comprised of percussionist Ricky Gordon, who performs with Wynton Marsalis and has collaborated with Spike Lee, and Jeremiah Lockwood, the front man for The Sway Machinery, a brass-heavy world music band. Lockwood, a card-carrying ethnomusicologist with a PhD from Stanford, recently produced an album of music that features several Hasidic cantors from Brooklyn. In April, Gordon Lockwood will perform their “Once Upon A Time” repertoire in New Haven and New York.
Yiddish royalty
On March 23, the life of Chana Mlotek — the late, great musicologist, folklorist and archivist, who curated the Yiddish music collection at the vaunted YIVO archives — will be celebrated at YIVO’s West 16th St. headquarters. Nine descendants of the Mlotek clan will participate, along with actors Reissa and Steven Skybell, who played Tevye in the Yiddish production of “Fiddler On The Roof.”
Singers will include Lorin Sklamberg of The Klezmatics and Sarah Gordon of the Brooklyn Yiddish rock band Yiddish Princess. Gordon is the daughter of the late Adrienne Cooper, often referred to as the “mother of the Yiddish revival.” The evening’s musical director will be Zalmen Mlotek, Chana and Yosl’s son and artistic director of the National Yiddish Theatre Folksbiene.
On March 20, the Workers Circle is expected to launch The Yosl and Chana Mlotek Collection of Yiddish Song, a website that turns the Mloteks’ three-volume “Pearls of Yiddish Song” anthology into a searchable multimedia resource. Consisting of more than 400 Yiddish songs, the web site will include content curated from YouTube and TikTok, according to an email from the publicist.
The Mlotek collection adds another important resource to a field that includes YIVO’s collection of 4,000-plus Yiddish songs, a project directed by Barbara Kirshenblatt-Gimblett and featuring the field recordings of the late musicologist Ruth Rubin, and many in the Yiddish song scene are looking forward to it.
“We’ve been waiting for this for many, many years,” said Linda Gritz, a retired molecular biologist active in the monthly sing at the Workers Circle in Brookline, Massachusetts. The group has been meeting online during the pandemic and unable to use the couple dozen copies of each Mlotek book, so it has had to create PDFs of 30 songs for its monthly virtual gatherings.
“When it’s online, people could request any song from any book and we could put the URL in the chat and go to it,” said Gritz. “That’ll be an amazing resource.”
Songs for and about refugees
On March 26, “Pleytem Tsuzamen” (“Refugees Together”) will be performed at the Museum of Jewish Heritage-A Living Memorial to the Holocaust. Two performances of Josh Waletzky’s Yiddish song cycle will mark the American debut of the work, which was first performed in 2019 at the Weimar Republic of Yiddishland gathering in Germany. Performers will come from Latvia, Germany, England and Canada, and Brooklyn violinists Jake Shulman-Ment and Deborah Strauss are part of the cast.
“It’s fitting that we’re doing it a couple of weeks before Pesach [Passover] because there’s a Pesach theme that goes through a lot of the songs,” said singer Daniel Kahn, who lives on a houseboat in Hamburg and plays accordion in the production. “It’s incredible how prescient and universal Josh’s song cycle has proven to be…. Those songs and their themes of displacement and upheaval resonate with the liberational traditions within Yiddishkayt [secular Yiddish culture] and Jewish practice.”
English and Ukrainian supertitles will make the two-hour concert, co-sponsored by National Yiddish Theatre Folksbiene, accessible to non-Yiddish speakers.
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The post March comes in with a roar of new Yiddish music appeared first on Jewish Telegraphic Agency.
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Fetterman Hosts AIPAC, Bondi Survivor in DC Office, Voices Support for ‘Jewish Community and Our Special Ally’
US Sen. John Fetterman (D-PA) gives an interview in his office in the Russell Senate Office Building in Washington, DC, Jan. 18, 2024. Photo: Rod Lamkey / CNP/Sipa USA for NY Post via Reuters Connect
US Sen. John Fetterman (D-PA) welcomed representatives from the American Israel Public Affairs Committee (AIPAC) and a survivor of the Bondi Beach massacre to his Washington, DC office on Tuesday, expressing support for the “global Jewish community” and the longstanding strategic partnership between the US and Israel.
“Proudly welcomed AIPAC and a survivor of the Bondi Beach massacre — a living reminder of the global scourge of antisemitism. My voice and vote will always stand with and support the global Jewish community and our special ally,” Fetterman posted on the social media platform X.
Proudly welcomed @AIPAC and a survivor of the Bondi Beach massacre—a living reminder of the global scourge of antisemitism.
My voice and vote will always stand with and support the global Jewish community and our special ally. pic.twitter.com/mz5damSvV9
— U.S. Senator John Fetterman (@SenFettermanPA) February 24, 2026
Fetterman, who has emerged as a prominent pro-Israel voice among Democrats on Capitol Hill, has signaled unwavering support for the Jewish state as its standing among liberal voters and progressive lawmakers has cratered.
The Pennsylvania lawmaker has repeatedly affirmed Israel’s right to defend itself from the Hamas terrorist group in Gaza and has defended the Jewish state from unsubstantiated claims of “genocide.” He also displayed the photos of the hostages captured by Hamas-led terrorists during their Oct. 7, 2023, massacre across southern Israel in his office, drawing praise from pro-Israel Americans.
Despite his party’s increasing opposition to US military support for Israel, Fetterman has repeatedly vowed to vote in favor of such support for the Jewish state, rankling the progressive wing of the Democratic Party.
“I’m a really strong, unapologetic supporter of Israel and it’s really not going to change for me when [Donald] Trump becomes [president]. My vote and voice is going to follow Israel,” Fetterman said during an interview in December 2024.
One year later, Fetterman lamented the deadly attack on a Hanukkah celebration at Sydney’s Bondi Beach in December that killed 15 people who attended the Jewish gathering and wounded at least 40 others, expressing alarm about the global rise in antisemitism.
“After years of anti-Israel protests in Australia, at least 11 Jews were just gunned down at a Hanukkah event. Tree of Life to 10/07 to Bondi Beach: antisemitism is a rising and deadly global scourge. I stand and grieve with Israel and the Jewish global community,” he posted shortly after the shooting, using a figure based on an early death toll.
Though American lawmakers from both major political parties roundly condemned the Bondi Beach massacre, Fetterman’s decision this week to publicly meet with AIPAC, the premier pro-Israel lobbying group in the US, will likely raise eyebrows among his liberal supporters.
In the two years following the breakout of the Israel-Hamas war, AIPAC’s standing among the Democratic party has plummeted dramatically. In primary races across the country, Democratic hopefuls are being pressed on their connections to AIPAC and facing demands to pledge not to accept funding from the group, which seeks to foster bipartisan support for the US-Israel relationship. The emergence of AIPAC support as a kind of litmus test has raised concerns among Jewish Democrats that the party is becoming increasingly inhospitable to Jews and Zionists.
According to polls, Fetterman is unpopular among Democratic primary voters, making him vulnerable in a primary competition. Numerous progressives in the Keystone State have signaled they are gearing up to challenge Fetterman for the party nomination in 2028.
However, Fetterman maintains shockingly high approval ratings among Republicans and strong approval ratings among independents, potentially injecting a significant degree of uncertainty into the Pennsylvania Senate race if he were to run as an independent in the general election.
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Protesters at ‘Scream 7’ Premiere Call for Film’s Boycott After Former Lead Star Fired for Antisemitic Posts
(L-R) Actress Neve Campbell and director Kevin Williamson at the Paramount Pictures’ SCREAM 7 Los Angeles Premiere held at the Paramount Studios in Los Angeles, CA on Wednesday, Feb. 26, 2026. Photo: Sthanlee B. Mirador/Sipa USA via Reuters Connect
Protesters demonstrated outside the “Scream 7” premiere at Paramount Pictures Studios in Los Angeles on Wednesday night to call for the film’s boycott after its former lead star, Melissa Barrera, was fired in 2023 for posting antisemitic and anti-Israel messages on social media.
The protesters, who were supporters of groups including Entertainment Labor for Palestine and Musicians for Palestine, waved Palestinian flags and held signs that criticized Paramount as well as Israel.
“Paramount Whitewashes Genocide,” read one sign held by a demonstrator. Another sign read “Boycott Scream 7 Stand For Free Speech” while a separate one said “LAPD, KKK, IDF It’s All the Same,” referring to the Los Angeles Police Department, the Ku Klux Klan, and the Israel Defense Forces.
“Paramount has a BLACKLIST of actors who criticize Israel,” claimed another sign.
Barrera was set to star in “Scream 7” after leading the fifth and sixth installments of the franchise. In November 2023, however, Spyglass Media Group, which produces the “Scream” film franchise, fired Barrera from reprising her role in the seventh “Scream” movie after the Mexican actress posted on Instagram messages that described Israel as a “colonized” land, suggested the Jewish state controls the media, accused Israel of genocide and ethnic cleansing of Palestinians during the war with Hamas in Gaza, and criticized the United States for sending “billions of dollars to fund a genocide.” She also shared a post about distorting “the Holocaust to boost the Israeli arms industry.”
Spyglass Media Group said in a statement at the time that it had “zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion, or anything that flagrantly crosses the line into hate speech.”
Shortly after Barrera’s firing, Jenna Ortega dropped out of “Scream 7,” but her decision was due to a scheduling conflict, and director Christopher Landon also left the project. He made the announcement on X, writing in part, “It was a dream job that turned into a nightmare. And my heart did break for everyone involved. Everyone. But it’s time to move on.”
Kevin Williamson, who wrote the original 1996 “Scream” film directed by Wes Craven, returned to direct “Scream 7” with a script from Guy Busick. The film is set to open on Friday, and the cast includes Neve Campbell, Courteney Cox, Mason Gooding, Isabel May, Celeste O’Connor, Asa Germann, McKenna Grace, Sam Rechner, and Anna Camp.
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It’s time to talk about Purim’s unsettling message about conversion
Purim is meant to be loud: a holiday for drinking, dressing up, yelling and retelling a story of miraculous survival.
Which means it’s easy to miss a brief but significant verse near the end of the Book of Esther — one that deserves to be lingered over:
“And many of the people of the land professed to be Jews, for the fear of the Jews had fallen upon them.”
That line doesn’t lend itself to celebration. It does not describe people drawn to Judaism by teaching or conviction. Instead, it chronicles a far more troubling choice: people becoming Jews because they are afraid of Jews.
Whether the Book of Esther records events that literally occurred is beside the point. What matters is that Jews read this line aloud every year, carrying its language forward across generations. For a tradition that often insists Judaism does not seek converts and rejects religious coercion, this verse preserves an unsettling possibility: that joining the Jewish people can be driven by fear as much as conviction.
By the end of the narrative, Jews wield power, and the dread that once haunted them shifts outward.
Yes, some read the verse as referring to political alignment rather than religious change. Others treat Esther as satire, its excesses not meant for emulation. Still others point to the absence of God in the book, and dismiss the line as non-theological.
Even with those readings, the line still does something difficult. It places an unresolved moral question inside a festival we otherwise frame as joyful: How does holding power change the face of Judaism?
When conversion was possible — or required
The common claim that Judaism has always discouraged conversion is historically inaccurate. Jewish attitudes toward converts have shifted with political conditions, not because theology changed, but because power dynamics did.
The truth is that for much of Jewish history, conversion was dangerous. After the destruction of the Temple in 70 C.E. and the failure of later revolts against Rome, much of Jewish life developed under sustained imperial pressure. Welcoming people raised outside the community became, practically, risky.
This is why the familiar line “Judaism doesn’t seek converts” is more of a survival posture than an eternal principle. After all, the Hebrew Bible repeatedly reminds readers that Israel’s calling was never meant to be entirely inward. A “mixed multitude” leaves Egypt. Gerim, resident outsiders, are repeatedly considered in biblical law. Isaiah imagines God’s house as a house of prayer for all peoples.
In the late Hellenistic and early Roman periods, Jewish communities were widely visible across the diaspora. An inscription from Aphrodisias in Asia Minor in modern-day Turkey lists not only Jews but also “proselytes” and “God-fearers” among synagogue donors, suggesting gentiles were sometimes attached to synagogue life. Similar “God-fearer” inscriptions survive from other cities in Roman Asia Minor, where gentiles were known to attend synagogues, admire Jewish ethics, and sometimes decide to join the Jewish people.
Even polemical texts preserve traces of this world. Matthew 23:15 mocks those who “travel across sea and land” to make a proselyte — meaning to convert to Judaism. Whatever one makes of the polemic, the line treats the basic fact as unremarkable: that conversion to Judaism was a regular part of the religious landscape in the first-century Mediterranean.
Other ancient sources, including the first-century historian Josephus, describe moments when Jewish rulers used conversion as a tool of rule. One of the starkest examples comes from the Hasmoneans, the priestly family behind the Maccabean revolt who ruled Judea from roughly 140 to 37 B.C.E. Under John Hyrcanus, who reigned from 134 to 104 B.C.E., the kingdom of Judea expanded through conquest. Hyrcanus governed as many ancient rulers did, through coercion.
Among the territories absorbed was Idumea, homeland of the Edomites. According to Josephus, Hyrcanus offered the Idumeans a choice: adopt Jewish law or leave the land. They chose conversion.
This is not an obscure episode. It sits in the shadow of Hanukkah, one of Judaism’s most widely celebrated holidays.
Centuries later, Jewish sovereignty appeared again in the Himyarite kingdom of southern Arabia, where a ruling elite adopted Judaism in the fourth century CE. Eventually, persecution of non-Jews followed. The kingdom’s final ruler, Dhu Nuwas, who reigned from 522 to 530 C.E., oppressed local Christian populations, provoking retaliation from the neighboring Kingdom of Aksum. After more than a century, the Jewish kingdom fell.
Not a powerless minority faith
The reigns of Hyrcanus and Nuwas complicate the familiar story of Judaism as only a powerless minority faith, always deterring conversion. They suggest that Jewish sovereignty could carry the same temptations that haunt sovereignty everywhere, including the temptation to force compliance on those of different beliefs.
The Book of Esther verse about conversion offers a warning about that dynamic, and an imperative to learn from it. The lesson is not to condemn Judaism. It is to refuse a simplified story in which Judaism’s posture toward conversion has been static and untouched by the realities of power.
Across many faiths, when political power disappears, priorities often shift. Teachings turn inward. When power reappears, however briefly, older questions have a habit of returning. Who belongs? Who chooses? And under what conditions are those choices made?
Purim does not allow us to keep those questions at a safe distance. We are meant to hear this troubling verse amid the laughter and noise of our celebrations, not as an endorsement of coercion, but as a warning.
Esther’s story insists that two things can be true: Jews can be vulnerable, and Jews can hold power. And if we can be afraid, it warns, we can also inspire fear, with consequences not only for the societies in which we live, but also for the kind of Jewish life we make possible.
The post It’s time to talk about Purim’s unsettling message about conversion appeared first on The Forward.