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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.


The post March comes in with a roar of new Yiddish music appeared first on Jewish Telegraphic Agency.

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Molly Crabapple’s book is well researched but ideologically biased

Molly Crabapple’s Here Where We Live Is Our Country is a captivating read. Drawing on the biographies of both major and lesser-known activists, Crabapple tells the history of almost 130 years of the Jewish Labor Bund. Her crackling, imaginative prose brings dry, documentary materials to life, and makes long-ago personalities feel contemporary.

Crabapple chooses Sam Rothbord , her great-grandfather, as a guide to the vanished world of Jewish Eastern Europe. Though Crabapple was born many years after his death, her family saved his photos and papers. Crabapple turns to these items to reconstruct a detailed picture of his life.

Born in the town of Volkovysk (now in Belarus), Sam joined the Bund as a young man. He soon immigrated to America, where he became an artist. His first exhibit was held at the former headquarters of the Forward on East Broadway.

Many well-known Bundists make an appearance in the book: Vladimir Medem, Arkady Kremer, Raphael Abramovitch, Mark Lieber, Sophie Dubnova-Erlich , Henryk Erlich, Viktor Alter and others.

Crabapple takes her readers through the cataclysmic events in which the Bund took part: the Russian revolutions of 1905 and 1917, World War I, the establishment of the Polish republic and, finally, the Holocaust. Despite her great reverence for the Bundists’ heroism and sacrifice, Crabapple acknowledges that these heroic figures could also have difficult personalities. She often compares her own experiences as an activist on the left with the struggle of radicals around the world today.

The Bundists left behind a rich legacy of memoirs and documents. Crabapple synthesizes these sources into a lively narrative full of color and emotion.

Crabapple makes liberal use of graphic cliches, and she doesn’t hold back when it comes to representing the ‘bad guys.’ Describing the 1905 pogrom in Odessa, she writes: “Blood-smearedRussian mothers loaded their pushcarts with the spoils from looted Jewish houses, then had their kids torch their homes behind them as they left.” ”

Crabapple is well-versed in Marxist theory, having learned it from her father who, she writes, is a professor of political economy. She clearly explains the ideological differences between the Bund and other leftist parties. Unfortunately, her relationship to historical facts is occasionally a bit loose.

Czar Nicholas I, for example, did not limit the number of Jewish students in Russian universities; at the time there were simply nearly no Russian Jews who would have liked to study there. The so-called “percent norm” (quota) was first introduced by his grandson, Alexander III in 1887, over 30 years after Nicholas’ passing in 1855.

Crabapple also writes that “Tsar Nicholas I wrote his policies with the declared aim of forcing a third of Jews to die, a third to emigrate, and a third to convert to Christianity.” But Nicholas I never declared this; in fact, he strictly prohibited emigration from Russia. Many popular books on Russian Jewish history attribute this statement to Alexander III’s official, Konstantin Pobedonostsev, although no documentary source exists for this.

On the whole, Crabapple paints a historical landscape of the time in black and white. The good guys are the Bundists. The bad ones are various governments, the Bolsheviks and, of course, the Zionists. At fault for all the world’s ills is the West, with its capitalist, imperialist regimes.

The book is prominently anti-Zionist in its politics. This ideological direction must have been a motivating factor for Crabapple as she undertook this project — and she’s successfully conveyed it to her readers, reviving the old fighting spirit of Bundist polemics.

For all this, Crabapple isn’t blind to the political weakness of the Bund. “The Bund had accomplished many things in the areas of mutual aid, cultural production, and armed self-defense. But there was one thing that the Bund had neglected: the necessity of taking power.” A question lingers, however: did the Bund ever have that option, besides a handful of times in 1905, in Russian or Polish cities?

Here Where We Live Is Our Country offers a major intellectual resource for today’s generation of radical activists protesting Zionism and the State of Israel. There’s ample historical and theoretical ammo here for their arguments. At the same time, Crabapple’s book shows that far from every critic of Zionism is an anti-Semite (although many of them are).

Historically, it was Zionism that won out over the Bund, and the State of Israel is an undeniable fact. Indeed, Israel became a new home for many Bundists who survived the Holocaust. For Crabapple, however, that was their bad luck: “The lucky ones got visas for refugee communities in Melbourne and Johannesburg, Paris and Montevideo. Others were not so lucky. In the years after the Holocaust, hundreds of Bundist survivors left for Palestine.” Their party, she adds, meaning the Bund, “had given them fairy tales. Zionists offered a place where they could rebuild their lives.”

There’s a sense of mixed feelings here: disdain for the Zionists, coupled with the acknowledgement that the Bundist project had come to nothing and Zionism did a better job for the Jews. In keeping with Crabapple’s anti-Zionist attitude, she makes no mention of the Bund’s vibrant afterlife in Israel, which included figures such as Isaac Luden and Mordechai Tsanin, and the Israeli magazine Lebns-Fragen, which was highly critical of the Israeli government.

But perhaps the book’s greatest weakness is its deeply caricatured portrayal of Zionism. Not a single word is said about the major role of the Zionist program in Europe and America to support Jewish life in the diaspora. Compared to the Bundists, the Zionist activists were often less dogmatic in their perspective on Jewish culture.

Crabapple clearly demonstrates the ideological divide between the Bund and Zionism. However, she doesn’t seem to acknowledge what these two movements shared: a commitment to the future of the Jewish people. Both emerged from the political environment of late 19th-century Eastern and Central Europe, where various ethnic communities were seeking to reinvent themselves as nations.

The Bund and the Zionists offered two different responses to this challenge. One centered on diasporic nationhood, the other on the creation of a nation state. For both, however, Jewish peoplehood remained the primary concern.

Crabapple concludes her book on the Bund by thanking “the people of Palestine.” It’s a provocative and predictable call in today’s radicalized climate. What remains unclear, however, is who exactly these people are: do they include Israeli Jews? A Bundist answer, I suspect, would be “yes.”

The post Molly Crabapple’s book is well researched but ideologically biased appeared first on The Forward.

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At Trump’s Christian revival on the National Mall, one rabbi made a Jewish case for America

On the National Mall Sunday, Christian worship music boomed from giant speakers as “Adonai” and other names of God flashed across jumbo screens behind a praise band. Pastors invoked America’s biblical destiny. Sadie Robertson, the Christian social media personality and granddaughter of Duck Dynasty patriarch Phil Robertson, preached from both the Old and New Testaments.

And then Rabbi Meir Soloveichik — the lone Jewish speaker at the planned nine-hour “Rededicate 250” rally called by President Donald Trump, billed as a national “jubilee of prayer, praise and thanksgiving” — stepped to the podium and began talking about Irving Berlin.

Soloveichik, 48, a scion of one of modern Orthodoxy’s most revered rabbinic families and a member of Trump’s Religious Liberty Commission, used his remarks to offer a Jewish case for American exceptionalism, a contrast to the explicitly Christian vision of the nation’s founding that defined the day.

Recalling how Berlin wrote “God Bless America” as fascism spread across Europe and antisemitism consumed the continent, Soloveichik described the song as both a patriotic anthem and a prayer of gratitude from a Jewish immigrant who found refuge in the United States. The hymn, he said, represented “a plaintive prayer to God that America continue to be blessed.”

The four-minute speech fit squarely within Soloveichik’s broader worldview. A senior scholar at the conservative Tikvah Fund and rabbi of Congregation Shearith Israel in Manhattan, the oldest Jewish congregation in the United States, he has long argued that America’s civic ideals are aligned with traditional Judaism and biblical morality. His 2024 book, Providence and Power: Ten Portraits in Jewish Statesmanship, examines Jewish political leadership through the lens of faith and moral responsibility.

For Soloveichik, the connection between Judaism and American identity culminated in the Second World War. He noted that “God Bless America” was first broadcast publicly the day after Kristallnacht, when Nazis destroyed Jewish homes and synagogues across Germany. “At the very moment when darkness deepened,” Soloveichik said, “America raised its voice united in the song that Irving Berlin wrote.”

He added that “in the years that followed 1938, the prayer that is ‘God Bless America’ was carried by American soldiers who defeated evil, liberating Europe and the world.”

Then came the line that drew some of the loudest applause of his remarks: “It is a reminder, as hatred of Jews makes itself manifest again, that antisemitism is utterly un-American.”

Separation of church and state

The moment captured the complicated role Jews increasingly occupy within the Trump-era religious right: embraced as part of America’s Judeo-Christian heritage, even as critics warn that the broader movement surrounding events like Rededicate 250 blurs the line between religious pluralism and Christian nationalism.

Rachel Laser, the Jewish CEO of Americans United for the Separation of Church and State, denounced the rally before the event. “If President Trump and his allies truly cared about America’s legacy of religious freedom, they would be celebrating church-state separation as the unique American invention that has allowed religious diversity to flourish in our country,” she said in a statement. “Instead, they continue to threaten this foundational principle by advancing a Christian Nationalist crusade to impose one narrow version of Christianity on all Americans.”

Sunday’s event — part revival meeting, part patriotic pageant — was the centerpiece of the Trump administration’s religious programming tied to this year’s 250th anniversary of the founding of the United States. Secretary of Defense Pete Hegseth and House Speaker Mike Johnson were slated to appear alongside evangelical pastors, worship leaders and conservative Christian influencers. President Trump and Vice President JD Vance were scheduled to address the crowd by video, while Trump himself spent the weekend golfing after returning from an overseas trip to China.

“This is a recognition of the deeply embedded history and religious and moral tradition of the country,” Johnson said Sunday on Fox News, dismissing criticism that the rally blurred the separation of church and state. Those objecting to the event, he added, “want to erase the history of America.”

No Muslim speakers appeared on the lineup. Organizers promoted Trump’s declaration of a national “Shabbat 250” observance the day prior as evidence of interfaith inclusion.

One of the Sunday event’s chief promoters, Trump spiritual adviser Pastor Paula White-Cain, had reassured supporters beforehand that the gathering would celebrate America’s Christian foundations without “praying to all these different Gods.”

Soloveichik did not address those tensions. Instead, he closed by returning to the image of America as a nation uniquely capable, in his telling, of transforming a Jewish refugee into the composer of one of the country’s most enduring patriotic hymns.

“To sing this song,” he said, “is to be reminded that America’s story is unique.”

The post At Trump’s Christian revival on the National Mall, one rabbi made a Jewish case for America appeared first on The Forward.

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Israel to Establish Defense Offices in Former UNRWA Compound

A man handles fallen cables at the Jerusalem headquarters of the United Nations Relief and Works Agency for Palestine Refugees (UNRWA) as the headquarters is dismantled by Israeli forces, in East Jerusalem, January 20, 2026. Photo: REUTERS/Ammar Awad/File Photo

Israel’s cabinet on Sunday approved a plan to build a defense compound on the site of the recently demolished premises of the United Nations Relief and Works Agency in East Jerusalem.

Israel in January demolished structures inside the UN Palestinian refugee agency’s East Jerusalem compound after seizing the site last year, in an act condemned by the agency as a violation of international law.

In a joint statement, the Defense Ministry and Jerusalem Municipality said the new compound would include the establishment of a military museum, a recruitment office and a defense minister’s office.

Defense Minister Israel Katz called the decision one of “sovereignty, Zionism, and security.”

UNRWA, which Israeli authorities accuse of bias, had not used the building since the start of last year after Israel ordered it to vacate all its premises and cease its operations.

A UNRWA spokesperson declined to comment on the Israeli plan.

The agency operates in East Jerusalem, which the U.N. and most countries consider territory occupied by Israel as it was captured from Jordan in the 1967 Middle East war. Israel considers all Jerusalem to be its indivisible capital.

UNRWA also operates in Gaza, the West Bank and elsewhere in the Middle East, providing schooling, healthcare, social services and shelter to millions of Palestinians.

“There is nothing more symbolic or justified than establishing the new IDF recruitment office and defense establishment institutions precisely on the ruins of the former UNRWA compound — an organization whose employees took part in the massacres, murders, and atrocities committed by Hamas terrorists on October 7,” Katz said.

Israel has alleged that some UNRWA staff were members of the Palestinian terrorist group Hamas and took part in the attack on Israel on October 7, 2023, that killed about 1,200 Israelis and led to Israel’s war against Hamas.

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