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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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They told Willy Loman he was everything; ’twas a great American lie
The great innovation of Shakespeare’s King Lear is that its patriarch has no sons. This problem — Lear has a vast estate, and only daughters to inherit it — marks the onset of a disaster. Because the king has no obvious heir, he is able to remake his world as he sees fit. But his choice to split his kingdom between his three daughters, based on the degree of fealty they express toward him, is catastrophic. It can be argued that Lear suffers from an excess of liberty. Without a rulebook to follow, he wreaks destruction on the country he had hoped to preserve in his image.
Arthur Miller’s Death of a Salesman is a kind of American Lear. In the midcentury United States, every man can be his own king, leaving Willy Loman suffering from a version of Lear’s affliction. Willy has arrived at a time in life at which he is keen to secure his own legacy. Unlike Lear, he has only sons, and is painfully committed to having his first-born take on his mantle. But in the land of the free, he has perversely and perhaps unconsciously spent his life glorying in his ability to make the wrong choices.
Spoilers: Willy’s choice of how to bequeath his kingdom, such as it is, will work out almost as tragically as Lear’s.
A new Broadway production of Death of a Salesman, starring an excellent Nathan Lane as the archetypal failed American father, leans into the quasi-Biblical nature of this story. It is a tale for Americans to pray over: May we become wiser and stronger as a people by learning from our forefather’s mistakes. And it is a tale to atone over, as well. Just shy of eight decades since the play’s debut in 1949, there is a great and ever-mounting body of evidence to suggest we have done very little learning at all.
Death of a Salesman follows two days in the life of the Loman family, who live in Brooklyn and have, at long last, very nearly paid off their mortgage. But they have perhaps never felt more insecure. Bills are piling up. Willy’s job as a traveling salesman has stopped paying him a salary. In his 60s, he is beginning to feel his age, and as he works for scant commissions, he’s started to exhibit a faltering grasp on reality, and an increasingly vigorous drive toward self-destruction. His wife Linda — played by Laurie Metcalf, who is, as always, stellar — senses terrible possibilities just around the corner.
Meanwhile, adult sons Biff (Christopher Abbot) and Happy (Ben Ahlers, although I caught Jake Silbermann in a fine understudy performance) are in the midst of the sort of drawn-out coming-of-age crisis that each generation seems to invent anew. They don’t know who they are. They can’t see a way toward making enough money. They’re unwilling to commit to anything or anyone. They yearn for big American lives — cattle ranches, an endless stream of available women, the dream of finally pulling one over on the boss — and are only just beginning to question whether that yearning has anything to do with the big American emptiness they feel.
The pressure created by the family’s unfulfilled dreams — of financial security, a sense of purpose, a bit of rest — turns most explosive between Willy and Biff. Willy yearns for his eldest son, once a promising boy who idolized his father, to become the business bigshot he never quite managed to become himself. But, at 34, Biff no longer seems able to stand anything about his father — up to and including the flashy American brilliance Willy sees himself as bequeathing. The tension between the father with a dream, and the son who refuses to fulfill it, comes to tragedy.
In this way, Willy’s problem is an inversion of Lear’s: His obsession with his firstborn son drives him and his family to a kind of ruin. (Youngest child Happy’s story is the quietest tragedy in Death of a Salesman; he is an overgrown boy, developmentally frozen by his desire for Willy’s never-forthcoming approval, or even attention.) And as Shakespeare’s great tragedy illustrated certain formative flaws in the English national character — I cannot recommend James Shapiro’s The Year of Lear enough — so Willy’s obsession casts a damning light on the country that created him.
Willy is all-American: He loves cars, football, fantastic get-rich-quick schemes and womanizing. He sees his chosen profession as evincing great American values: “respect, and comradeship, and gratitude,” not to mention the glory of the open road.
He’s also an individualist who has abundantly reaped the costs of that posture. He has exactly one friend, a neighbor called Charley, whom he appears not to actually like. He sees himself in constant competition with his fellow man, and carries a strain of exceptionalism that borders on the delusional. His conviction that he lives in a land of boundless opportunity has poisoned him against reality. He understands, on some level, that he hasn’t completely succeeded in achieving glory, but he can’t let himself accept that understanding. As it turns out, he would rather die.
These flaws are particularly painful to encounter at this moment, when the country has less a president than a salesman-in-chief. Willy’s preoccupation with a certain kind of smoke-and-mirrors business success now seems less like a reflection of the country Miller knew than a prediction of the ways in which it would decline. The fallacy that liberty is inherently tied to financial success has warped the nation, just as it warped Willy himself.
Biff rejects the exceptionalist mindset Willy strives to instill in him: “Pop, I’m a dime a dozen, and so are you!” he rages in a climactic argument. But Happy buys into his father’s worldview, celebrating him as a great possessor of “the only dream you can have — to come out number-one man.” When Happy insists that he will follow in Willy’s footsteps and “beat this racket” — the obscure American system that seems to keep the common man down, despite the country’s promise — the audience can easily imagine what will follow: a lifetime of disappointed entitlement, and, in the end, a legacy as meager as his father’s.
Willy might see it as an insult for Happy, whom he’s always treated as an afterthought, to seize the title of his true heir. Like Lear, his preoccupation with the question of what he’ll leave behind, and who will treasure it, has prevented him from understanding the truth about his children and himself. Lear is too attached to the concept of his own majesty to bother with effective governance; Willy is so devoted to his false idol of success that he departs the world without knowing much about it. In both cases, the playwrights understood what their characters couldn’t: that children, like countries, learn by example.
The post They told Willy Loman he was everything; ’twas a great American lie appeared first on The Forward.
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UK Counterterrorism Police Investigate Arson at Jewish Memorial Wall
An Orthodox Jewish man walks by at a wall showing pictures of protesters killed during anti-government demonstrations in Iran, in Golders Green, London, Britain, March 7, 2026. Photo: REUTERS/Jack Taylor
Police said on Tuesday they were investigating suspected arson at a memorial wall in a part of north London that is home to a large Jewish community, amid a recent spate of such incidents in the British capital.
London’s Metropolitan Police said the investigation was being led by Counter Terrorism Policing, though it was not being treated as a terrorist incident. They said no arrests had been made.
The incident occurred on Monday at the site of a memorial wall dedicated to people killed in Iran in a bloody crackdown after anti-government protests spread across the country in January. Police said the memorial wall had not been damaged.
“We recognize that this incident will heighten concerns in the Golders Green area, where residents have already faced a series of attacks,” Detective Chief Superintendent Luke Williams said in a statement.
Over the last month, counter–terrorism officers have arrested more than two dozen people as part of investigations into attacks on Jewish-linked premises, including the torching of ambulances belonging to the Jewish volunteer emergency service Hatzola in Golders Green on March 23.
Police said after an arson attack at a synagogue this month that they were investigating possible Iranian links to the incidents. A pro-Iranian government group has said it was responsible.
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Ukraine in Diplomatic Tussle With Israel Over Grain Kyiv Says ‘Stolen’ by Russia
A farmer operates a combine during the start of the wheat harvesting campaign in a field near the town of Starobilsk (Starobelsk) in the Luhansk Region, a Russian-controlled area of Ukraine, July 9, 2025. Photo: REUTERS/Alexander Ermochenko
Ukraine and Israel traded diplomatic blows on Tuesday as President Volodymyr Zelenskiy condemned what he said were grain purchases from occupied Ukrainian territory “stolen” by Russia and threatened sanctions against those attempting to profit from it.
Kyiv considers all grain produced in the four regions that Russia claims as its own since invading Ukraine in 2022 as well as Crimea, annexed by Russia in 2014, to be stolen and has protested over its export to other countries.
Russia calls the regions its “new territories,” but they are still internationally recognized as Ukrainian. Moscow has not commented on the legal status of grain collected in them.
“Another vessel carrying such grain has arrived at a port in Israel and is preparing to unload,” Zelenskiy said on X, adding: “This is not – and cannot be – legitimate business.”
“The Israeli authorities cannot be unaware of which ships are arriving at the country’s ports and what cargo they are carrying,” added Zelenskiy.
Ukraine on Tuesday summoned Israel‘s ambassador over what Kyiv described as Israeli inaction in allowing shipments of grain to enter the country from Russian-occupied Ukraine.
Ukraine‘s foreign ministry said in a statement it handed the ambassador a “note of protest.”
Israeli Foreign Minister Gideon Saar said that Kyiv has not provided any evidence for its claims.
“The vessel has not entered the port and has yet to submit its documents. It’s not possible to verify the truth of the Ukrainian claims,” he told a news conference in Jerusalem.
Saar said Ukraine had not submitted any request for legal assistance and rejected what he called “Twitter diplomacy.”
“Israel is a state that abides by the rule of law. We say again to our Ukrainian friends, if you have any evidence of theft submit it through the appropriate channels,” he said.
Ukrainian foreign ministry spokesman Heorhii Tykhyi told reporters that Kyiv has provided “extensive information and proof” that the cargo was illegal before going public. The foreign ministry published a timeline of its actions and contacts with Israeli authorities.
“We will not allow any country in any geography to facilitate illegal trade with a stolen grain that finances our enemy,” Tykhyi said.
Kremlin spokesman Dmitry Peskov declined to comment on Tuesday, saying Russia would not get involved. “Let the Kyiv regime deal with Israel on its own,” he said.
Traders have told Reuters that it is impossible to track the origin of wheat once it is mixed.
UKRAINE PREPARING SANCTIONS PACKAGE
Anouar El Anouni, EU foreign affairs spokesperson, said the bloc had taken note of reports that a “Russian shadow fleet vessel” carrying stolen grain had been allowed to dock at Haifa. He said the European Commission had approached Israel‘s foreign ministry on the issue.
“We condemn all actions that help fund Russia‘s illegal war effort and circumvent EU sanctions, and remain ready to target such actions by listing individuals and entities in third countries if necessary,” he said.
Zelenskiy said Ukraine was preparing a sanctions package against those transporting the grain and the individuals and legal entities attempting to profit from the scheme.
Zelenskiy said Kyiv has taken “all necessary steps through diplomatic channels,” but the ship had not been stopped.
“Russia is systematically seizing grain on temporarily occupied Ukrainian land and organizing its export through individuals linked to the occupiers,” Zelenskiy said.
“Such schemes violate the laws of the State of Israel itself,” he added.
Ukraine expected Israel to respect Ukraine and refrain from actions that undermine bilateral relations, he added.
