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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival

(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.

Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.

This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1. 

“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”

The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva. 

”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section. 

Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.

Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.

Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.

Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.

Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”

Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”

Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)

Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage. 

Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.

“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”

In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).

He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddlertranslating a couple of sentences at a time between scenes.

Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.

Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls. 

 

His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.

“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”

Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.

Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol(“Never Say”), the anthem of the Vilna partisans.

And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.

He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.” 

“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”


The post On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival appeared first on Jewish Telegraphic Agency.

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Bombing Can Weaken Iranian Regime, but Only Popular Uprising Can Overthrow It, Dissidents Say

Members of the police stand guard on a street, with a large billboard featuring Iran’s late Supreme Leader Ayatollah Ali Khamenei in the background, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 12, 2026. Photo: REUTERS/Alaa Al-Marjani

A senior official from a Paris-based Iranian opposition group said on Thursday that the US-Israeli war on Iran would not topple the clerical leadership, arguing that only a popular uprising backed by internal resistance could do so.

Almost two weeks of bombing have killed around 2,000 people in Iran including supreme leader Ayatollah Ali Khamenei, and damaged much of its military and security apparatus.

Iran has responded in kind, throwing global energy markets and transport into chaos and spreading the conflict across the Middle East, while the Islamic Revolutionary Guard Corps has tightened its grip on power and threatened to crush any unrest.

“The 12-day war in June, and the current war, now in its 12th day, proved that bombings cannot overthrow the regime,” Mohammad Mohaddesin, head of foreign policy at the National Council of Resistance of Iran (NCRI), told a news conference.

“Even if you have 50,000 armed soldiers on the ground, you need the support of Iranian people. You need a popular uprising. The combination of this 50,000 or 20,000 or any other number with a popular uprising, then you have this power to overthrow the regime.”

Mohaddesin said he did not consider a deployment of US ground troops realistic.

The NCRI, also known by its Farsi name Mujahideen-e-Khalq, was listed as a terrorist organization by the United States until 2012.

It is banned in Iran, and it is unclear how much support it has there. However, along with its bitter rival, the monarchists backing Reza Pahlavi, exiled son of the toppled shah, it is one of the few opposition groups able to rally supporters.

Mohaddesin acknowledged that his group alone could not bring down the system. But he said mass protests, like those that raged in January until they were bloodily quashed, would resume once bombing stopped, and could eventually shift the balance.

“I cannot say how many months or a year, but … this is the track of overthrowing the regime,” he said.

Israeli officials have said that one of their objectives is to weaken the security apparatus so that Iran‘s people can take control of their own destiny.

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Trump Says It Is Not Appropriate for Iran to Be in Soccer World Cup

Soccer Football – World Cup – Asian Qualifiers – Group A – Iran v North Korea – Azadi Stadium, Tehran, Iran – June 10, 2025, Iran players line up before the match. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS

US President Donald Trump said on Thursday the Iranian men’s national soccer team was welcome to participate in the 2026 World Cup but that he believed it was not appropriate that they be there “for their own life and safety.”

“The Iran National Soccer Team is welcome to The World Cup, but I really don’t believe it is appropriate that they be there, for their own life and safety,” Trump said in a post on Truth Social.

Iran‘s sports minister said on Wednesday that it was not possible for his nation’s athletes to participate after the US launched airstrikes alongside Israel against Tehran. The attacks triggered a region-wide conflict that has shown no signs of abating.

The 48-team World Cup will be held in the US, Canada, and Mexico from June 11 to July 19, with Iran scheduled for matches in Los Angeles and Seattle.

An official withdrawal by Iran from the showpiece event, which has not yet happened, would be a first in the modern era and would leave soccer‘s global governing body FIFA with the urgent task of finding a replacement team.

Iran was the only nation missing from a FIFA planning summit for World Cup participants held last week in Atlanta.

FIFA did not immediately respond to a request for comment. Late last year it awarded Trump — who has campaigned aggressively for the Nobel Peace Prize — its own inaugural peace prize.

Earlier this week, Australia granted humanitarian visas to five Iranian women soccer players after they sought asylum, fearing persecution on their return home for their refusal to sing the national anthem at an Asia Cup match.

Trump had urged Australia’s Prime Minister Anthony Albanese to grant asylum to members of the Iranian women’s team, saying the US would if Australia did not.

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The New ‘Tokyo Roses’: How Social Media Influencers Amplify Authoritarian Propaganda

People stand near a destroyed vehicle as smoke rises after a reported strike on Shahran fuel tanks, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 8, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS

At 04:38 on the morning of March 11, 2026, the alert blasted onto my phone: “Red Alert – Tel Aviv.”

Like millions of Israelis during the current war with Iran, my family and I moved quickly into our mamad — the reinforced safe room built into Israeli homes constructed after 1993 — grateful for the air-defense systems intercepting incoming missiles overhead.

Fifteen minutes later, the sirens stopped. I climbed back into bed.

That has become the rhythm of daily life here. Restaurants reopened. Businesses operate. Children move between Zoom classes and the occasional dash to a shelter when sirens sound.

But if you relied solely on social media — particularly X or TikTok — you might believe Tel Aviv had already been reduced to rubble.

Videos circulate claiming the city is burning and the electric grid destroyed. Posts declare Israel is collapsing under missile fire. Influencers insist the truth is being “censored.”

The problem is that this supposed “evidence” turns out to be fabricated, misrepresented, or recycled footage — often not even from Israel. 

In other words: propaganda. 

The tactic itself is not new.

During World War II, Allied soldiers in the Pacific heard English-language propaganda broadcasts from personalities collectively known as “Tokyo Rose.” Their purpose was to undermine morale, spread disinformation, and convince American troops their cause was hopeless.

The technology has changed, but the tactic hasn’t.

Today, the propaganda battlefield is on social media, and the new “Tokyo Roses” are often Western influencers with enormous audiences.

Consider the viral claims that Iran’s missile attacks have “devastated” Israel.

Several widely shared posts attempted to support this narrative with dramatic footage supposedly showing Iranian strikes on Israeli cities.

Basic fact-checking revealed something else: AI-generated fabrications or recycled clips from earlier events.

Repackaging old footage to fabricate a new narrative is one of the oldest tricks in propaganda. What has changed is the speed. In the social media age, recycled footage and fabricated videos spread globally in minutes, while corrections rarely travel as far as the original lie. 

A similar pattern appeared recently when Putin- and Houthi-supporting influencer Jackson Hinkle circulated a video claiming to show massive crowds in Iran mourning the assassination of Ayatollah Khamenei. Fact-checkers later identified the footage as coming from the 2020 funeral of Islamic Revolutionary Guard Corps commander Qasem Soleimani. By the time the clarification appeared, the misleading version had already spread widely across social media. 

Other influencers have gone further by promoting narratives that closely mirror those pushed by authoritarian regimes.

Social media personality Myron Gaines recently argued that Iran “poses no real threat to the United States” and that the war should end because it is “Israel’s problem, not ours.”

But Iran’s regime has spent decades building precisely the opposite reality. Since the 1979 Islamic Revolution, Tehran has treated the United States as a principal enemy. Iranian leaders regularly chant “Death to America,” and Iran and its proxies have been responsible for the deaths of hundreds of American service members, including attacks in Beirut, Iraq, and Saudi Arabia.

Through the Islamic Revolutionary Guard Corps, Tehran has built a network of proxy militias across the Middle East — Hezbollah in Lebanon, Hamas in Gaza, Shiite militias in Iraq, and the Houthis in Yemen.

These groups have launched thousands of rockets, drones, and missiles against America and its allies while Iran continues expanding its ballistic-missile arsenal and advancing toward nuclear-weapons capability.

This buildup also fits into the broader ambitions of the China-Russia-Iran axis, which seeks to weaken American global influence.

To describe such a regime as posing “no real threat” requires ignoring one of the most documented security challenges in modern geopolitics. 

Unless one believes that the world — and especially the United States — would be freer or safer with China, Russia, and Iran ascendant, the stakes should be obvious. 

In other cases, the rhetoric moves from distortion into outright antisemitic conspiracy.

Social media personality Dan Bilzerian has posted messages accusing Western leaders and the Muslim governments cooperating with Israel of “selling out” their people. His posts frequently invoke conspiratorial claims about hidden Jewish forces nefariously controlling Western governments.

These narratives mirror themes long promoted by state-controlled media in Iran and Russia.

Whether intentional or not, the effect is the same: Western audiences are fed narratives that erode trust in democratic institutions while portraying authoritarian regimes as misunderstood and even noble victims.

In some cases, the messaging goes further still.

Recent posts from Candace Owens, widely shared across social media, have encouraged Americans not to serve in the US military and urged those currently serving to quit, while framing the conflict through very dark and conspiratorial accusations about hidden motives to serve supposedly prurient and venal Jewish interests.

Messages designed to discourage military service during wartime have long been tools of psychological warfare. In the 1940s such efforts were broadcast over enemy radio. Today they appear in US based social media feeds.

None of this occurs in a vacuum.

For years the Islamic Revolutionary Guard Corps has treated information warfare as a central element of its strategy. Iranian state media and proxy networks attempt to shape global narratives by portraying the Islamic Republic as a victim while depicting Israel and the United States as degenerate and corrupt aggressors.

These campaigns rely on familiar tactics: recycled footage, conspiracy narratives, and emotionally charged messaging designed to spread rapidly online. What makes the modern environment different is that these narratives no longer need to originate inside Iran to reach Western audiences. Influencers with large followings amplify them instantly.

The propaganda circulating online often revives and relies on something far older than modern geopolitics: classic antisemitic tropes.

Many viral posts go far beyond criticism of US or Israeli policy. They invoke conspiracies about Jewish control of governments, repeat blood-libel accusations, and frame global events as the result of a shrouded Jewish plot.

Versions of these accusations have circulated for centuries. What is striking today is how seamlessly these myths have merged with contemporary geopolitical propaganda.

Authoritarian regimes hostile to Israel have long understood that antisemitic narratives can serve as powerful mobilizing tools. Portraying Israel as the center of a global conspiracy transforms a regional conflict into an ideological crusade.

When influencers with large Western audiences repeat these themes, they normalize ideas that have historically fueled violence against Jews.

The modern “Tokyo Rose” no longer sits behind a microphone in an enemy capital. He or she posts on social media.

The voices spreading propaganda today are influencers with millions of Western followers — many living safely and prosperously inside the democratic societies whose resolve they undermine. Some claim they are offering contrarian commentary. Others are motivated by attention or the financial rewards of viral outrage.

But the effect is the same: narratives promoted by authoritarian regimes are amplified to vast audiences, often stripped of context, facts, or accountability.

Meanwhile here in Tel Aviv, life continues between missile alerts. Millions of Israelis move between normal routines and red-alert interruptions as air defenses intercept incoming missiles. But it bears little resemblance to the apocalyptic fantasies circulating online.

That contrast — between lived reality and digital narrative — reveals something important about modern information warfare.

Propaganda no longer requires governments to broadcast lies. It only requires enough people willing to repeat them — and in the age of social media, there are always volunteers.

Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.

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