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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 “Fiddler” translating 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.”
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Candace Owens and the Dangerous Myth of ‘Talmudic Jews’
In a recent viral video responding to Ben Shapiro’s accurate description of her long-standing pattern of spreading baseless fear and animus, Candace Owens urged her audience to “wake up” about Jews, Judaism, and what she called “Talmudic Jews.”
As part of that exhortation, she recommended a book titled The Talmudic Jew, presenting it not as a historical artifact, but as a suppressed key to understanding not only Shapiro, but Jewish behavior and morality writ large.
This is not a new genre of argument. It is one of the oldest weapons in the antisemitic arsenal.
Owens’ framing follows a familiar script: for those predisposed to view Jews as powerful, alien, or suspect, the explanation is presumed to lie hidden in Jewish religious texts.
The Talmud, in this telling, is not a complex legal and ethical corpus but a secret code — one that allegedly explains Jewish behavior and justifies suspicion toward Jews as a group. Owens’ invitation for non-Jews to “wake up” is actually an invitation to stop seeing Jews as human beings — let alone as neighbors or fellow citizens — and to begin seeing them as something else entirely: a threat.
In the same video, Owens widens the accusation. She urges viewers to believe that Jews are behind conflicts pitting “Christian against Christian” and “Christians against Muslims” around the world — an echo of a medieval antisemitic fantasy that casts Jews as the hidden engineers of war and civilizational collapse. This trope, documented for centuries, has no basis in history. Its function is not explanation but absolution: it diverts responsibility away from actual political, religious, and imperial actors, and deposits it onto a convenient, ever-available scapegoat.
Owens then extends this logic further, telling Black audiences that “white people” were not responsible for the Transatlantic slave trade — or slavery more broadly — and that Jews were. This claim is not merely false; it is grotesque.
The Transatlantic slave trade was a European enterprise, driven by explicitly European Christian empires — British, Dutch, Spanish, Portuguese, French, and later American — whose colonial economies depended on enslaved labor. Likewise, the vast Saharan and Indian Ocean slave trades were driven primarily by Arab-Muslim empires and traders over many centuries. Between roughly the 7th and 19th centuries, European and Arab imperial systems conquered and controlled much of the known world — and they were the principal engines of slavery wherever it was practiced. Jews, overwhelmingly a tiny, marginalized minority without imperial power, were not — and could not have been — the drivers of these systems.
The Talmudic Jew, the book Owens cites approvingly as the purported “key” to understanding Jews, was written by August Rohling, an Austrian, German-language Catholic theologian of the late 19th century whose work relied on mistranslations, selective quotation, and outright fabrication. Rohling did not attempt to understand rabbinic Judaism. His aim was polemical: to portray Judaism as inherently immoral and hostile toward non-Jews, and to argue that Jewish emancipation in Western Europe had been a catastrophic mistake.
Rohling’s book was discredited even in his own time. Contemporary scholars demonstrated that he mistranslated Hebrew and Aramaic texts, stripped legal debates of context, treated marginal opinions as binding doctrine, and in some cases invented quotations outright. Yet the book endured because it served a purpose: it gave readers permission to see Jews not merely as wrong, but as inherently dangerous.
That durability proved deadly. In the 20th century, Rohling’s arguments were revived and repurposed by Nazi ideologues, who cited anti-Talmud literature like The Talmudic Jew as supposed evidence that Jewish tradition itself justified exclusion, persecution, and annihilation. The book did not cause the Holocaust — but it helped supply the intellectual scaffolding that made genocide conceivable.
Owens’ amplification of Rohling is therefore not incidental. It places her squarely within a long and infamous lineage of antisemitic accusations that treat Jews as the hidden hand behind social conflict, moral decay, and historical evil.
When Owens speaks of “Talmudic Jews,” she is not describing a religious practice. She is issuing an indictment: that Jews are governed by a hidden code that renders them morally alien and hostile to the societies in which they live. That indictment depends on a fundamental misrepresentation of the Talmud itself.
The Talmud is not a single book or a secret code. It is a sprawling legal record spanning centuries, comprising 63 tractates and more than 2,700 folio pages, dense with debate, disagreement, and layered interpretation. It preserves arguments rather than decrees, questions rather than answers, and features minority opinions alongside majority rulings. To lift a line from this corpus and present it as “what Jews believe” is not scholarship. It is distortion.
That distortion is not accidental. It is the engine of a genre designed to turn Jewish complexity into Jewish hate.
Candace Owens presents herself as a truth-teller urging her audience to “wake up.” What she is really doing is attempting to mainstream a discredited and dangerous form of antisemitic propaganda — one that history has already tested and found catastrophic. When such claims are broadcast by someone with her reach and influence, they do not merely misinform. They habituate. They train audiences to see Jews as a civilizational menace. And once a people are cast as a menace, cruelty is easily rebranded as responsibility — and even as self-defense.
Terrible moments in history do not repeat themselves automatically. They are repeated when influential figures persuade their followers that ancient libels are newly discovered truths.
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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We Need Elie Wiesel’s ‘Against Despair’ Right Now
The late Professor Elie Wiesel, speaking at the Algemeiner’s 40th anniversary gala, on April 22, 2013. Photo: Sarah Rogers / Algemeiner.
As antisemitism is again surging across the world, it can feel frightening and isolating to be Jewish.
The familiar question returns: how do we hold on to our identity and our pride, when the world seems intent on testing both?
Every generation of Jews has faced its own test of endurance. Ours is unfolding now, as antisemitism again plagues our streets, our campuses, and our interpersonal relationships. Many Jews feel vulnerable, isolated, and unsure how to respond.
In 1973, shortly after the Yom Kippur War, Elie Wiesel answered that question in a speech at the United Jewish Appeal’s National Conference.
Wiesel addressed a Jewish community grappling with fear and uncertainty, reeling from the surprise attack that cost the lives of more than 2,500 Israelis. Decades later, that speech, titled Against Despair, offers a roadmap for reclaiming our pride by drawing strength from our history and traditions.
Against Despair begins with a striking observation about our people: “To me, the essence of Jewish history is mystical and not rational. From the strictly rational viewpoint, we should have long ago yielded to the pressures and laws of the enemy … The mystery of our survival is matched only by our will to survive in a society embarrassed and annoyed by our presence.”
It is a reminder that Jewish endurance stems from the countless generations of Jews who chose courage over surrender. We survive because our history, culture, and traditions carry us forward in a world that has too often attempted to eliminate all three.
As he continues, Wiesel reminds us that no Jewish person is ever truly alone. He says, “When Jews are sad in Jerusalem, Jews everywhere reflect their sadness … An assault on Jews anywhere means an attempt to humiliate Jews everywhere.”
The individual may struggle, but we are connected across time and space. Facing adversity is not only about personal resilience — it is about our collective responsibility to safeguard the moral center of our people.
Professor Wiesel shows us how to confront despair head-on. He teaches that surviving and resisting antisemitic persecution while remaining Jewish is more than a physical phenomenon; it’s an existential one that has sustained Judaism across millennia, a way to honor all those who came before. He reminds us that choosing life is an active endeavor that takes precedence over mourning. Jewish joy and Jewish education are themselves acts of resistance.
“Faced with despair,” said Wiesel, “the most difficult but most beautiful [option] of all [is] to face the human condition and do so as a Jew … We shall resist them in our own Jewish way, which means that we will not allow them to tell us when to be joyous and when to mourn, when to sing and when to be silent.”
This is the heart of Wiesel’s thesis: Jewish identity is itself a moral stance. To live as a Jew is to face life, history, and human cruelty with awareness, integrity, and hope. Even when the world seems hostile, even when antisemitism threatens, Wiesel shows us that we are called to endure, to remember, and to celebrate Jewish life with pride.
Reading Against Despair is a practical guide for living proudly and resiliently in a difficult world. Ultimately, Wiesel asserts that despair is not an option. Jewish survival has always required vigilance, courage, and the refusal to let hatred define us.
“For this is the essence of being Jewish; never to give up — never to yield to despair.”
Every Jewish person should read Against Despair. Not simply to reflect on the past, but to understand how Jewish history, values, and traditions offer strength for the present. For Professor Wiesel, hope is not something one passively receives. Instead, it is a necessary asset we must create for ourselves, a personal duty we owe to our forebears and our children alike.
Against Despair is more than a speech; it is a call to action. It shows us how to meet the modern expressions of age-old antisemitism with the ideas that sustained Wiesel and other Survivors in the darkest of times.
Our very existence is proof that Jewish hope is not naive. It is our essence and our inheritance. We must follow Wiesel’s example by reminding ourselves and the world of how we’ve endured for millennia: taking pride in our Jewishness and fighting to ensure that our descendants have the opportunity to do the same.
Mike Igel is the Chair of The Florida Holocaust Museum’s Wiesel Archive & Legacy Council.
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If Israel Wants to Increase Immigration, It Should Take These Steps
New olim disembark at Tel Aviv’s Ben Gurion Airport on the first charter aliyah flight after he Oct. 7, 2023, Hamas attacks, arriving to begin new lives in Israel. Photo: The Algemeiner
Gideon Sa’ar, Israel’s Minister of Foreign Affairs, recently made an impassioned plea for Jews to “come home” in light of surging antisemitism around the globe, including the Bondi Beach massacre in Australia.
But antisemitism alone won’t trigger a mass exodus of Jews to Israel — at least not yet. If Israeli leaders really want to persuade large numbers of Jews, especially Jews in the West, to immigrate to Israel, they must make some fundamental changes to the country. Right now, there are too many aspects of life in Israel that make it unattractive to Western Jews.
For instance, the whole process of immigrating to Israel can be quite daunting, especially if Israeli authorities question your Jewishness.
While Israel’s Law of Return grants any Jew the right to come to the country as an “oleh” (immigrant), this isn’t what always happens in practice, particularly when radical rabbis get involved. Thus, a prospective oleh is often required to produce some sort of proof, such as a letter from a local rabbi, attesting to their religious involvement in the Jewish community, when all they should be legally required to produce is proof of their Jewish ethnicity.
Worse still, Israel doesn’t recognize many non-Orthodox streams of Judaism, which is extremely problematic considering that most Jews in the West are not Orthodox. In short, many Jews in the West won’t immigrate to Israel if the state doesn’t recognize them as Jews.
Many Western Jews who are secular also won’t want to live in a country where there’s no public transportation on Saturdays or other Jewish holidays and no civil marriage or divorce. Hence, if Israel’s leaders are intent on persuading Jews in the West to immigrate to the Jewish State, they should reform some of these onerous religious restrictions.
Another major impediment to persuading Jews in the West to “come home” is Israel’s living standards. Right now, most Jews in the West enjoy a better standard of living than Israel can offer. To improve Israel’s standard of living, the Bank of Israel, OECD, and Israel’s Ministry of Finance have made a number of recommendations, including increasing labor productivity by reducing regulation and encouraging more Haredi men and Arab Israelis to participate in the workforce.
One major problem with Israel’s living standards is the high cost of living, which is among the highest in the OECD group of countries. Few Jews in the Diaspora will want to immigrate to Israel if they know the country’s cost of living is so absurdly high. The solution advocated by the OECD, former Competition Authority heads, and social protest movements is increasing competition in the economy and reducing import barriers. Israelis pay high prices for many goods, especially food products, due to the dominance of large conglomerates and monopolies, as well as restrictions on imports.
Housing is also very expensive in Israel. In fact, housing costs are the single largest drag on household living standards in the country. To alleviate this, the Bank of Israel, State Comptroller, and housing task forces have recommended measures such as releasing more state land faster for residential development and speeding up the country’s planning and permitting process, which is among the slowest in the OECD.
Over the last few years, the government has made some reforms to lower the cost of living and raise living standards, but there’s still much more to be done. Change is slow due to many factors, including the nature of Israel’s fractured party politics and the difficulty of creating and maintaining coalition governments, as well as resistance to reform by powerful business interests. Furthermore, Israel’s immense security challenges consume budgetary resources, political attention, and bureaucratic capabilities.
Indeed, perhaps the biggest factor discouraging Jews in the West from immigrating to Israel is the security situation. After all, many Jews would be hesitant to leave the West, where the prospect of war is almost zero, and go live in Israel, a country surrounded by bloodthirsty enemies determined to wipe it off the map. Unfortunately, Israel’s ability to control its security situation is limited, because peace is simply not possible if Israel’s enemies don’t want it.

