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A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC
(New York Jewish Week) — Though she grew up in Israel, Tamar Bloch’s childhood was a mishmash of cultures. With a Moroccan mother and Brazilian father, Bloch often heard Portuguese and Arabic alongside Hebrew, and felt connected with the music from all three cultures.
It wasn’t until she was in her early 20s, however, that Bloch discovered the language and culture of “Haketia,” a Romance language once spoken by Sephardic Jews in North Africa. Haketia has elements of Darija (Moroccan Arabic), Spanish and Ladino.
“I was hooked immediately,” Bloch, 33, told the New York Jewish Week. She could only find ethnographic recordings of Haketian songs at the Israel State Archives and at Hebrew University in Jerusalem, which she painstakingly transcribed and re-recorded herself — becoming the first modern artist to record an album in Haketia.
Over the last decade, Bloch — who goes by the stage name Lala Tamar; Lala is a Moroccan honorific meaning “Lady” or “Miss” — has traveled the world touring her music, working with bands and promoting the language and sound of Haketia.
This weekend, Bloch is traveling to New York from her home in Essouria, Morocco to perform several concerts at Lincoln Center for the Performing Arts. The New York Jewish Week caught up with her to talk about her performances in the United States and what Haketia means to her.
New York Jewish Week: How did you become aware of Haketía and then decide to pursue it in your music?
Bloch: I did not know it as a kid. I grew up with a mom who did speak Darija, which is Moroccan Arabic, which integrated and mixed inside Haketia, and with a dad who was born in Brazil, so there was Portuguese and a lot of Latin music in the house.
So I grew up with the basics of Haketia at home — the words and the Latin languages and the Arabic languages surrounding me. But I never really spoke it because they were speaking it with the older generations, with my grandparents and not with us, the kids.
When I grew up a bit I fell in love with Moroccan music. I happened to hear Haketia music. Immediately, I was hooked. For me, it was a very condensed cultural combination of my background, of the way I grew up. Not only literally, with the words and the language, but also musically because it has this combination of Spanish and Andalusian music and North African music. It’s all fused together in Haketia. I decided that I needed to investigate and to search for more of this music. These songs were never really recorded in an artistically contemporary way. If anything, they were recorded for the sake of preservation as a part of ethnographic research for universities. But it was not out there as music for everybody. I felt that this music deserves to be heard and to be served to everybody. It doesn’t have to be a part of a long forgotten tradition that’s lost in the archives.
What has been like the most meaningful part of the last decade of bringing Haketia back into the modern world and of touring your music around the globe?
I think that the biggest moment was when I got into the playlist of Galgalatz in Israel, which is one of the country’s most popular radio stations. One of the singles got into a playlist, and it was the first time that Haketia was played on contemporary, popular radio. That was really exciting. Also when we released our album. Even though it was in the middle of COVID, so it did not get any of the attention we were expecting for it, it was still exciting to to release an album in this in this lost language, and to hear people play it at parties and to have people sending me videos in restaurants. It’s always exciting to hear it.
I didn’t feel like I had a mission to make Haketia or this music more mainstream. It just happened because I felt that this music was relevant for me. I felt very much connected to it in a way that made me just release it as if there was nothing different about it, as if I would be singing anything else.
Why did you decide to move to Morocco from Israel during the pandemic?
I started performing in Morocco and realized that it’s always been the source of my inspiration, the fountain of my creation. At one of the festivals that I did there, I met Maalem (Master) Seddik, a Muslim musician that teaches Gnawa, a specific style of religious Moroccan music that I was fascinated by and, also, I was fascinated by the connection with the Jewish history in Morocco. I was waiting for the opportunity to go and study with him and then COVID struck and I had no job, of course.
Also, my inspiration and everything in my life that I create comes from Morocco. (During the 18th and 19th centuries, Jews made up nearly half of the population of Essouira — then called Mogador.) So when I was not singing I felt that my fountain was being dried out, so I already had this dream of going to study with him and I managed to find a way to get into Morocco which was really complicated at the time. He [Seddik] was waiting for me and welcomed me in. I started studying with him and he really adopted me, almost as a daughter, cooking for me, making me all these Jewish foods that he knows how to make from his neighbors and all his Jewish friends, and I just stayed. I have a lot of followers and an audience in Morocco as well as a lot of musicians that I work with so for me, it really felt like home from the beginning.
How does it feel to be performing in New York for the first time?
I have been doing online shows for Lincoln Center, but I’ve never performed physically in New York. It’s really exciting. I can’t describe how blissful we feel to come all this way. It’s a really big honor for my band’s first live performance in the United States to be at Lincoln Center.
I can only imagine how it will be because I don’t know. I can say I perform around the world, more than in Israel these past few years. I feel that this music has something that just can reach people from whatever background they come from. I hope that’s going to be the case as well, here in New York and New Yorkers are very open minded, very aware of what’s happening around the globe culturally.
Lala Tamar will perform a series of five concerts between May 5-7 at Lincoln Center for Performing Arts (113 West 60th St.). To find concert times and purchase tickets (choose-what-you-pay), visit their website.
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The post A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC appeared first on Jewish Telegraphic Agency.
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Iranian Leader Khamenei Killed in Strikes, Israel Says
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks during a meeting in Tehran, Iran, Jan. 3, 2026. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
The United States and Israel launched the most ambitious attack on Iran in decades on Saturday, and Israel said Supreme Leader Ali Khamenei had been killed in the operation.
Khamenei’s body has been found, a senior Israeli official told Reuters. Iranian news agencies Tasnim and Mehr, however, reported that the supreme leader was “steadfast and firm in commanding the field.”
Iran called the strikes unprovoked and illegal and responded with missiles fired at Israel and at least seven other countries, including Gulf states that host U.S. bases.
US President Donald Trump, who made the biggest foreign-policy gamble of his presidency after campaigning for reelection as a “peace president,” said the strikes were aimed at ending a decades-long threat from Iran and ensuring it could not develop a nuclear weapon.
Trump called on Iranian security forces to lay down their weapons and invited Iranians to topple their government once the bombing ended.
The US president later on Saturday told NBC News that “most” of Iran’s senior leadership has been killed. He said he believes reports of Khamenei’s death are accurate. “We feel that that is a correct story,” Trump told NBC News in a phone interview, according to a report on its website.
Israeli Prime Minister Benjamin Netanyahu said there were many signs indicating Khamenei “is no longer” and called on Iranians to finish the job. He said Khamenei’s compound had been destroyed, and Revolutionary Guard commanders and senior nuclear officials had been killed.
Three sources familiar with the matter said Iranian Defense Minister Amir Nasirzadeh and Revolutionary Guards commander Mohammed Pakpour were killed in the Israeli attacks. Iranian media had said Khamenei’s son-in-law and daughter-in-law were also killed.
‘WE ARE TERRIFIED’
In cities across Iran, explosions caused widespread panic.
“We are scared, we are terrified. My children are shaking, we have nowhere to go, we will die here,” mother-of-two Minou, 32, said weeping as she spoke to Reuters by phone from the northern city of Tabriz.
Iran responded by launching missiles at Israel and at several Gulf Arab countries that host US bases.
After confronting hundreds of Iranian missile and drone attacks, the Pentagon said there were no US deaths or injuries.
The US military named the campaign Operation Epic Fury.
Iran issued a warning that the Strait of Hormuz, the narrow passage through which around a fifth of global oil consumption passes, had been closed. Traders expected a sharp jump in oil prices. Airlines canceled flights in the Middle East.
Tehran promised a stronger response to come, with a senior Iranian Revolutionary Guards commander, Ebrahim Jabbari, saying it had so far used only “scrap missiles” and would soon unveil unforeseen weapons.
The U.N. Security Council was due to meet in New York on Saturday. Secretary-General Antonio Guterres called for an immediate cessation of hostilities.
Israel‘s military said some 200 fighter jets had completed the largest flying mission in its history, hitting 500 targets throughout Iran including strategic defense systems already damaged in strikes last year.
A girls’ primary school in the southern Iranian town of Minab was hit, killing 85 people, according to the local prosecutor cited by state media. Reuters could not independently confirm the reports. Israel‘s military did not immediately respond to a request for comment.
TRUMP SAYS ‘BOMBS WILL BE DROPPING EVERYWHERE’
In a video message on social media, Trump cited Washington’s decades-old dispute with Iran and Iranian attacks, dating to the seizure of the US embassy in Tehran during the 1979 Islamic revolution.
Trump said the aim was “eliminating imminent threats from the Iranian regime.” He urged Iranians to stay sheltered because “bombs will be dropping everywhere,” but added: “When we are finished, take over your government. It will be yours to take. This will be probably your only chance for generations.”
But he faced pushback from opposition Democrats, and a few of his fellow Republicans in the US government, who said a prolonged campaign against Iran would be illegal without congressional approval and that lawmakers should vote within days.
Netanyahu said the joint US-Israeli attack “will create the conditions for the brave Iranian people to take their destiny into their own hands” and “remove the yoke of tyranny.”
Iran’s clerical leaders were already in a difficult position after mass anti-government demonstrations in January, which led to a crackdown in which thousands of people were killed in the worst domestic unrest since the era of the 1979 revolution.
Protesters had again taken to the streets in recent days in remembrance of those killed the previous month.
Israeli military operations over the past two years had already killed some of Iran’s senior military officials and severely weakened several of Tehran’s once-feared proxy forces across the Middle East.
After Israel pounded Iran in a 12-day air war in June joined by the United States, the US and Israel had warned that they would strike again if Iran pressed ahead with its nuclear and ballistic missile programs.
The threats were backed up recently by a US military buildup in the region, even as Iranian and US officials held nuclear talks.
Eyal Zamir, the Israeli armed forces chief of staff, said that over the past months, he had been involved in preparing joint battle plans against Iran in coordination with senior leaders in the US military.
MISSILES FIRED AT ARAB GULF STATES
Oil markets have been closely watching the standoff. Jorge Leon, head of geopolitical analysis at Rystad Energy, predicted prices could shoot up by $10-20 per barrel when markets open on Monday, if there is no sign of de-escalation.
Iran, the third-largest producer in the Organization of the Petroleum Exporting Countries, pumps about 4 percent of global oil supplies, and a far larger share is shipped past its coast through the strait leading out of the Gulf.
In Israel, sirens and mobile-phone warnings sent Israelis rushing to air raid shelters as Iran launched a series of missile barrages. There were no immediate reports of serious damage or casualties.
Loud booms sounded in Abu Dhabi, capital of the United Arab Emirates, an oil producer and close US ally, and several blasts were heard in the business capital Dubai, where one of the city’s plush hotel districts was also hit.
Nada AlGarhy, 30, said she and her husband had been at the Waldorf Astoria hotel on Dubai’s luxury Palm development for Iftar, the evening meal during the fasting month of Ramadan, when they heard a loud explosion.
Bahrain said the service center of the US Fifth Fleet – base for American naval forces in the region – had been subjected to a missile attack. Video footage showed a thick grey plume of smoke rising from near the island state’s coastline.
Qatar said it had downed all missiles targeting the country and that it had a right to respond. Kuwait confirmed a missile attack on a US military base there.
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Before I became an orthodontist, I was my good friend Neil Sedaka’s saxophonist
When I first heard Neil Sedaka had died at the age of 86, I posted a Sedaka song on social media. I’m a Gen-X alternative rock fan, which is not exactly Sedaka’s lane, but it’s hard not to tip your hat to a pop culture legend. I posted “Standing on the Inside,” from 1973, and told people to wait for the chorus. Then, in the comments, my friend Beth Tichler Mindes from my Camp Tranquility summer camp days, wrote a sentence that stopped me: Neil and her dad had been in a band together when they were teens in the Catskills. She’d known Neil her whole life. I asked if I could talk to her 86-year-old father, Howie Tichler, and when I got him on the phone, he told me about the time in the spring of 1958 when he first met Neil Sedaka.
I first met Neil at the Kingsway Theatre on Kings Highway in Brooklyn. I was standing in the back near the popcorn. He was next to me, wearing a high school band sweater. I asked him what school he went to, and I told him I was a musician too. He said he was a piano player and that his band was auditioning for a saxophone player for a Catskills summer gig. I said, great, I’m in. It was that quick. He told me to come down to the basement and audition.
Honestly, I was at the theater to meet girls, not to watch the movie. That’s why I was hanging out in the back.
Before the audition, I spoke to my uncle, Sid Cooper. He was a saxophonist and woodwind player with the Tommy Dorsey band and later at NBC, playing with the Tonight Show band during the Jack Paar years and into the Johnny Carson era. He made sure I was ready. I needed a rhumba, a cha-cha, a foxtrot, a jitterbug. In those days you had to know the dances.

The audition was for a four-piece band. Neil wasn’t even the leader. He was just the piano player. The job was in the Catskills, at a hotel in Monticello called the Esther Manor. Esther ran the place, and her daughter, Leba Strassberg, worked behind the front desk. Neil would later marry Leba.
I don’t remember exactly how we got there. Maybe my father drove. Maybe someone in the group had a car. But we packed everything in and drove up.
When we arrived, we were told to introduce ourselves to the owner using only our first names. Half the band was Italian. In most places in the 1950s, people were hiding Jewish heritage. In the Catskills, Italian last names apparently wouldn’t go down so well. So, Eddie Caccavale became just Eddie. Paul Delova became Paul.
There were sometimes four of us, sometimes five. The group was called The Nordanels. My name wasn’t in the title because I joined a little late. The name came from Norman, David, and Neil. N-O-R-D-A-N-E-L-S.
If it was a wedding or a bar mitzvah, we wore white tuxedos. Sometimes black. At the hotels, it depended on the night of the week.
We worked six days a week, and this is no exaggeration. Afternoons, we played poolside for cha-cha lessons. Then we’d run back to our rooms, change, and play in the lobby as guests came in for dinner. After that, we played dance music before the stage show, then read the charts for the acts — usually, a dance team, a singer, or a comedian.
I was making about $85 a week, plus room and board. I wouldn’t exactly call it a room as I slept near the chicken coops. We didn’t get tips, either — unless you count being seated at dinner with the single girls.
I was born in 1939, so you can do the math. I was 18 when I started at Brooklyn College. By 1961, I was headed to Temple University in Philadelphia for dental school.

The Catskills gig helped pay for all of it as I could save every summer. Brooklyn College tuition was $15 a year, and they even threw in the textbooks. Dental school was another story. So the band gig felt like a gift.
People think of Dirty Dancing when you say Catskills. That came later. The movie is set in 1963, at a fictional resort called Kellerman’s. But the atmosphere was already there in the late 50’s and early 60’s. It was smoky. It was loud. It was hopeful.
At Esther Manor, single girls came up with their parents for the summer, and at dinner they would sometimes seat the musicians with the guests. So there we were, night after night, at long tables with our instruments nearby. We were in heaven. So were the girls.
I did this for six or seven summers. It wasn’t a one-time gig. I kept playing through my third year of dental school. After Carol and I were married, and I graduated, that era ended. From then on, I focused on dentistry. I’m a retired orthodontist, and I practiced on Long Island for about 45 years, and now I teach at Columbia. We originally lived on Long Island near my practice. My wife became a social worker and psychotherapist and opened a practice in Manhattan, so we moved halfway to the city. Once the kids flew the coop, we moved into Manhattan.
During the pandemic, we did something that still makes me laugh. Back when everything was masks, masks, masks, Carol and I were stuck in our apartment one day, and we wrote new parody lyrics to one of Neil’s songs. The original was “Breaking Up Is Hard to Do.” We turned it into “Masking Is Not Hard to Do.” I called Neil and told him we’d written these lyrics, and I emailed them over.
“Don’t take your mask away from me.
Don’t put my health in jeopardy.
If you don’t, then I’ll be blue,
Because what I am asking is not hard to do.
Remember when you held me tight.
We can’t do that now, but that’s all right.
Thinking safe will get us through,
Because masking is not hard to do.
They say that masking up is a difficult task.”
The next day we found out he’d posted it on Facebook. During the pandemic, he was doing this daily thing where he would sing three songs, and he introduced us and said we wrote the lyrics, and then he played it.
I guess I wasn’t so shocked when I heard he died, as when I spoke to him about a week ago, he was frailer than I ever heard him. But when we talked, we were right back to music.
We always talked about gigs we did together, about musicians who were on the job, and about little details he might have forgotten. For example, the last time we spoke, just two weeks ago, he said, you know that album I recorded that wasn’t very successful, where I sang a bunch of standards? I said sure, I remember it; I still have it. And he said, who was the piano player on that gig?
Our conversations were brief on family, and then we’d get into the details of the cool things we did together. It was always a walk down memory lane.
What I truly admired about Neil was his humility. He understood the unspoken thing between musicians. He knew my limitations, and he never judged my playing. He also knew I was an orthodontist. I had patients, not jam sessions. I wasn’t able to keep up my chops the way a full-time musician could, and he never made me feel like I was anything less than part of the band.
About 15 years ago, Neil called me up and said, “I’m on tour, and I have a gig at the Shubert Theatre in New Haven. My saxophone player is stuck in Montreal. Can you come do the show with me?”
I said, “Sure, but you realize you’re asking an orthodontist to sit in with an eight-piece orchestra.”
He said, “No problem. I’ll fax you the music.” Fax. That’s how long ago this was.
So the music starts flying through my fax machine, half of it unreadable. I called Neil and said, “I’m doing the gig, but don’t expect me to be reading those charts. I’m going to do it by ear.” And he said, “Great.”
I drove up the night before because we had soundcheck the next afternoon. The band was there, Neil wasn’t even there yet, one of the other musicians was running the rehearsal. I’m standing in this magnificent old theater in the middle of New Haven, and I walked up to the guys and said, “Hi, I’m Howie Tichler. I’m really an orthodontist. So go easy on me.” And the guy says, “Neil told us everything. Don’t worry about a thing. Come on up. We’ll rehearse.”
They put me right behind Neil, so the spotlight wasn’t only on him. It was on me, too. The air conditioning was blasting, and it kept blowing my sheet music off the stand, so I’m trying to keep the pages from taking flight while also pretending I belong there.
Neil was incredibly gracious. He introduced the band and he said, “This is my friend Howie Tichler, who is really an orthodontist, and he came to help me out.”
And when I left the theater, I’m walking out with my saxophone on my shoulder, and a woman stopped me and said, “Can I talk to you for a second?” I thought she was going to compliment my playing.
Instead she asked me if she needed braces.
Right now, I’m mostly thinking about the good times. Whenever he came to Manhattan we’d meet up. We went to museums together — the Met, the Guggenheim. It wasn’t always about music. Sometimes it was just two old friends walking around looking at art.
He also came to visit us on Fire Island. Within half an hour, everyone in Fair Harbor knew he was at our house. Not because of an announcement, because of his voice. We had a little portable piano, and he’d sit down and sing. Someone walking by would hear it, stop, and then word would spread.
I actually sang on his first hit, “The Diary.” It’s a doo-wop song, and they couldn’t afford, or maybe couldn’t find, backup singers, so I became the backup singer on Neil Sedaka’s first record.
But the thing I keep coming back to isn’t the credit. It’s the sound of him in the room, that voice carrying out the window. In Fair Harbor you could hear him before you saw him.
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A war with Israel, not for Israel
This is the first Arab-Israeli war in history in which the Arabs and the Israelis are on the same side.
This striking, remarkable fact is a hopeful sign for a more peaceful Middle East, and for Jews around the world. The sad story we Jews tell ourselves about ourselves — that we are a people that dwells alone, spurned and unsupported — is playing out much differently on the news, and on the ground.
When Israel and President Donald Trump launched “Operation Epic Fury” on Feb. 28 the Iranian regime responded by launching missiles at the United Arab Emirates, Qatar, Kuwait, Bahrain, Saudi Arabia and Jordan.
The targets were not just U.S. military bases, but civilian areas as well. A missile struck a suburban home in Amman, exploded over Riyadh, Saudi Arabia, and killed an Asian national in the UAE, according to the Christian Science Monitor.
These attacks make clear that this is not Israel’s war alone, though arguably Israel has always been the primary target of the Iranian regime. That regime will lash out at any country threatening its hold on power, and even, or especially, at its own citizens.
Even if these Arab nations don’t officially engage against Iran, they have already been cooperating, opening up airspace to U.S. and Israeli jets, providing intelligence and staging areas. Azerbaijan, a majority Shia country bordering Iran, has been instrumental to Israel’s success against the regime.
That cooperation is not sudden, either. Leaked documents from October 2025 show that even as Arab states were publicly condemning Israel over the Gaza War, some were cooperating with it and the U.S. in creating a “Regional Security Construct” to thwart their common threat, Iran.
The solidity of that construct no doubt encouraged the current attack. Israel knew it wouldn’t have to go it alone. Not only did it have the tacit cooperation of most of its Arab and Gulf neighbors, it had the backing of the United States itself — the most potent military force in history.
A ‘People that dwells alone,’ really?
All of this runs counter to the stubborn story Jews tell themselves that we are without friends and allies in the world, facing terrorists and antisemites on our own. The war broke out just days before Purim, when Jews in ancient Persia — Persia! — faced annihilation at the hands of a vicious antisemite, Haman.
The Purim story frames Jews as anomalous and alone. They are, “a certain people scattered and dispersed among the peoples…whose laws are different from every other people,” Haman tells King Ahasuerus in his pitch to destroy them.
This Shabbat, called Shabbat Zachor, or the Shabbat of Remembrance, only reinforces the theme. The Torah passage in Deuteronomy depicts the evil attacker Amalek as preying on a weak, vulnerable and isolated People of Israel.
“You were faint and weary,” the passage states, “and he did not fear God.”
We have internalized these images, as well as Balaam’s words from the Book of Numbers — “a People that dwells alone” — and weaponized it against reality.
Yes, there are multitudes of real enemies and haters out there. My social media feed has already filled up with posts from the left and right accusing Israel of forcing Trump to fight its war.
“This is Israel’s last chance to blow up Iran with America’s military,” Tucker Carlson, the most insidious of the haters, posted two days ago, ignoring decades of the United States’ own fraught history with Iran. When the war broke out, Carlson called it “absolutely disgusting and evil.”
The far-right influencer Candace Owens announced that she “stands with Iran,” blamed Israel for this war and said that Charlie Kirk was assassinated “for this war.”
But the ferocity of these voices shouldn’t obscure the fact that in this war, Israel is far from alone.
How not to blow it
Of course how things begin is not always how they end. In the immediate aftermath of the Oct. 7, 2023, Hamas attack, which Iran was instrumental in helping fund and plan, many countries voiced support or sympathy for Israel.
As Israel’s retaliatory attack ground on, that support evaporated. It was unclear how the war’s destruction matched its legitimate cause. Allyship is always conditional.
The worst-case scenarios of this war are evident to anyone who remembers the Iraq War: America dragged into a grinding war as Iran implodes into factional violence, with Israel blamed for it all.
In the best-case scenario, Israel and the U.S. narrowly target the regime and its military assets and take them out. Then Israel capitalizes on this military cooperation to seek close diplomatic ties with a new Iranian leadership, along with the Arab states that joined in its defense. That, of course, would entail compromises on the hardline, irredentist dreams of some of Israel’s own leaders.
In other words, how Israel emerges from this war will depend in part on its own actions, during and after the immediate conflict. But for now, the irrefutable truth is, we are not a people that dwells alone.
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