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How a Don McLean Concert Gave Me Insight Into the Torah
The American singer-songwriter Don McLean at the Oxford Union, May 2025. Photo: Screenshot
Last Saturday night, I went to a Don McLean concert at the Saban Theater. Yes, that Don McLean, icon of popular culture, poster child of whimsical 1970s music. As the lights dimmed and a palpable buzz of excitement murmured through the crowd, I felt the nostalgic anticipation bubble within me, knowing exactly why I was there.
You don’t attend a Don McLean concert to hear something new, and you certainly don’t go for a sound-and-light show. You go to pay tribute to a musical hero, to show up for someone who occupies a real, almost mythic place in the popular culture of your youth.
Don McLean isn’t merely another aging performer touring on old hits. He’s a cultural marker. His No. 1 hit, “American Pie,” isn’t simply a song — it’s a time capsule. Eight and a half minutes meditating on the loss of American innocence: the death of Buddy Holly, the shattering of postwar optimism, the uneasy coming-of-age of an entire generation.
People have been arguing about its meaning for decades — precisely because it meant something. Deeply.
Then there’s “Vincent” — better known as “Starry, Starry Night” — a song about Vincent van Gogh so restrained and tender it somehow made a 19th-century painter’s inner torment feel intimate to late-20th-century listeners.
Very few songwriters have managed to do this without tipping into cloying, overcooked sentimentality. McLean did it effortlessly — no theatrics, no emotional manipulation — and it worked. To this day, “Starry, Starry Night” is played regularly at the Van Gogh Museum in Amsterdam, quietly soundtracking the experience of standing before the real thing.
Don McLean, born and bred in the bedroom town of New Rochelle, NY — hardly a breeding ground for folk-music greatness — has somehow come to embody the American folk tradition. Mentored and befriended by legends like Josh White, he absorbed the moral seriousness that defines folk music: the sense that songs can carry memory, protest, grief, and conscience all at once.
And he did it without tipping into angry remonstration or cloying sentimentality. Mclean was never flashy, and certainly never cool in the trendy sense. But he mattered. And for many people, he still does.
There is also something meaningful about the fact that McLean has long been openly supportive of Israel, without apology and without hedging — a position that has become increasingly rare in the showbiz world.
At one point, his significant other was Israeli, a connection that deepened his ties to the country. He has written a song about Jerusalem and another — “Dreidel” — built around the familiar Hanukkah game, and he has never been coy or evasive about where he stands.
Unashamedly pro-Israel and a genuine friend of the Jewish community, McLean belongs to that rare group of artists — including, sadly, only some Jewish ones — who don’t feel the need to hide in the herd, and are openly positive about the miracle of Israel.
So, when I walked into the packed theater — a full house, brimming with goodwill toward an 80-year-old legend of American pop music — I wasn’t just going to a concert. I was acknowledging a nostalgic moment in my own life. A time when songs didn’t merely play in the background but actively framed how I understood the world. Which is precisely why the letdown was such a disappointment.
McLean is long past his sell-by date. His energy was low. The singing was often flat and unenthusiastic. Long stretches felt labored and passionless, as though he was simply going through the motions. Even the comb-over hairstyle — epic in its own stubborn way — felt like an unintentional symbol: a refusal to surrender to time, even when time has clearly won.
And then came “American Pie” — the showpiece, the emotional climax, the song everyone had been waiting for — and it simply didn’t land. You could feel the audience willing it to work, wanting to be generous, desperate to preserve the magic. But there was no magic.
We clapped respectfully. We reminded ourselves that legends age, and that memory is often kinder than reality. And we were forced to confront an uncomfortable truth: maybe some things are better left in the mind’s eye as pristine nostalgia.
Maybe seeing a hero of your youth in a diminished state doesn’t deepen the experience — it diminishes it. Walking out of the theater, that was the thought that lingered most.
And that’s when it hit me: our Jewish sourcebook, the Torah, does something very similar to us — almost intervention-style — in Parshat Mishpatim. This is the portion that comes immediately after the revelation at Sinai, the greatest spiritual moment in Jewish history: thunder and lightning, followed by God speaking directly to His newly born nation.
We’re swept into a moment that is dazzling and overwhelming, the kind of experience every believing Jew would love to freeze in time and relive.
But we barely have time to savor it before the Torah pivots sharply. There’s no lingering on the drama, and no attempt to recreate the high. Instead, we’re dropped straight into the mundane reality of law: damages and injuries, loans and workers’ rights, lost property and personal responsibility.
Mishpatim is dry. It’s technical. And, on the surface at least, it’s deeply uninspiring. The juxtaposition feels like a comedown — a real downer.
But that whiplash is entirely deliberate. Inspiration is always a flash. Even the greatest moments in time are just that: moments. Sinai, like a great song or the vigor of youth, cannot be sustained indefinitely. You can’t live forever in a suspended state of awe, and you certainly can’t build a day-to-day life on peak experiences.
Reality is the true engine of our lives. And reality includes fatigue, complexity, disappointment, human weakness, and long stretches that feel decidedly unremarkable. But it is in these moments that there’s a chance for everyday holiness. The Torah, unlike nostalgia, refuses to pretend otherwise.
Mishpatim is the reminder that the spectacular visions that may once have animated our faith are incapable of sustaining us once those moments have passed.
The Torah is teaching us a crucial life lesson: you were inspired — now let’s see what you do with it. Not when God’s voice is thundering from the mountain, but when you’re arguing over financial liability and damages. Not when everything feels elevated and transcendent, but when life is stubbornly ordinary.
Inspirational experiences define moments. But moments age badly if that’s all they are. Which is why Judaism doesn’t try to recreate the emotional experience of Sinai.
There is no commandment to feel revelation. Instead, the Torah translates revelation into structure — into obligations that don’t depend on energy, charisma, or being at your peak. What ultimately matters is how we conduct our lives once inspiration has faded.
God doesn’t want Sinai to be remembered as an unattainable peak, a moment so overwhelming that everything afterward feels like decline. It was never meant to become the yardstick by which all future religious experience is judged, or the excuse for disengagement from the present.
Sinai only has meaning if it translates into better people, expressed through our loyalty to the laws of the Torah that were given there.
So maybe it was good to go to that concert after all. Not because it preserved the magic — it didn’t — but because it clarified something deeper. I don’t need Don McLean to be great now for his impact on my life to remain meaningful now.
The music fades, the voice weakens, the moment passes. What remains is whether what once inspired me is strong enough to shape how my life is lived once the applause has died away.
The author is a rabbi in Beverly Hills, California.
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US, Israel Said to Plan New Iran Strikes as Tehran Pounds UAE
People walk past a billboard with a graphic design about the Strait of Hormuz on a building, amid a ceasefire between US and Iran, in Tehran, Iran, April 27, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Israel and the US are coordinating plans for another round of strikes on Iranian targets, CNN reported Tuesday, as Iran kept up its attacks on the United Arab Emirates for a second straight day and amid reports that the Gulf state’s defense increasingly appeared to be drawing on Israeli support.
CNN cited an Israeli source as saying that the plans, largely drawn up before the ceasefire with Iran began in April, include strikes on Iran’s energy infrastructure and targeted killings of senior officials.
“The intention would be to carry out a short campaign aimed at pressuring Iran into further concessions in negotiations,” the source said, adding that any decision to resume the war would be made by US President Donald Trump.
CNN also reported that an Israeli-operated Iron Dome battery intercepted an Iranian missile over the UAE on Monday, the first known use of the system to defend a Gulf state. The system had been secretly deployed there at the start of the war, according to the report, along with Israel Defense Forces (IDF) soldiers sent to operate the system.
The system has so far intercepted dozens of Iranian missiles in the UAE, according to Israeli officials cited in a separate report by Axios.
The UAE said Iran fired 12 ballistic missiles, three cruise missiles, and four drones at the country on Monday. And then, according to Emirati officials, Iran launched additional missiles and drones on Tuesday. The UAE’s Foreign Ministry called the attacks a “serious escalation” and a “direct threat” to national security, adding that the UAE reserves its “full and legitimate right” to respond.
Another report by the London-based Iran International said that Iranian President Masoud Pezeshkian was furious over the escalation and warned military commanders of the regime’s Islamic Revolutionary Guard Corps (IRGC) that the “completely irresponsible” attacks risked dragging Iran back into full-scale war.
He also described the IRGC’s handling of tensions with regional states as “madness,” the report said, citing sources close to the matter, and warned that the consequences could be irreversible.
The New York Times reported last week that senior IRGC commanders were increasingly driving decision-making in Tehran, with Iran’s new supreme leader, Ayatollah Mojtaba Khamenei, unable to command the system with the authority once wielded by his father. The report added to mounting rumors over Khamenei’s health and capacity, and to growing confusion over who is ultimately directing Iran’s military and political response.
Iranian state media, citing an unnamed military official, said that the strikes on the UAE were unintentional and “the result of the US military’s adventurism to create passage for illegal ship transit” through the Strait of Hormuz, a narrow waterway between the Persian Gulf and the Gulf of Oman through which about one-fifth of the world’s trade in oil and liquefied natural gas flows.
Adm. Brad Cooper, the head of US Central Command, on Monday said American forces had cleared a mine-free route through the strait, which Iran shut in response to the US-Israeli strikes, and were escorting civilian vessels when Tehran launched cruise missiles, drones, and small boats at ships under US protection.
US military helicopters destroyed six of the boats, Cooper told reporters, saying “each and every” threat had been defeated.
Beyond mounting escorted transits for commercial vessels, the US has countered Iran’s shutdown of the waterway by blockading Iranian ports, a move that has further crippled the country’s already ailing economy and pushed it to the brink of collapse.
Iran’s Revolutionary Guards issued a new warning Tuesday, saying any vessel that does not use the route approved by Tehran through the Strait of Hormuz would face retaliation.
“We warn all vessels planning to transit the Strait of Hormuz that the only safe passage is the corridor previously announced by Iran. Any diversion of ships to other routes is dangerous and will result in a firm response from the Iranian Revolutionary Guards navy,” the Guards said in a statement carried by state television.
IDF Chief of Staff Lt. Gen. Eyal Zamir on Tuesday said the military was “closely monitoring developments in the Gulf” and is “prepared to respond with force against any attempt to harm Israel.”
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Brooklyn Nets Forward Michael Porter Jr. Defends Deni Avdija Against Hate for Representing Israel
Mar 2, 2025; Cleveland, Ohio, USA; Portland Trail Blazers forward Deni Avdija (8) drives to the basket against Cleveland Cavaliers guard Ty Jerome (2) and forward Dean Wade (32) during the second half at Rocket Arena. Photot: Ken Blaze-Imagn Images via Reuters Connect
Brooklyn Nets forward Michael Porter Jr. defended fellow NBA player and Trail Blazers forward Deni Avdija against the hate he receives for representing his home country of Israel.
Porter Jr. recently made an appearance on a live stream with YouTuber N3on and mentioned that Avdija is a player who gets to the free-throw line often. N3on then commented that Avdija “gets a lot of hate,” referring to hate messages on social media, even though “he’s a good player.” When Porter asked the streamer if Avdija is criticized because he is Jewish, N3on replied yes.
“Really? What are people mad about?” Porter asked.
“Because he wore a flag or something,” N3on replied, referring to Avdija’s public display of pride for Israel, such as wearing a jersey featuring an Israeli flag or draping himself in an Israeli flag on the court.
“It’s so weird,” Porter said in response. “Do people not want others to represent their country? What do they expect from him?”
Michael Porter Jr. tells N3on people are weird for hating on Deni Avdija just because he proudly represents Israel
“Why hate someone for repping their country?”
pic.twitter.com/C945Xr0dhB
— luci. (@inmaxera) May 2, 2026
Avdija, who is set to become a free agent in 2028, is the first Israeli to be named an NBA All-Star and last month became the first Israeli to reach and win an NBA Playoff game. Unfortunately, the Portland Trail Blazers ended their 2025-26 season last week with a 114-95 loss to the San Antonio Spurs in the first round of the 2026 playoffs.
Earlier the year, Avdija spoke to The Athletic about the hate that he receives as an NBA player from Israel.
“I obviously stand for my country, because that’s where I’m from. It’s frustrating to see all the hate,” he said. “Like, I have a good game or get All-Star votes, and all the comments [on social media] are people connecting me to politics. Like, why can’t I just be a good basketball player? Why does it matter if I’m from Israel, or wherever in the world, or what my race is? Just respect me as a basketball player.”
“You don’t have to love what I stand for or how I look, but if I’m a good player, give props,” Avdija added. “All this hate … for no reason, like I’m deciding things in the world … I’m from there, and I respect my country, and I stand behind it. I’m a proud Israeli because that’s where I grew up. I wouldn’t be where I am today if it weren’t for Israel and the support the people and fans gave me. But all the extra stuff around it? It’s just unnecessary.”
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Mike Stoller and Iris Rainer Dart talk ‘Beaches’ and reviving their Yiddish musical
A Peanuts poster in the background of our video call reminds Iris Rainer Dart of her brief time starring in a musical.
“I was the understudy for Judy Kaye in the L.A. company of You’re A Good Man, Charlie Brown,” recalled Dart, 82, the author of the bestselling novel Beaches and the book and lyrics for the new Broadway musical based on it. “She wanted to go home for Thanksgiving, and so they let me go on one time to see if I could do it. And then for Thanksgiving, I had a peanut butter and jelly sandwich and then went on as Lucy!”
After that, it was curtains. “That’s my distinguished acting career,” Dart said. “Boy, am I glad it gave me up!”
But Dart never gave up on musicals, which she started writing as an undergrad at Carnegie Mellon with an up-and-coming composer named Stephen Schwartz. She worked as a writer for Sonny and Cher’s variety show, and used Cher as a partial model for the character of Cee Cee Bloom, the brassy diva whose friendship with the more refined Bertie White is the center of Beaches. (There’s a bit of Dart in Bloom, too — namely the Jewishness.) Years later, after Garry Marshall directed the 1988 film version of Beaches, Bette Midler, who gave life to Cee Cee on screen, asked Dart to write a new vehicle for her.
Searching for subject matter, Dart remembered her stint as a replacement teacher at her daughter’s Jewish school in her largely Judenrein neck of California. She felt unprepared to take over — “The understudy doesn’t know the lines” — but she got mailers from Jewish institutions to develop her lesson plans. One was a catalog of Yiddish films.
Growing up in Pittsburgh with Yiddish-speaking immigrant parents, she didn’t need subtitles to watch them. Inspired, she wrote what would become The People in the Picture, a memory play of Yiddish theater and the Holocaust.
Midler wouldn’t go on to star in the show, which debuted on Broadway in 2011 with Donna Murphy, but she made the shidduch between Dart and Mike Stoller, the legendary songsmith who, with lyricist Jerry Leiber, penned “Hound Dog,” “Jailhouse Rock,” “Yakety Yak” and, yes, a tune called “Charlie Brown” for the Coasters.
When it came time to adapt Beaches, a story built in part around backstage drama, and an enduring friendship that grows out of it, Dart reconnected with Stoller after working with a different composer on a previous run of the show.
Stoller, 93, has had his music feature in many Broadway musicals — mostly of the jukebox variety, long after they had already been hit records. He says he approaches crafting an original score differently, writing for characters rather than an artist like Elvis. With Beaches he set out to write a “musical-musical,” that was traditional and book-driven. In the case of both Beaches and People in the Picture, there’s a heaping helping of Yiddishkeit.
One line that has audiences rolling in the aisles comes when Cee Cee (played by Jessica Vosk) pays a visit to her friend Bertie (Kelli Barrett), whose mother is dying at a Catholic hospital. She tells the nuns “my mother used to point you out to me on the street and say, ‘At least they married a Jewish guy.’”
Stoller spent some of his early years living in the converted basement of his grandparents’ house in Bell End, Queens. His grandmother spoke Yiddish, Russian, Polish and English with a Cockney accent.
“She left Bialystok and moved to Whitechapel in London on her way to America,” Stoller explained.
Stoller never had a bar mitzvah, and learned his father didn’t either. It was only when the family moved to California that Stoller learned his dad, A.L. Stoller’s, full name.
“I was thrilled to find out that his name was really ‘Abraham Lincoln Stoler,’” Stoller recalled. “In a way, it sounded Black, and I was working primarily with African American people when I started writing along with Jerry, and those were the singers that inspired us, and so I felt additional pride in his name.”
The People in the Picture brought Stoller to tears. Beaches, which (spoilers for a 41-year-old story) ends with Bertie’s untimely death, has audiences cracking up before they reach for a Kleenex.
The one song Stoller didn’t compose for the show is “The Wind Beneath My Wings,” which became a standard from the film. But beyond that, the story stays truer to Dart’s novel than the movie did.
“I always knew, because I wasn’t writing it, that it would not be the story that I wanted to tell,” said Dart of the film version. “The story I wanted to tell was in the book and in this musical.”
In the meantime, Stoller and Dart want to bring back People in the Picture. Dart said she has a new draft ready to go.
“I’m hoping that maybe we can get Jeff Goldblum, who says he loves Yiddish,” Dart said. “He’s from Pittsburgh also, and I think his father, Dr. Goldblum, may have been the doctor to my family, to my mother. Because there were two Dr Goldblums, and one of them was an eye doctor, and my mother was always trying to fix him up with my cousin.”
“Need I say more?” Dart asked.
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