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How on-the-rise Jewish indie rocker Blondshell takes inspiration from Larry David and Sarah Silverman

(JTA) — When she sits down to write song lyrics, Sabrina Teitelbaum, who records music under the moniker Blondshell, doesn’t plan to reference her Jewishness. It just spills out in subtle turns of phrase.

In her song “Sepsis,” for instance, the quickly-rising 25-year-old rocker sings: “I think I believe in getting saved/Not by Jesus validation/In some dude’s gaze.” 

In “Salad,” her latest track, which she debuted on Jimmy Fallon’s late-night show Tuesday night, she flirts with the idea of poisoning a friend’s abuser. She sings: “Look what you did/You’ll make a killer of a Jewish girl.”

“I was bat mitzvahed and the whole thing, but I don’t know — I think, culturally, my Judaism finds its way into my music, even in ways that I haven’t really been aware of until somebody brought it up,” she said on Zoom last week from her home in Los Angeles.

Jewish-tinged dark humor is rarely seen in indie rock, especially in the woman-dominated subsets of the genre that Blondshell is being associated with, alongside the likes of Snail Mail, Soccer Mommy and Mitski. And she’s not afraid of putting it out there — the press release for “Salad” notes the song’s “nod” to her Jewishness and the fact that it came out on the first night of Passover.

Teitelbaum’s self-titled album, which is getting rave reviews in advance of its release on Friday, is full of the coming-of-age stories and feelings found in shows like “Girls” and “Broad City.” On “Kiss City,” she sings, “I think my kink is when you tell me that you think I’m pretty.” On “Joiner”: “You’ve been running around LA with trash/Sleeping in bars with a gun in your bag/Asking can I be somebody else.”

The constant undertone is one of personal trauma — from unhealthy relationships, bad sex and other dark things in her personal life that she didn’t want to elaborate on. 

“There are just ways of talking about trauma that I think are kind of distinctly Jewish,” she said, “and that comes up in my music for sure.”

It’s all accompanied by earworm pop melodies and the thick guitar sounds found in some of her biggest influences from the ’90s, like Hole (Courtney Love’s main outfit) and PJ Harvey.

Teitelbaum was born in New York to a Jewish dad and a mom who converted to Judaism. She spent a lot of time watching “Curb Your Enthusiasm” and clips of Sarah Silverman standup on YouTube with her sister. The family attended a Reform synagogue and celebrated the major holidays.

She spent two years in USC’s music writing program before dropping out to fast-track her career. Before the COVID-19 pandemic, she wrote electronic pop under the name BAUM. But during lockdown, she dug deep back into ’90s rock and set out at first with just a goal of improving her guitar skills.

“I was like, ‘OK, I’m going to get better. And I’m going to sit down and practice for an hour a day,’ or whatever it was. And I would procrastinate by writing,” she said. “Because I was like, I don’t want to do scales and get better at chord structure, those things. So yeah, it was me trying to get better at guitar that led to everything.”

Teitelbaum performs on “The Tonight Show Starring Jimmy Fallon,” April 5, 2023. (Todd Owyoung/NBC)

After finishing a batch of songs as Blondshell, she signed to the buzzy Partisan Records — home to a slew of acclaimed rock groups, such as Fontaines, D.C., Idles and The Black Angels — and began releasing songs last summer. She was quickly grouped together with the vanguard of other female alt-rockers, who have been relentlessly talked about in music journalism for about a decade. The comparisons bring up mixed feelings.

“It can be flattening. People are like, ‘You’re the wave of songwriters, Phoebe Bridgers and Soccer Mommy,’” she said. “My music doesn’t sound anything like Phoebe Bridgers.”

But she added that she is prone to do some categorizing, too.

“There are a lot of women in rock. And so I also get it and I myself have done it when I’m talking about who had been influenced by — I’m like, you know, women in rock in the 90s, PJ Harvey and Courtney Love. I’m also grouping them together.”

Heading out to tour last year across the heart of the country in a van was a startling experience. It was the first time in a while — possible ever — where, as a Jew, she felt like a minority. 

“I’m always surrounded by other Jews — like everybody I work with is Jewish,” she said, referencing her manager (Shira Knishkowy), her producer (Yves Rothman) and others she has met in the industry. She mentioned other Jewish rockers she has looked up to, too, including Jeff Tweedy of Wilco and the sisters of Haim.

“[Now] this thing keeps happening where I’m like the only Jew on a tour… It’s a new experience that I’m having,” she said. “It kind of gives a different context to my upbringing, and to who ends up feeling familiar to me.”

In a recent conversation with her Jewish grandmother, Teitelbaum was asked a familiar question.

“She was like, ‘What’s your manager’s name?’ I said ‘Shira.’ She said, ‘Oh, a nice Jewish girl. Does she know her name means song?’ And I was like, ‘she knows,’” Teitelbaum said with a laugh. 


The post How on-the-rise Jewish indie rocker Blondshell takes inspiration from Larry David and Sarah Silverman appeared first on Jewish Telegraphic Agency.

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They told Willy Loman he was everything; ’twas a great American lie

The great innovation of Shakespeare’s King Lear is that its patriarch has no sons. This problem — Lear has a vast estate, and only daughters to inherit it — marks the onset of a disaster. Because the king has no obvious heir, he is able to remake his world as he sees fit. But his choice to split his kingdom between his three daughters, based on the degree of fealty they express toward him, is catastrophic. It can be argued that Lear suffers from an excess of liberty. Without a rulebook to follow, he wreaks destruction on the country he had hoped to preserve in his image.

Arthur Miller’s Death of a Salesman is a kind of American Lear. In the midcentury United States, every man can be his own king, leaving Willy Loman suffering from a version of Lear’s affliction. Willy has arrived at a time in life at which he is keen to secure his own legacy. Unlike Lear, he has only sons, and is painfully committed to having his first-born take on his mantle. But in the land of the free, he has perversely and perhaps unconsciously spent his life glorying in his ability to make the wrong choices.

Spoilers: Willy’s choice of how to bequeath his kingdom, such as it is, will work out almost as tragically as Lear’s.

A new Broadway production of Death of a Salesman, starring an excellent Nathan Lane as the archetypal failed American father, leans into the quasi-Biblical nature of this story. It is a tale for Americans to pray over: May we become wiser and stronger as a people by learning from our forefather’s mistakes. And it is a tale to atone over, as well. Just shy of eight decades since the play’s debut in 1949, there is a great and ever-mounting body of evidence to suggest we have done very little learning at all.

Death of a Salesman follows two days in the life of the Loman family, who live in Brooklyn and have, at long last, very nearly paid off their mortgage. But they have perhaps never felt more insecure. Bills are piling up. Willy’s job as a traveling salesman has stopped paying him a salary. In his 60s, he is beginning to feel his age, and as he works for scant commissions, he’s started to exhibit a faltering grasp on reality, and an increasingly vigorous drive toward self-destruction. His wife Linda — played by Laurie Metcalf, who is, as always, stellar — senses terrible possibilities just around the corner.

Meanwhile, adult sons Biff (Christopher Abbot) and Happy (Ben Ahlers, although I caught Jake Silbermann in a fine understudy performance) are in the midst of the sort of drawn-out coming-of-age crisis that each generation seems to invent anew. They don’t know who they are. They can’t see a way toward making enough money. They’re unwilling to commit to anything or anyone. They yearn for big American lives — cattle ranches, an endless stream of available women, the dream of finally pulling one over on the boss — and are only just beginning to question whether that yearning has anything to do with the big American emptiness they feel.

The pressure created by the family’s unfulfilled dreams — of financial security, a sense of purpose, a bit of rest — turns most explosive between Willy and Biff. Willy yearns for his eldest son, once a promising boy who idolized his father, to become the business bigshot he never quite managed to become himself. But, at 34, Biff no longer seems able to stand anything about his father — up to and including the flashy American brilliance Willy sees himself as bequeathing. The tension between the father with a dream, and the son who refuses to fulfill it, comes to tragedy.

In this way, Willy’s problem is an inversion of Lear’s: His obsession with his firstborn son drives him and his family to a kind of ruin. (Youngest child Happy’s story is the quietest tragedy in Death of a Salesman; he is an overgrown boy, developmentally frozen by his desire for Willy’s never-forthcoming approval, or even attention.) And as Shakespeare’s great tragedy illustrated certain formative flaws in the English national character — I cannot recommend James Shapiro’s The Year of Lear enough — so Willy’s obsession casts a damning light on the country that created him.

Willy is all-American: He loves cars, football, fantastic get-rich-quick schemes and womanizing. He sees his chosen profession as evincing great American values: “respect, and comradeship, and gratitude,” not to mention the glory of the open road.

He’s also an individualist who has abundantly reaped the costs of that posture. He has exactly one friend, a neighbor called Charley, whom he appears not to actually like. He sees himself in constant competition with his fellow man, and carries a strain of exceptionalism that borders on the delusional. His conviction that he lives in a land of boundless opportunity has poisoned him against reality. He understands, on some level, that he hasn’t completely succeeded in achieving glory, but he can’t let himself accept that understanding. As it turns out, he would rather die.

These flaws are particularly painful to encounter at this moment, when the country has less a president than a salesman-in-chief. Willy’s preoccupation with a certain kind of smoke-and-mirrors business success now seems less like a reflection of the country Miller knew than a prediction of the ways in which it would decline. The fallacy that liberty is inherently tied to financial success has warped the nation, just as it warped Willy himself.

Biff rejects the exceptionalist mindset Willy strives to instill in him: “Pop, I’m a dime a dozen, and so are you!” he rages in a climactic argument. But Happy buys into his father’s worldview, celebrating him as a great possessor of “the only dream you can have — to come out number-one man.” When Happy insists that he will follow in Willy’s footsteps and “beat this racket” — the obscure American system that seems to keep the common man down, despite the country’s promise — the audience can easily imagine what will follow: a lifetime of disappointed entitlement, and, in the end, a legacy as meager as his father’s.

Willy might see it as an insult for Happy, whom he’s always treated as an afterthought, to seize the title of his true heir. Like Lear, his preoccupation with the question of what he’ll leave behind, and who will treasure it, has prevented him from understanding the truth about his children and himself. Lear is too attached to the concept of his own majesty to bother with effective governance; Willy is so devoted to his false idol of success that he departs the world without knowing much about it. In both cases, the playwrights understood what their characters couldn’t: that children, like countries, learn by example.

The post They told Willy Loman he was everything; ’twas a great American lie appeared first on The Forward.

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UK Counterterrorism Police Investigate Arson at Jewish Memorial Wall

An Orthodox Jewish man walks by at a wall showing pictures of protesters killed during anti-government demonstrations in Iran, in Golders Green, London, Britain, March 7, 2026. Photo: REUTERS/Jack Taylor

Police said on Tuesday they were investigating suspected arson at a memorial wall in a part of north London that is home to a large Jewish community, amid a recent spate of such incidents in the British capital.

London’s Metropolitan Police said the investigation was being led by Counter Terrorism Policing, though it was not being treated as a terrorist incident. They said no arrests had been made.

The incident occurred on Monday at the site of a memorial wall dedicated to people killed in Iran in a bloody crackdown after anti-government protests spread across the country in January. Police said the memorial wall had not been damaged.

“We recognize that this incident will heighten concerns in the Golders Green area, where residents have already faced a series of attacks,” Detective Chief Superintendent Luke Williams said in a statement.

Over the last month, counterterrorism officers have arrested more than two dozen people as part of investigations into attacks on Jewish-linked premises, including the torching of ambulances belonging to the Jewish volunteer emergency service Hatzola in Golders Green on March 23.

Police said after an arson attack at a synagogue this month that they were investigating possible Iranian links to the incidents. A pro-Iranian government group has said it was responsible.

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Ukraine in Diplomatic Tussle With Israel Over Grain Kyiv Says ‘Stolen’ by Russia

A farmer operates a combine during the start of the wheat harvesting campaign in a field near the town of Starobilsk (Starobelsk) in the Luhansk Region, a Russian-controlled area of Ukraine, July 9, 2025. Photo: REUTERS/Alexander Ermochenko

Ukraine and Israel traded diplomatic blows on Tuesday as President Volodymyr Zelenskiy condemned what he said were grain purchases from occupied Ukrainian territory “stolen” by Russia and threatened sanctions against those attempting to profit from it.

Kyiv considers all grain produced in the four regions that Russia claims as its own since invading Ukraine in 2022 as well as Crimea, annexed by Russia in 2014, to be stolen and has protested over its export to other countries.

Russia calls the regions its “new territories,” but they are still internationally recognized as Ukrainian. Moscow has not commented on the legal status of grain collected in them.

“Another vessel carrying such grain has arrived at a port in Israel and is preparing to unload,” Zelenskiy said on X, adding: “This is not – and cannot be – legitimate business.”

“The Israeli authorities cannot be unaware of which ships are arriving at the country’s ports and what cargo they are carrying,” added Zelenskiy.

Ukraine on Tuesday summoned Israel‘s ambassador over what Kyiv described as Israeli inaction in allowing shipments of grain to enter the country from Russian-occupied Ukraine.

Ukraine‘s foreign ministry said in a statement it handed the ambassador a “note of protest.”

Israeli Foreign Minister Gideon Saar said that Kyiv has not provided any evidence for its claims.

“The vessel has not entered the port and has yet to submit its documents. It’s not possible to verify the truth of the Ukrainian claims,” he told a news conference in Jerusalem.

Saar said Ukraine had not submitted any request for legal assistance and rejected what he called “Twitter diplomacy.”

Israel is a state that abides by the rule of law. We say again to our Ukrainian friends, if you have any evidence of theft submit it through the appropriate channels,” he said.

Ukrainian foreign ministry spokesman Heorhii Tykhyi told reporters that Kyiv has provided “extensive information and proof” that the cargo was illegal before going public. The foreign ministry published a timeline of its actions and contacts with Israeli authorities.

“We will not allow any country in any geography to facilitate illegal trade with a stolen grain that finances our enemy,” Tykhyi said.

Kremlin spokesman Dmitry Peskov declined to comment on Tuesday, saying Russia would not get involved. “Let the Kyiv regime deal with Israel on its own,” he said.

Traders have told Reuters that it is impossible to track the origin of wheat once it is mixed.

UKRAINE PREPARING SANCTIONS PACKAGE

Anouar El Anouni, EU foreign affairs spokesperson, said the bloc had taken note of reports that a “Russian shadow fleet vessel” carrying stolen grain had been allowed to dock at Haifa. He said the European Commission had approached Israel‘s foreign ministry on the issue.

“We condemn all actions that help fund Russia‘s illegal war effort and circumvent EU sanctions, and remain ready to target such actions by listing individuals and entities in third countries if necessary,” he said.

Zelenskiy said Ukraine was preparing a sanctions package against those transporting the grain and the individuals and legal entities attempting to profit from the scheme.

Zelenskiy said Kyiv has taken “all necessary steps through diplomatic channels,” but the ship had not been stopped.

Russia is systematically seizing grain on temporarily occupied Ukrainian land and organizing its export through individuals linked to the occupiers,” Zelenskiy said.

“Such schemes violate the laws of the State of Israel itself,” he added.

Ukraine expected Israel to respect Ukraine and refrain from actions that undermine bilateral relations, he added.

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