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March comes in with a roar of new Yiddish music

(New York Jewish Week) — As they say in the mameloshn (mother tongue), “Dos Yidish lid iz umetum.” In other words, “Yiddish song is in the air.”

This month a collection of new Yiddish songs will be performed for the first time in America at a Manhattan museum; two Brooklyn blues musicians will release their recordings of old Yiddish folk songs and a new web site preserving the work of a couple who played a pivotal role in promoting Yiddish song is set to debut. 

If all that weren’t enough, the stars of the Yiddish stage will also appear at an event celebrating the woman who was dubbed “the Sherlock Holmes of Yiddish song.”

“Because we all have this weird relationship with Yiddish, every project that people do takes it to a different place,” Alex Weiser, director of public programs at YIVO, told the New York Jewish Week. “Interesting, weird things are currently happening with Yiddish song.”

Read on for ways to get your Yiddish on. 

Sister act

As part of Carnegie Hall’s multi-venue celebration of women in music, on Sunday, March 5,  the Paul Shapiro Quartet takes the stage at the Museum of Jewish Heritage in Battery Park to perform “Di Shvester: The Sisters.” The sisters (by another mother, anyway) in this concert of Jewish and Yiddish music are Eleanor Reissa, the singer/director/actress who is fluent in Yiddish, and Cilla Owens, the superb jazz vocalist who teaches at Hunter College and can sing in Yiddish as well. 

Reissa and Owens will perform some songs by the Barry Sisters, the Bronx-born trio of the mid-20th century who brought Yiddish songs into the mainstream. One of the songs they will perform is based on a poem by the Yiddish poet Aliza Greenblatt, aka Woody Guthrie’s mother-in-law. In a cross-genre segue, Reissa and Owens will follow “Zumer Bay Nakht Oyf Dekher” (“Summer At Night On The Roof”) with “Up On the Roof,” the Carole King/Gerry Goffin sung memorably by Laura Nyro.

Shapiro, whose albums for John Zorn’s Radical Jewish Culture series were critically acclaimed, has worked with Owens, who has spent most of her life in Crown Heights, since 1990. Shapiro first started collaborating with Reissa, who grew up in Brownsville, at Yiddish New York in 2017.

“To me they’re both Brooklyn royalty,” said Shapiro, who hangs his fedora in the Lower East Side’s Grand Street Co-ops.

“When I sing with Cilla, I feel like I’m home,” Reissa said

The two vocalists have appeared together several times in Shapiro’s Ribs and Brisket Revue, which began at the now-shuttered Cornelia Street Café. 

Percussionist Ricky Gordon, right, and Jeremiah Lockwood, the front man for The Sway Machinery, form the duet Gordon Lockwood. (Courtesy)

A right to sing the blues

For the entire month of March a free five-song EP titled “Once Upon a Time the Fire Burned Brighter: Ballads from the Yiddish Gothic” is available for download. Created by the Brooklyn-based blues performers Gordon Lockwood, these are re-interpretations of Yiddish folk songs, three of them by Lifshe Schaecter Widman, a Yiddish folksinger who begot the Yiddish poet Beyle Schaechter-Gottesman, who begot the Yiddish scholar and former newspaper editor Itzik Gottesman, now a senior lecturer in Yiddish language and culture at the University of Texas at Austin whose Yiddish Song of the Week blog is an important source for lovers of Yiddish song. 

The EP will be accompanied by videos of the five songs, plus additional multimedia that will be viewable online. Gordon Lockwood may sound like a Canadian folk singer, but it is actually a duo comprised of percussionist Ricky Gordon, who performs with Wynton Marsalis and has collaborated with Spike Lee, and Jeremiah Lockwood, the front man for The Sway Machinery, a brass-heavy world music band. Lockwood, a card-carrying ethnomusicologist with a PhD from Stanford, recently produced an album of music that features several Hasidic cantors from Brooklyn. In April, Gordon Lockwood will perform their “Once Upon A Time” repertoire in New Haven and New York.

Yiddish royalty 

On March 23, the life of Chana Mlotek — the late, great musicologist, folklorist and archivist, who curated the Yiddish music collection at the vaunted YIVO archives will be celebrated at YIVO’s West 16th St. headquarters. Nine descendants of the Mlotek clan will participate, along with actors Reissa and Steven Skybell, who played Tevye in the Yiddish production of “Fiddler On The Roof.”

Singers will include Lorin Sklamberg of The Klezmatics and Sarah Gordon of the Brooklyn Yiddish rock band Yiddish Princess. Gordon is the daughter of the late Adrienne Cooper, often referred to as the “mother of the Yiddish revival.” The evening’s musical director will be Zalmen Mlotek, Chana and Yosl’s son and artistic director of the National Yiddish Theatre Folksbiene.

On March 20, the Workers Circle is expected to launch The Yosl and Chana Mlotek Collection of Yiddish Song, a website that turns the Mloteks’ three-volume “Pearls of Yiddish Song” anthology into a searchable multimedia resource. Consisting of more than 400 Yiddish songs, the web site will include content curated from YouTube and TikTok, according to an email from the publicist.

The Mlotek collection adds another important resource to a field that includes YIVO’s collection of 4,000-plus Yiddish songs, a project directed by Barbara Kirshenblatt-Gimblett and featuring the field recordings of the late musicologist Ruth Rubin, and many in the Yiddish song scene are looking forward to it.

“We’ve been waiting for this for many, many years,” said Linda Gritz, a retired molecular biologist active in the monthly sing at the Workers Circle in Brookline, Massachusetts. The group has been meeting online during the pandemic and unable to use the couple dozen copies of each Mlotek book, so it has had to create PDFs of 30 songs for its monthly virtual gatherings.

“When it’s online, people could request any song from any book and we could put the URL in the chat and go to it,” said Gritz. “That’ll be an amazing resource.”

Songs for and about refugees

On March 26, “Pleytem Tsuzamen” (“Refugees Together”) will be performed at the Museum of Jewish Heritage-A Living Memorial to the Holocaust. Two performances of Josh Waletzky’s Yiddish song cycle will mark the American debut of the work, which was first performed in 2019 at the Weimar Republic of Yiddishland gathering in Germany. Performers will come from Latvia, Germany, England and Canada, and Brooklyn violinists Jake Shulman-Ment and Deborah Strauss are part of the cast.

“It’s fitting that we’re doing it a couple of weeks before Pesach [Passover] because there’s a Pesach theme that goes through a lot of the songs,” said singer Daniel Kahn, who lives on a houseboat in Hamburg and plays accordion in the production. “It’s incredible how prescient and universal Josh’s song cycle has proven to be…. Those songs and their themes of displacement and upheaval resonate with the liberational traditions within Yiddishkayt [secular Yiddish culture] and Jewish practice.” 

English and Ukrainian supertitles will make the two-hour concert, co-sponsored by National Yiddish Theatre Folksbiene, accessible to non-Yiddish speakers.


The post March comes in with a roar of new Yiddish music 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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