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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.
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The post March comes in with a roar of new Yiddish music appeared first on Jewish Telegraphic Agency.
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Apple TV’s ‘Your Friends & Neighbors’ just gave us a stunningly authentic Jewish episode
(JTA) — Matzo is not something I typically give much thought to in the days following Passover. Yet I cannot stop thinking about a piece of shmura matzo I recently encountered.
The encounter came on Apple TV’s “Your Friends & Neighbors,” where the handmade round matzo (that always tastes a little burnt) just had a major cameo — perhaps its debut on a national TV series — in the episode that dropped on Friday.
“Your Friends & Neighbors” stars Jon Hamm as a suburbanite who takes to theft, roiling his community. The entire show is packed with rounds of golf and all-you-can-eat buffets at a WASPy country club — I hadn’t gotten the sense that anyone was Jewish. Until I saw that the fourth episode of the second season was called “The Bread of Affliction.”
Perhaps I should have known: The show is based (and filmed) in Westchester County, just north of New York City, where I work as a rabbi and where many secular families include Jews. And there was a “L’chayim” in the previous episode, but that phrase has practically entered the English lexicon. I never saw the matzo coming.
I’ve carved out a social media niche critiquing portrayals of Judaism in pop culture. So I have to give credit where credit’s due — what transpired on “Your Friends & Neighbors” was no less than a modern miracle: Judaism done right.
I was sold at “Good yontif,” the words recited by Hari Sahni (played by Manu Narayan), one of the hosts, as guests entered his gorgeous, towering home for the seder.
What soon transpired was not your traditional hodgepodge of a Passover table: no scattered Hebrew school projects or random plastic frogs. We viewers got an aspirational seder, with an aesthetic somewhere between cottagecore and, well, upscale Westchester. The seder table was a canvas filled with floral arrangements, votive candles, and beautifully scripted place cards. For those playing insider Jewish baseball, there was even a place card for Elijah (no last name).
There was also drool-worthy matzoball soup being stirred in a giant, seder-sized pot, and caviar on matzo, an atypical yet perfectly kosher combination.
And then, the kiddush. Gretchen Reagan (played by Miriam Silverman, a Jewish actress and Broadway star), who is married to Hari, recited a full version of the Passover blessing — not the one-liner everyone knows from Hebrew school — and with the right nusach (tune). That tune, that beautiful, trembling holiday version, is one that most traditional households don’t even quite land as well as she did.
All of the guests at the table held (in unison) a classic yellow-and-maroon haggadah, first published in 1949. This nostalgic haggadah, which also appeared in the Passover episode of “Curb Your Enthusiasm” back in 2005, is still used at many seders today. It’s known for its simplicity, black-and-white drawings and helpful directions.
Following that epic kiddush, Mel and Coop’s teenage son, Hunter, struggles to sing “Ma Nishtanah.” Honestly, an all-too-accurate portrayal, too — he probably hadn’t practiced since Hebrew school. He was soon backed up by another Jewish actress and Broadway star, Rebecca Naomi Jones, who plays Suzanne Haber, a neighbor in the series’ fictional Westmont Village community.
Yet what blew me away the most was that shmura matzo. Square matzo famously occupies supermarket kosher sections year-round, but shmura matzo tends to appear only right before the holiday.
Where did the props department find an intact piece? Most boxes of shmura matzo come cracked. And once they had one, how many tries did it take for Amanda Peet to break it neatly in half? The notable Jewish actress plays Mel Cooper, the Jewish ex-wife of Andrew (Coop) Cooper (Hamm), who is not Jewish. Peet’s role has been central across both seasons, as she navigates challenging family dynamics, many of which play out at the seder.
As the seder continued, guests dipped pinkies in wine (ever so daintily) for the Ten Plagues. They went around the table, each reciting one plague in English — a genuinely engaging idea. And of course, there is an epic afikomen hiding spot. I won’t spoil details about its discovery, but let’s just say the afikomen was located exactly where it gets hidden in most households.
This episode was like manna from heaven. It literally just dropped. No hype, no press conference, no rounds of Jewish podcasts that project Jewish pride, sometimes a little too hungrily.
This may be the best thing that happened to Passover since 1995 — i.e., a “Rugrats Passover.” That episode still has the edge because it not only portrayed the seder and intergenerational family drama accurately, but it actually told the story of the Exodus in a way that felt new: accessible, funny and memorable. (Plus, it gave us the line “Let my babies go!”)
I wonder whether my excitement is simply because the standard is just that low for Judaism on-screen. It is. But this episode went above and beyond — even explaining that “Shanah Tovah” is not the appropriate greeting for Passover, or that afikomen means “dessert.”
The episode comes in stark contrast to another trending “Jewish show”: “Nobody Wants This.” I’m still not over Rabbi Noah Roklov (played by Adam Brody) trying to make “Mazel” a greeting. It’s not. Nor is Tu Bishvat a mourning holiday (thank you, Rabbi Neil, played by Seth Rogen).
Where does that leave the future of Judaism on TV? The bar has certainly been leavened, and I’m here for it.
From a material culture perspective, we’ve been living in an era where it has been dayenu — enough — just to have something on the shelves for Hanukkah or Passover, even if it was riddled with errors that could have been fixed by asking one person familiar with Hebrew or Jewish symbols.
And at a time when many people fear being Jewish in public, seeing Judaism on screen as a given — and portrayed correctly — is so affirming. At a moment when I, as a Jewish content creator, am flooded with antisemitic comments, direct messages, and screenshots of my “Jewish” nose, seeing Judaism in the wild is a reminder that they have not “won.”
This episode makes me hopeful that Judaism can be once again celebrated and talked about — not hidden. Now, I’m ready for a Rosh Hashanah episode in Season 3!
This article originally appeared on JTA.org.
The post Apple TV’s ‘Your Friends & Neighbors’ just gave us a stunningly authentic Jewish episode appeared first on The Forward.
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NATO Alliance Considers End to Annual Summits
US President Donald Trump holds a bilateral meeting with NATO Secretary General Mark Rutte at the World Economic Forum (WEF) in Davos, Switzerland, Jan. 21, 2026. Photo: REUTERS/Jonathan Ernst
NATO is considering ending its recent practice of holding annual summits, six sources told Reuters, a move that could avoid a potentially tense encounter with US President Donald Trump in his final year in office.
Trump‘s administration has engaged repeatedly in scathing criticism of many of the US-led defense alliance‘s 31 other members, most recently berating some for not providing more assistance to US military operations against Iran.
The frequency of NATO summits has varied over the alliance‘s 77-year history but its leaders have met every summer since 2021 and will gather this year in the Turkish capital Ankara on July 7 and 8.
But some members are pushing to slow the tempo, a senior European official and five diplomats, all from NATO member countries, told Reuters.
NATO MEMBERS LOOKING FOR LESS DRAMA AND BETTER DECISIONS
One diplomat said the 2027 summit, to be held in Albania, would likely take place that autumn and NATO was considering not holding one at all in 2028 – the year of the US presidential election and Trump’s final full calendar year in office.
Another said some countries were pushing to hold summits every two years, adding that no decision had been taken and Secretary General Mark Rutte would have the final say.
The sources spoke on condition of anonymity to discuss internal NATO deliberations.
In response to a query from Reuters, a NATO official said: “NATO will continue to hold regular meetings of Heads of State and Government, and between summits NATO Allies will continue to consult, plan, and take decisions about our shared security.”
Two of the sources mentioned Trump as a factor but several said broader considerations were at play.
Some diplomats and analysts have long argued that annual summits create pressure for eye-catching results that distracts from longer-term planning.
“Better to have fewer summits than bad summits,” said one diplomat. “We have our work cut out for us anyway, we know what we have to do.”
Another said the quality of discussions and decisions was the true measure of alliance strength.
TRUMP CASTS LONG SHADOW OVER NATO MEETINGS
Phyllis Berry, nonresident senior fellow at the Atlantic Council, wrote: “Reducing high-profile summitry would allow NATO to get on with its business and dial down the drama that has marked many recent transatlantic encounters.”
In an article published on the think tank’s website last week, she noted that NATO held only eight summits during the decades of the Cold War. She described Trump’s first three NATO summits in his first term as “contentious events, dominated by his complaints about low allied defense spending.”
Last year’s summit in The Hague was also largely shaped by Trump’s demand that NATO members boost defense spending sharply to 5% of GDP – a target they accepted by agreeing to spend 3.5% on core defence and 1.5% on broader security-related investment. The mere fact that it ended without major drama was considered a success.
This year’s gathering also looks set to be tense.
After NATO allies refused to give him the support he was demanding in the Iran war, which he had begun without consulting or informing them, Trump openly questioned whether the US should stand by NATO’s mutual defense pact and said he was considering leaving the alliance. Months earlier, he had laid claim to Greenland, an autonomous territory belonging to fellow NATO member Denmark.
At the 2018 summit, Trump threatened to walk out in protest at other NATO allies’ low defense spending.
“Had he made good on his threat to leave in protest, we would have been left to pick up the pieces of a shattered NATO,” Jens Stoltenberg, NATO’s secretary general at the time, wrote in a memoir published last year.
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When a Jewish Icon Moves to Israel for Her Safety: A Warning Sign for the Netherlands
A view of the Concertgebouw building in Amsterdam, Netherlands on Aug. 26, 2024. Photo: Jakub Porzycki via Reuters Connect
The reported decision of Dutch singer Lenny Kuhr, a beloved cultural figure and winner of the 1969 Eurovision Song Contest, to relocate to Israel should prompt serious reflection across the Netherlands.
When a Jewish public figure feels compelled to leave because of hostility, intimidation, or fear, it is not merely a personal decision. It is a warning sign about the health of Dutch society.
For generations, the Netherlands has cultivated an international reputation for tolerance, openness, and civic decency. It is a nation admired for democratic values, free speech, and social stability. Yet no society is immune to the resurgence of antisemitism, and recent years have shown that the Dutch exception is not guaranteed.
Across Europe, Jews are reporting increased harassment, threats, vandalism, and social isolation. The Netherlands is one place where this is happening. What often begins as political hostility toward Israel can quickly spill over into open hostility toward Jews. Online abuse becomes street intimidation. Campus activism becomes exclusion. Political rhetoric becomes a license for prejudice.
This is especially dangerous because it often hides behind respectable language of “anti-Zionism,” “human rights,” or opposition to Israel. But usually, this goes much deeper and becomes (or reveals itself as) a hatred of Jews.
Dutch directness is often celebrated as a cultural virtue. But there is a profound difference between candor and cruelty. When “speaking plainly” becomes an excuse for abuse, society loses an essential moral boundary. Free expression must never become a shield for threats or dehumanization.
The same is true in politics. Consensus culture has many strengths, but it can also create hesitation in moments that require clarity. When antisemitism rises, leaders cannot afford ambiguity. They must name it, confront it, prosecute it, and isolate those who spread it.
Jewish citizens should never have to wonder whether their future is safer elsewhere. They should never need to hide symbols of identity, avoid public spaces, or explain away hatred as the cost of living in a pluralistic democracy.
The departure of a well-known Jewish Dutch figure should therefore be seen not as an isolated story, but as a national test. If even prominent, admired Jews feel unsafe, what message does that send to ordinary Jewish families, students, and elders?
The Netherlands still has time to choose a different path. It can reaffirm that antisemitism has no place in Dutch life. It can protect Jewish institutions, enforce existing laws, educate younger generations, and draw a bright line between legitimate political disagreement and hatred toward Jews.
If it fails, more Jews may conclude that their future lies elsewhere. And that would not only be a tragedy for Dutch Jewry. It would be a tragedy for the Netherlands itself.
Sabine Sterk is the CEO of the NGO Time To Stand Up For Israel.
