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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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Settlers torched a West Bank mosque — and the milquetoast Israeli mainstream response won’t suffice

For more than two years, masked settler mobs in the West Bank have torched mosques, burned Qurans, uprooted olive trees, attacked olive harvesters, and rampaged through villages — all with almost no consequences.

Just this week, masked settlers torched a mosque in Deir Istiya, burned Qurans and scrawled hateful graffiti on its walls — only two days after dozens of settlers attacked a village near Nablus, injuring several Palestinians and burning a warehouse. “All state authorities must act decisively to eradicate this phenomenon,” said President Isaac Herzog, calling the strikes “shocking and serious.”

But Herzog would be naïve to expect Prime Minister Benjamin Netanyahu’s government to heed his call. And the West Bank is rapidly turning into an emergency of explosive proportions.

The sharp rise in attacks on Palestinians and their property began in late 2022, when Netanyahu’s calamitous coalition took over, and ramped up with the onset of the Israel-Hamas war. The United Nations counted more than 1,400 incidents between October 2023 and October 2024.

But while the war in Gaza has reached a ceasefire, the violence in the West Bank shows no sign of abating: Independent trackers reported a record 264 settler attacks in October 2025 alone.

Add to that the Israeli military’s own violent record in the West Bank, and the picture is grim. In 2025 alone, the U.N. has documented at least 178 Palestinian deaths linked to settler and military violence.

If you look for the state’s corrective force you will find a yawning gap. In the most chilling scenes — in Huwara in February 2023, and in coordinated attacks on several villages this month — groups of masked young men have attacked Palestinian civilians, while soldiers and police have either arrived late or failed to stop the violence. Israel’s own watchdogs and human-rights organizations document a pattern of non-prosecution that even predates the current government. Yesh Din, which systematically tracks police investigations into Israeli civilians’ violence against Palestinians, shows that roughly 94% of files from 2005–2024 were closed without indictment, and that only about 3–6% of investigation files lead to conviction.

Which raises the obvious question: When attacks are so frequent and prosecutions so rare, who benefits?

Since late 2022, the survival of Netanyahu’s governing coalition has depended on hard-right parties whose leaders and bases overlap with the radical settler movement. Two ministers who matter — Bezalel Smotrich and Itamar Ben-Gvir — are both unapologetic advocates for settlement expansion and the vision of Jewish sovereignty over the West Bank, which they refer to by the biblical name of Judea and Samaria. Ministries and offices that oversee law enforcement in the West Bank — including the Civil Administration and Ministry of National Security — are effectively controlled by figures sympathetic to settlement expansion and skeptical of aggressive policing of their own supporters.

This political reality filters down into operational choices. When enforcement agencies are staffed and supervised by officials who owe their political fortunes to the settlement movement, enforcement will not be robust. Arrests — where they occur — rarely lead to charges that stick. In the first half of 2025, for example, there were hundreds of complaints, but only a fraction were opened as criminal files, leading to scant dozens of arrests.

Why would a democratic government tolerate this?

The answer isn’t just about coalition management. It’s about the government’s fundamental ideological sympathy with settlers, and the absence of a credible alternative plan for the land and people under Israeli control.

For decades, the West Bank settlement project could be dismissed as reversible, or up for bargaining in a final-status negotiation. But every new outpost has served to make a contiguous Palestinian state less viable, bringing Israel closer to incorporating millions of Palestinians — without giving them full citizenship or political rights.

The mainstream right lacks a plan for this demographic reality. But the far right has one: apocalyptic warfare and the eventual removal of Palestinians from the land, an outcome that extremists see as inevitable. That is why people like Smotrich and Ben-Gvir appear indifferent to the destabilizing violence, if not actively encouraging of it: instability is a feature, not a bug, for those prepared to use it to remake reality.

Now, the mainstream right has put itself in a position in which it cannot govern without the far right — so it has ceded moral and policy ground to radicals. The true spirit of Zionism — which is humanistic and humane — is suffering.

Which brings us back to Herzog. President Donald Trump, during his Knesset speech last month, urged him to pardon Netanyahu of all charges that he is currently facing in court. This week he did it again, in a letter claiming that Netanyahu is facing “a political, unjustified prosecution.” Herzog’s office said he held Trump “in the highest regard,” but that anyone seeking a pardon had to submit a formal request — something Trump lacks the ability to do.

I have a better idea. Pardon Netanyahu on the explicit condition that he leave politics altogether, forever. And have a new coalition, free of his corrupting influence and the morally destructive politics of the far-right, set to work to clean up his mess.

The post Settlers torched a West Bank mosque — and the milquetoast Israeli mainstream response won’t suffice appeared first on The Forward.

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This Jesus horror movie could have used more heresy

Historically, Christianity has carefully controlled its interpretations and texts; texts that portrayed Jesus in anything other than a glowing light or complicated the narrative the early Church hoped to spread — anything that made him look too human or too flawed — got taken out of the canon and declared heretical.

Which means most people are not familiar with the Infancy Gospel of Thomas, an apocryphal and perhaps Gnostic text about Jesus’ early years, from toddlerhood to his tweens. In it, Jesus is depicted as a wise but petulant child who, like any kid, has occasional temper tantrums. But, as the son of God, his are a bit more impactful; he curses and smites everyone who annoys him. (He does resurrect some of them once he’s calmed down.) He also uses his powers for deeply mundane and childish tasks, like animating his toys or making his work easier. It is, in short, not a particularly virtuous or divine depiction.

This is why The Carpenter’s Son, a new movie written and directed by Lotfy Nathan that takes its inspiration from the apocryphal gospel, has upset Christians. It’s also because the film is a horror flick full of roaring demons and horned snakes pulled from the throats of the possessed.

Look, a terrifying, hissing demon! Don’t worry, though, Jesus is on it. Courtesy of Magnolia Pictures

Pop artist FKA Twigs stars as Mary, and Nicolas Cage as Joseph — the movie doesn’t name any of its characters, so technically they’re playing The Mother and The Carpenter, respectively, but we all know who they really are — who are struggling to parent their powerful child (a constantly glowering Noah Jupe). After a bloody, screaming birth, they flee Herod’s soldiers’ attempts to throw their infant into a giant bonfire; years later, when they finally settle down, Jesus has some weird run-ins with the villagers, including a beautiful but demonically possessed young woman named Lilith and a leering, scar-covered child who lives among lepers and is as evil as she seems to be. Snarling demons ensue.

Before the movie came out, many Christians passed around petitions and wrote blogs about the film’s blasphemy. But The Carpenter’s Son is not, in fact, subversive at all. First of all, Jesus is not a petulant toddler; he looks to be around 20. All the notable anecdotes from the apocrypha are missing: He hardly smites anyone, doesn’t animate his toys and never even blinds the neighbors. In fact, he repeatedly rejects temptation, death and evil. There’s even a cheesy CGI halo, the appearance of which made the audience snicker the night I saw the film.

In another confusing turn, Jesus’ relationship with his mother feels a little…romantic? Courtesy of Magnolia Pictures

Despite the various demons, this makes for a plodding, moralistic movie that adds little to the basic Christian story other than a few jump scares. (It is not aided by the acting, which amounts to Jesus scowling, Mary looking stricken and Joseph yelling in the blustering way only Cage can.)

But there are hints of something more interesting, if only Lotfy Nathan, who both wrote and directed the film, had been bold enough to embrace the text that inspired him. The scarred child tells Jesus that Joseph, who is constantly exhorting his son to pray harder and more often, is an “oppressor,” and questions whether the difference between good and evil is so clearcut; despite being demonic, she is also the one who encourages Jesus to help the possessed. She and Joseph worry that the world is too unclean to truly be a creation of God, and wonder if Jesus is truly “righteous.” Moments like these nod to Christian gnosticism, which posited that the earth was created by a false God and is evil.

The scarred, creepy child who will not turn out to be good and godly. Courtesy of Magnolia Pictures

These kinds of questions are heretical in mainstream Christianity. But Judaism preserved many similarly extratextual ideas in the form of the Midrash, a set of interpretations that I often describe as “rabbinical fan fiction” because of their tendency to write in entire characters and plotlines that didn’t exist in the original biblical text. For example, in one midrash about the Binding of Isaac, in which God orders Abraham to sacrifice his son but stays his hand at the last moment, Abraham actually succeeded but Isaac’s soul returned and he was resurrected; in another, Satan appears on the pair’s journey to the sacrifice to tempt Abraham to disobey.

For Jews, these stories — however outré they may be — are not heretical. It’s kosher to discuss and consider the questions they raise about the nature of the patriarchs and other lauded figures, making for a rich discourse over the centuries. This openmindedness and cultivation of unorthodox stories has also, not incidentally, made for better entries into the horror genre; the past decade has seen Jewish horror movies drawing from myths of golems, dybbuks, the practice of guarding the dead before burial and even the horror of an overbearing Jewish mother. The open canon provides a rich text from which to mine.

Had Nathan felt free to do the same with the apocrypha, perhaps The Carpenter’s Son could have been an interesting and affecting movie full of mysterious questions about the nature of evil and God. After all, the idea that God could be a demon, or even that God might be too capricious and chaotic to be trustworthy, is far scarier than demons being demonic.

The post This Jesus horror movie could have used more heresy appeared first on The Forward.

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Ritchie Torres Faces New Socialist Opponent in Democratic Primary Race Amid DSA Victory Lap Over Mamdani Win

US Rep. Ritchie Torres (D-NY) speaks during the House Financial Services Committee hearing in Washington, DC, Sept. 30, 2021. Photo: Al Drago/Pool via REUTERS

Public defender and Democratic Socialists of America (DSA) organizer Dalourny Nemorin has launched a primary challenge against US Rep. Ritchie Torres in New York’s 15th Congressional District, setting up a competitive intra-party contest in one of the nation’s poorest districts.

Nemorin announced her campaign on Wednesday at the Andrew Freedman Home in the Bronx, where she emphasized housing affordability, public housing conditions, immigrant services, and economic hardship as central issues facing the district. She said many residents feel underserved and argued that the district requires “a new type of leadership.” The area has a median household income of about $44,000, with more than 30 percent of residents living below the poverty line.

Torres, first elected in 2020, is a high-profile Democrat known for his work on housing oversight and for being the first openly LGBTQ Afro-Latino member of Congress. He currently serves on the House Committee on Financial Services and has been a vocal supporter of Israel, a position that has drawn national attention and, in some cases, criticism from the Democratic Party’s left wing.

Nemorin, a member of the far-left DSA, is directly targeting Torres on campaign financing and foreign-policy stances, criticizing his acceptance of contributions from real-estate developers and from the American Israel Public Affairs Committee (AIPAC). She argued these ties reflect a misalignment between the congressman’s priorities and the needs of the district. Torres’s campaign has previously defended its donor base as consistent with his longstanding policy positions and record.

“I think the country is talking about a new type of representation, a new type of Democrat, a new type of leadership, which is what Zohran’s race represents,” she said, referring to Zohran Mamdani, who was elected mayor of New York City last week.

Mamdani, a democratic socialist and anti-Israel activist, is also a member of the DSA, which appears to see his victory as a sign of momentum. The organization has reportedly created a list of far-left demands for Mamdani when he assumes office. Most of the demands concern boycotts targeting Israeli-linked entities.

Nemorin’s challenge highlights ongoing divisions between establishment Democrats and progressive organizers in New York City. Her campaign launch drew a largely young audience, signaling an effort to mobilize voters who have historically had low turnout in the district. Her campaign has said it will focus on door-to-door organizing and outreach in public-housing complexes.

Since entering Congress, Torres has positioned himself as an outspoken ally of Israel. As the Democratic Party has continued to grow increasingly critical of Israel over the past two years, amid the Gaza war, Torres has staunchly defended the Jewish state’s right to defend itself from existential threats such as the Hamas and Hezbollah terrorist groups. He has also spoken against rising antisemitism in New York City, even calling on local universities to adopt more vigorous policies protecting Jewish students. However, his strident support for Israel has sparked ire among the left flank of his own party.

Torres enters his reelection bid with significant advantages, including incumbency, name recognition, fundraising capacity, and a political network built over multiple election cycles. Primary defeats of sitting members of Congress remain rare, but progressive groups have succeeded in previous New York races when able to drive high turnout among younger voters and renters. Torres is expected to receive huge levels of support from the Jewish community within his district.

Moreover, Torres represents the poorest district for young people in the country, which is majority black and Latino, demographics with which far-left candidates have historically struggled. Observers have also pointed out that former New York Gov. Andrew Cuomo won Torres’s district during this year’s Democratic mayoral primary in New York City over the more progressive Mamdani, suggesting that the district possesses a deep reservoir of moderate voters.

The Democratic primary is scheduled for June 2026. Both campaigns are expected to center their messaging on housing, affordability, and constituent services. However, Torres’s opponents, including former New York assemblyman Michael Blake, have taken repeated swipes against his record on Israel, indicating that they will attempt to center the war in Gaza as a main point of attack during the primary. In his launch video, Blake attacked Torres for supposedly supporting a “genocide” in Gaza.

“I am ready to fight for you and lower your cost of living while Ritchie fights for a genocide,” Blake said in an announcement video.

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