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Meet Tehran Von Ghasri, a Persian Jewish African-American comic
For an American Jewish comedian, Tehran Von Ghasri has an interesting story to tell, as his name suggests. The son of an Iranian-Jewish immigrant father and an African-American mother, Tehran’s heritage includes a mix of Jewish, Christian, Muslim and Zoroastrian, and any part of that mix is fair game for Von Ghasri’s standup.
Yet despite Von Ghasri’s many identities, he has a strong sense of self. In our interview, he discusses how young Jews can also navigate through their own multiple identities and come out stronger.
You juggle so many identities. You’re African-American, you’re Jewish, you’re Persian. How do you think of yourself on any given day?
I don’t think about it often because it’s just a natural part of who I am. Everyone else thinks about it way more than I do. I don’t realize that I’m black or Persian or Jewish or not. I just think of myself as a human being. My family’s mixed ethnicities and race and religion becomes a Venn diagram and I’m stuck in the middle. People often ask me things like, “What religion are you?” Very rarely do they ever ask me if I’m just a good person. There are times when it’s almost as if some people don’t see you as black enough. Some people don’t see you as Persian enough. Some people don’t see you as Jewish enough. And the only thing I simply remind myself is that I’m always enough because I’m just always me.
One other thing that you are is a comedian. But some comedians have found themselves in trouble recently because they perpetuate tropes or stereotypes. Does comedy really need to deal in stereotypes of Jews or African Americans?
When the comedians that you’re mentioning get in trouble, it’s honestly not because they perpetuate stereotypes but because they reach for the low-hanging fruit. They use the stereotype in a very negative way. There’s a way to do comedy where you have fun with people. You don’t make fun of people. And there’s a big difference there. Maybe because I have such a unique, diverse background, when I say something, it comes from such a good place that people usually tend not to get offended. They understand I’m speaking about me. And I push the absurdity, so you realize how silly they often are. But pushing these stereotypes? That’s not funny anymore. Boxes are meant for things and not people. Let’s expand, let’s grow.
Let’s talk about one of your identities, which is African-American. There was a time when African Americans and Jews worked together in the struggle for civil rights. Are those days gone? Or is it just that some of the more divisive voices are finding a platform?
What we see is this loud minority who speaks up as if they’re speaking on behalf of everyone else. And it happens all the time. It’s usually the good people who just stay silent. We need to speak up; we need to show that the black and Jewish communities still very much work together. In the ’60s, Martin Luther King was standing side by side with a rabbi. That’s how it worked. Somewhere along the line, we were privileged enough to not think that anymore; we became a little bit divisive. I think future generations are going to be much different. I think that there’s a new generation coming up that’s realizing we all have way more in common.
What about the Jewish part of you? Where is that in your life?
It’s part of me in every way simply because it is a part of who I am. It’s a part of how I grew up. And that’s why it’s so hard to define. I didn’t see it as if it was something I was, for example, programmed to do or was being written into my life. It just became a blanket of things that were. But the biggest thing that my family taught me was respect. It was one of the things of being diverse, that they respected all the parts of me. And they didn’t define one as better or worse.
The Z3 conference is focused on creating a positive Jewish identity. In light of the current rise in antisemitism, how do we achieve this?
There are 15 million Jews in the entire world. Most people, when you go past New York or the West Coast, they haven’t even seen a Jewish person. So, it’s easy to point at the unknown boogeyman. I think that goes to education. When you know better, you do better. For example, Americans who have traveled outside of the United States have a tendency to be way less racist, way less antisemitic.
You have a strong sense of identity. But there are a lot of Jews on campus now who are dealing with issues like taking blame for the Israeli-Palestinian conflict or assumptions about wealth. What’s your advice to Jewish kids in college?
My advice to all the kids in college is to be proud of who you are. Being proud and having pride are two different things. Pride is part of the fall. Having pride means I think I’m good, but you’re bad. But being proud means, “I think I’m good and you can be good as well.” Be proud of who you are, never hide that identity. The fact that this is happening in college institutions is even more sad because that’s where we’re supposed to be enlightened and learn. So, get out there and be part of the outreach. Get to know people, and that’s how we will grow and know the rest of the world. We will make it better. But don’t let the antisemitic bullies bully you. And there should be nothing anti-Palestinian about being pro-Israeli, and there should be nothing anti-Israeli about being pro-Palestinian. If anyone has a conversation with me where they hate the other in favor of one, then already we’ve started off on the wrong foot.
What do you plan on talking about at the Z3 conference?
I’m going to be speaking on my personal experiences of intersectionality and how that plays into the history of Jews, especially Jewish people of color, and we have to remember how important a role we continue to play in the identity of Judaism and what it means for the diversity of Judaism. Because Jewish isn’t just a religion, it’s also an ethnicity and race. And that race, by the way, encompasses people of so many different shades and different looks and different ethnicities. Ultimately, we’re also going to be exploring how comedy plays a huge part in that. Who has taught us more about politics in the last twenty years other than comedians — whether it’s Jon Stewart or Trevor Noah? Who has made us think about race in different ways more than Dave Chappelle, for example, or Wanda Sykes? Who has been the face of Jewish identity more than Larry David? I just want people to realize that, honestly, we’re all in this together. That’s the biggest thing that we can push out no matter what your background is, what your religion is, whoever you are—we are all in this together.
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The post Meet Tehran Von Ghasri, a Persian Jewish African-American comic appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”