Features
Jewish nonprofits are struggling. How should donors try to rescue them?
By BEN SALES NEW YORK (JTA) — In the weeks after it became clear that the coronavirus pandemic would spark a lasting economic crisis, the Jewish world’s leading funder group put together a memo with some back-of-the-envelope projections for how much Jewish nonprofits stood to lose.
The tally: at least $650 million, according to the internal document from the Jewish Federations of North America, which was based on estimates from several American Jewish umbrella organizations, such as the Foundation for Jewish Camp and the JCC Association of North America. The document was produced in March and obtained by the Jewish Telegraphic Agency.
The document says Jewish camps, schools, community centers and other groups like college Hillels will need that much or more to make it through the pandemic, which has already caused widespread layoffs and furloughs at Jewish community centers across the United States.
On Monday, a coalition of large Jewish philanthropic foundations pledged $80 million to shore up struggling Jewish organizations. But now, with it becoming increasingly clear that the world will not snap back to its former shape anytime soon, that number appears to be a fraction of what will be needed. Doron Krakow, CEO of the JCC Association of North America, told JTA earlier this month that the need would exceed $800 million if camps have to close for the summer and a recession drags into a second year.
The sudden financial blow is reanimating a longstanding debate about the best way to support America’s robust infrastructure of Jewish nonprofits. Should collective, communal fundraising bodies like Jewish federations have responsibility for disbursing philanthropy across the Jewish world? Or should the wide array of private Jewish family foundations each give separately to their causes?
Proponents of the network of Jewish federations, which act as collective funding bodies for local Jewish communities across the country, have suggested a single massive pool of coronavirus philanthropic assistance, to be managed centrally. No overarching plan has been put forward yet, but the Jewish Telegraphic Agency has learned that several leading funders are working to form a fund that would provide loans to Jewish organizations on the brink of going broke.
Among them is Krakow, who has called for private Jewish foundations and Jewish federations, which act as collective charities for Jewish communities across the country, to create a loan fund of $1 billion.
“There’s a need to know with confidence that we can keep one eye on the horizon and know that there’s a day after,” he said.
But some in the world of Jewish philanthropy are already raising questions about whether a centrally administered megafund is the best strategy to shepherd geographically and programmatically diverse organizations through the crisis.
“A ‘Billion Dollar Fund,’ a ‘Jewish New Deal’ [or] a ‘COVID czar’ are fine and well-intentioned ideas that look good on paper and seem simple and straightforward, but they are anything but,” Andres Spokoiny, CEO of the Jewish Funders Network, which convenes Jewish donors and foundations, wrote in a recent essay in the publication eJewish Philanthropy.
“As leaders it’s our responsibility to accept reality and focus on practical, smaller-scale, sector-specific solutions that can work,” Spokoiny wrote. “The aggregate of all those will be surely larger than any central fund and will produce a richer and more vibrant result.”
The $80 million fund, announced Monday, appears to attempt a third way. It’s a coalition between the Jewish Federations of North America and eight large Jewish philanthropic foundations. Called the Jewish Community Response and Impact Fund, it will prioritize organizations that focus on education, leadership and engagement, though a press release did not provide further detail on those fields.
The fund will provide short-term loans to organizations to meet payroll and maintain operations in the next three to six months, and will also award grants that do not have to be repaid. Participating foundations include the Jim Joseph Foundation, Maimonides Fund, Charles and Lynn Schusterman Family Foundation and others.
“We have also seen firsthand the acute challenges Jewish organizations across the country are facing,” read a statement from the funders. “While this fund alone cannot address all of those challenges, we believe that investing together in these vital pillars of Jewish life will help ensure a stronger future for American Jewry in the months and years to come,”
Beyond that fund, experts in American Jewish philanthropy say that large individual donors and family foundations are likely to eschew putting their money in a giant pool. While federations used to dominate the Jewish giving scene, they and their ethos of collective giving have ceded more ground to private foundations, as large donors have become more involved in the causes they fund and more particular about how their money is spent.
“If we’ve seen any trend in philanthropy over the course of the last number of decades, it’s to targeted giving,” said Jack Wertheimer, a professor of American Jewish history at the Jewish Theological Seminary. “Donors are leery of giving large amounts of their philanthropy to a pot that will be divided up, not according to their own wishes but according to the directives of some body that would make the decision. Federations obviously have suffered from this.”
But there’s still interplay between large donors and federations, said Hanna Shaul Bar Nissim, a visiting scholar at Brandeis University who focuses on American Jewish philanthropy. Many Jewish family foundations give to their local Jewish federations and, in turn, sit on their boards or have influence over where the federation money goes.
“The golden rule of, the size of your donation impacts the size of your involvement, is very relevant to the world of Jewish federations,” said Bar Nissim, who is also deputy director of the Ruderman Family Foundation. “The more you give, the more you can have a say and become involved.”
No matter how the debate is settled — or whether it is at all — it’s clear that funders must move quickly if they are to blunt the effects of the pandemic, which has rendered at least 20 million Americans jobless in just four weeks.
Other Jewish philanthropies have also started doling out funds. New York’s UJA-Federation has announced $43 million in grants to social service organizations, JCCs and individuals in need.
And the Harold Grinspoon Foundation, which usually gives approximately $3 million annually to Jewish camps, has announced an additional $10 million in matching grants to help camps survive whatever financial damage this coming summer may bring.
The foundation’s leadership understands that $10 million is not nearly enough to fill camps’ anticipated needs — that would take about $150 million, the foundation estimates. Still, Sarah Eisinger, who heads the foundation’s camp initiative, said she hoped the $10 million dollars would set an example and give the camps a measure of hope.
“It’s only one intervention,” she said. “It’s only one slice of a much larger pie. But the early impact of that money and the psychological lift of a shot in the arm will fuel a sense of optimism and a possibility to raise resources.”
The foundation moved quickly in part because its president, Winnie Grinspoon, realized that hewing to longstanding giving practices, or waiting for them to be renegotiated, would deepen the financial devastation that is already unfolding.
“This is an unprecedented situation, as we all know, and the rules and restrictions we might operate under at a normal time go out the window,” Grinspoon said.
She added, “This is the moment to give boldly, to go beyond our normal giving structure and limitations for those who are able to reach deep into their pockets, so we don’t look back with regret.”
Features
Japanese Straightening/Hair Rebonding at SETS on Corydon
Japanese Straightening is a hair straightening process invented in Japan that has swept America.
Features
History of the Winnipeg Beach Synagogue: 1950-2025
By BERNIE BELLAN The history of the Winnipeg Beach Synagogue is a fascinating one. We have had several articles over the years about the synagogue in The Jewish Post & News.
In June 2010 I wrote an article for The Jewish Post & News upon the 60th anniversary of the synagogue’s opening. Here are the opening paragraphs from that article:
“Sixty years ago a group of Winnipeg Beach vacationers decided that what their vacation area lacked was a synagogue. As it happened, a log cabin one-room schoolhouse in the Beausejour area happened to be available.
“In due course, the log cabin was relocated to the corner of Hazel and Grove in Winnipeg Beach, where it stayed for 48 years.”
In December 1994 my late brother, Matt, wrote a story about the spraying of antisemitic grafitti on the synagogue which, at that time, was still situated at its original location on the corner of Hazel and Grove in the town of Winnipeg Beach:
“Two 16-year-olds spraypainted slogans like ‘Die Jews,’ ‘I’ll kill you Jews,’ and other grafitti in big letters on the beach synagogue.
“Jim Mosher, a news reporter for the Interlake Spectator in Gimli, said last Halloween’s vandalism against the synagogue wasn’t the first. In the late 1980s, he claimed, it was spraypainted with swastikas.
“Jack Markson, a longtime member of the Winnipeg Beach Synagogue, last week also said he could remember finding anti-Semitic grafitti spraypainted on the synagogue ‘a few years ago,’ and at least twice in the 1970s, when the cottage season was over.”
My 2010 article continued: “In 1998 the Town of Winnipeg Beach informed the members of the synagogue that the building would have to be hooked up to the town’s sewer and water system. Rather than incur the cost of $3-4,000, which was thought to be ‘prohibitive,’ according to longtime beach synagogue attendee Laurie Mainster, synagogue goers looked elsewhere for a solution.
“As a result, the board of Camp Massad was approached and asked whether the synagogue might be relocated there, with the understanding that the synagogue would be made available to the camp at any time other than what were then Friday evening and Saturday morning services.
“Over the years the ‘beach synagogue’ had come to be a very popular meeting place for summertime residents of Winnipeg Beach and Gimli. In fact, for years minyans were held twice daily, in addition to regular Saturday morning services. Of course, in those years Winnipeg Beach was also home to a kosher butcher shop.
“While the little synagogue, which measured only 18 x 24 feet, has gone through several transformations, including the move to Camp Massad, and the opening up to egalitarian services in 2007 (The move to egalitarian services was as much a practical necessity as it was a nod to the equality of women – the only Kohen present at the time was a woman!), it has always remained cramped at the best of times.
“In recent years the synagogue has seen the addition of a window airconditioner (although to benefit from it, you really have to be sitting just a few feet away), as well as a fridge that allows synagogue attendees to enjoy a regular Saturday morning Kiddush meal following the service.
“According to Laurie Mainster, the Saturday morning service has continued to be popular, even though many of the attendees now drive in from Winnipeg, as they have sold the cottages they once maintained.
“On the other hand, one of the side benefits to being located on Camp Massad’s grounds has been an infusion of young blood from among the camp counsellors.
“Since there is no longer a rabbi available to conduct services (Rabbi Weizman did lead services for years while he had a cottage at the beach), those in attendance now take turns leading the services themselves.
“Anyone may attend services and, while there are no dues collected, donations are welcome. (Donations should be made to the Jewish Foundation of Manitoba, with donors asked to specify that their donations are to be directed to the beach synagogue.)
“Mainster also says that the beach synagogue is now undergoing an expansion, which will be its first in 60 years. An entirely new space measuring 16 x 18 feet is being added – one that will allow for a real Kiddush area. (Until now, a table has been set up in the back of the synagogue and synagogue goers would help themselves to the buffet that is set up each Saturday during the summer. While pleasant enough, it will certainly be more comfortable to have an actual area set aside for the Saturday afternoon after service lunch.)
“As for dress, longtime attendee Abe Borzykowski (in an article written by Sharon Chisvin for the Free Press in 2007) remarked that ‘I don’t think there are many synagogues where people can attend in shorts, T-shirts and sandals and not feel out of place.’ “
As mentioned in that 2010 article, the beach synagogue at that time was about to undergo an extensive remodelling. Here is an article from a January 2011 issue that describes that remodelling process. The article was written by Bernie Sucharov, who has been a longtime member of the beach synagogue:
“The Hebrew Congregation of Winnipeg Beach made a major change to the synagogue this past summer. With the help of many volunteers, Joel Margolese being the project manager, the synagogue was expanded and an addition was built to handle the overflow crowds, as well as to add more space for the kiddush following services.
“The volunteers spent many Sundays during the summer months building the addition. Bad weather caused many delays, but finally the addition was completed one week before the official summer opening.
“The volunteers were: Joel Margolese, Gordon Steindel, Sheldon Koslovsky, Viktor Lewin, Harvey Zabenskie, Nestor Wowryk, Kevin Wowryk, Victor Spigelman, Jerry Pritchard, and David Bloomfield.
“On Sunday, June 25, 2010 a special ceremony was held to affix a mezzuzah to the front entrance door. Gordon Steindel had the honour of affixing the mezzuzah, which was donated by Sid Bercovich and Clarice Silver.
“Refreshments and food for the day were prepared by Phyllis Spigelman, also known as our catering manager. Throughout the summer, Phyllis, Lenore Kagan and other friends prepared the food for our kiddush.
“A sound system was donated by Arch and Brenda Honigman in memory of their father, Sam Honigman z”l. “The system was installed by Joel Margolese and Stevan Sucharov. This will allow the overflow crowd to hear the service in the new addition.
“There were also generous donations of 50 chumashim and an air conditioner. The chumashim were donated by Gwen, Sheldon and Mark Koslovsky. The air conditioner in the new addition was donated by Joel and Linda Margolese.
“The official opening of the synagogue for the summer took place on July 3, 2010. We had an overflow crowd of 70+ people.”
Since that 2010 major addition to the synagogue, it has also added a wheelchair ramp (although I’ve been unable to ascertain exactly when the ramp was built). Also, the synagogue also has its own outdoor privy now. (Attendees used to have to use facilities in Camp Massad.)
And, as already noted in article previously posted to this site (and which you can read at Beach Synagogue about to celebrate 75th anniversary), in recognition of that occasion, on August 2nd members of the synagogue will be holding a 75th anniversary celebration.
As part of the celebration anyone who is a descendant or relative of any of the original members of the first executive committee is invited to attend the synagogue that morning.
If you are a relative please contact Abe Borzykowski at wpgbeachshule@shaw.ca or aborzykowski@shaw.ca to let Abe know you might be attending.
Features
Kinzey Posen: CBC Winnipeg’s former “go-to guy”
By GERRY POSNER If former Winnipegger Lawrence Wall was the CBC go-to guy in Ottawa, CBC Winnipeg had its own version of a go-to guy for many years with none other than the very well known Kinzey Posen. Of course, many readers will recognize that name from his career with Finjan, the Klezmer group so famous across Canada and beyond. It has been written about Posen and his wife Shayla Fink that they have been involved in music since they got out of diapers. And, as an aside, their love and ability in music has now been transmitted to the next generation as in their son, Ariel Posen (but that’s another story).
Kinzey Posen (not to be confused with Posner, or maybe we are to be confused, but who knows for sure?), was a graduate of Peretz School, having attended there from nursery right until Grade 7, graduating in1966. That was followed by Edmund Partridge and West Kildonan Collegiate. Musically, he was in large part self taught. However, he did have some teachers along the way. After moving to Vancouver – from 1974-78, he had the chance to study acoustic classical bass with a member of the Vancouver Symphony Orchestra. When Kinzey lived in Vancouver, he also worked as a jazz musician.
Upon returning to Winnipeg, Kinzey enrolled as a mature student at the University of Winnipeg, where he obtained a Bachelor of Urban Studies degree. Although the degree was in no way connected to the career that followed, his attending the University of Winnipeg was critical to his connecting with the CBC. Why? you ask. Kinzey had a position after graduation working for the Institute of Urban Studies. While there, he met someone who invited him to work for the Department of Continuing Education as one of their program directors. At the time the Department of Continuing Education was located at 491 Portage Avenue, which was also known as the TJ Rice Building. The CBC also leased some space in the same building. According to Kinzey, the CBC part of the building “included HR, different shows and other support offices. Continuing Education was located in the basement and main floor and that’s where I worked.”
KInzey had long had an interest in the CBC, which made the fact that the CBC had some offices in the same building where he was working serendipitous. That Kinzey might be interested in visiting the CBC was not an accident. As a young boy he had a nightly connection to CBC, as it was his ritual to listen to CBC Radio (as well as all sorts of other radio stations across the USA) on his transistor radio every night in bed. He became enamoured of one particular CBC host, Bill Guest, so that when going to sleep, he imagined that he was Guest doing interviews with imaginary guests. That dream of working for CBC became a reality when he had a chance to do a one week gig with Jack Farr’s network program.
Kinzey took a week off from his Continuing Education job and spent five days at the CBC. That week was a training session for Posen, as he had to create ideas, research, pre-interview, write the script, and set up the studio for Farr’s interview. He was almost in his dream job – although not quite – since it was only for one week. His opportunity, however, came in 1988, when he was offered a one-year term as a production assistant – the lowest guy on the ladder, for a show called “ Simply Folk,” with the late Mitch Podolak as the host. Although he was indeed at the bottom as far as those working on the show were concerned, he took a chance and gave his notice to the U of W. The rest is history. In his new job, Kinzey learned how to become a producer. Lucky for him, at the end of the year, when the person he replaced was supposed to come back, she never returned (just like the song, “MTA,” by the Kingston Trio). At that point, Kinzey was hired full time at the CBC.
Kinzey was a fixture at the CBC for 27 years. During those years, Kinzey had the chance to work with Ross Porter, a respected former CBC host and producer, also with Karen Sanders – on the “Afternoon Edition.” One aspect of Kinzey’s job on the Afternoon Edition was to come up with ideas, mix sound effects, arrange interviews and music, to create a two-hour radio experience. In addition, he covered jazz and folk festivals and, as a result, was exposed to some of the best musicians in the world. With Ross Porter in the 1990s, he worked on a network jazz show called “ After Hours,” which was on from 8-10 PM five nights a week. Kinzey was involved with writing the scripts, picking the music, and recording the shows, as well as editing them and then presenting them to the network for playback.
Of course, over his career, Kinzey had many memorable moments. He told me about one of them. The story revolved around the National Jazz Awards one year in particular. The awards were to be broadcasted after the National News which, in those days, began much earlier in the evening, and were over by 8:00 pm. The legendary Oscar Peterson was lined up to play a half hour set at the awards, starting at 7:30. But, as Kinzey told me, Oscar Peterson had a “hate on” for the CBC ecause one of his recorded performances was wrongly edited and he refused to appear on CBC under any circumstances. As the time neared 8:05 PM, which was when the CBC was to begin its broadcast of the jazz awards, it became apparent that Oscar was not going to finish on time. As the producer of the awards show, Kinzey was tasked with telling Oscar Peterson to wrap it up and get off the stage. There was Kinzey Posen, a huge fan of Oscar Peterson, now faced with the prospect of telling Oscar – while he was still playing – with 500 people in the audience, to stop and get off the stage. Not often was or is Kinzey Posen frozen, but that was one such moment. There was one loud “Baruch Hashem” from Kinzey when Oscar completed his set literally just in time.
Clearly, Kinzey was part of a very successful run with After Hours as it was on the air for 14 years. It was easily one of the most popular shows on CBC Radio 2, and a winner of several broadcasting awards. Kinzey also played a major role in producing a two part documentary about legendary guitarist Lenny Breau.
When After Hours ended, Posen became one of the contributing producers to Canada Live and specialized in producing live radio specials for the network, such as the Junos, for CBC Radio One and Two. Needless to say, his career planted Posen in the world of some top notch musicians, including his time spent working with Robert Plant (Led Zeppelin), Dave Brubeck, Randy Bachman, Chantal Kreviazuk and a list of prominent names in the Canadian, American and European music spheres. Locally, the CBC came to refer to Kinzey as the Jewish expert. I would add music expert to that title.
After his 27 year run at the CBC – and before he fully retired, Kinzey went on to work for the Rady JCC as a program director for a year and a half. Of course, to say that Kinzey Posen is retired is a major contradiction in terms. You really can’t keep him down and he has his hand in a variety of programs and projects – most of which he remains silent about, as is his style.
When I realized the full depth and talent of Kinzey Posen, I quickly concluded that he must certainly be related to me. Even if he isn’t, I now tell people he is.