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A new mural in Nolita celebrates a Holocaust rescuer

(New York Jewish Week) — In the heavily trafficked neighborhood of Nolita, a larger-than-life mural has popped up on the corner of Spring St. and Elizabeth St. Bright orange and pink paint spell out the words “Saved 3,000 Jewish Lives” next to a black and white portrait of Holocaust rescuer Tibor Baranski.

The mural, an art piece designed to combat hate and spark conversation, is the brainchild of “Artists 4 Israel,” a non-profit organization that aims to “prevent the spread of antisemitic and anti-Israel bigotry by helping to heal communities that have been affected by hate through art,” according to its CEO and co-founder Craig Dershowitz.

“Our rallying cry is art over hate,” Dershowitz said. Baranski’s portrait, painted by Fernando “SKI” Romero, a renowned graffiti artist based in Queens, is part of the organization’s “Righteous Among the Nations Global Mural Project.” It aims to establish a network of murals painted in cities around the world that feature other “Righteous Among the Nations” members who helped save Jews during the Holocaust.

“His story was beautiful and it really touched me,” Romero, who is Dominican, said of Baranski, who collaborated with Artists 4 Israel on deciding whom to feature in the New York mural. “The want to paint something came very easily with something so selfless.”

The Baranski mural in Nolita is the third installment of the mural project; eventually there will be 10 murals around the world, said Dershowitz. Each subject is given a mural in their home state or country where they aided Jews: In Portugal, a mural of Aristides de Sousa Mendes, a diplomat who helped arrange passports for Jews has become a popular tour bus stop. In Greece, a mural of Mayor Loukas Karrer and Archbishop Dimitrios Chrysostomos led to national media coverage.

Though Baranski was Hungarian, he lived in Buffalo, New York for nearly six decades and felt at home in New York, which is why the Artists 4 Israel chose him for the mural in Manhattan.

In 1944, Baranski was 22 and studying to become a Catholic priest in Slovakia when the Russian Army invaded and he was forced to return to Budapest, where he grew up.

He never returned to the seminary, and abandoned his dream of becoming a priest. Instead, he dedicated the next years of his life to orchestrating the escape of more than 3,000 Hungarian Jews from the Holocaust.

After arriving in Budapest, Baranski headed to the Vatican embassy residence of the Papal Nuncio Angelo Rotta, where a long line of people were requesting help. The Vatican embassies in Switzerland, Sweden, Spain and Portugal were some of the only places where Jews and other refugees were able to secure letters of protection and necessary documents to leave their countries.

Carol Romeo, who said her family survived the Holocaust, pauses to touch the mural of Holocaust rescuer Tibor Baranski created by Fernando “SKI” Romero, a Dominican-American artist born and raised in Queens. “I never knew he existed,” she said of Baranski. “And he lived here in New York. Everyone should know his story.” (CAM and Artists4Israel)

Pretending to be a priest, Baranski managed to arrange a meeting with Rotta, where he secured documents for a Jewish family he knew. As the story goes, Rotta soon recruited Baranski to help organize protection letters, baptismal certificates and immigration certificates for Jews trying to escape Hungary. He also helped coordinate food and housing for the escapees. Over the next two months, Baranski saved 3,000 Jewish lives, according to official records — though his sons have said he believes the number was closer to 15,000.

After the war, Baranski was imprisoned by the Soviet army for five years for his anti-communist beliefs. He became a freedom fighter during the Hungarian Revolution of 1956 before moving to Rome to start a refugee camp with his wife Katalin.

Eventually the couple moved to Canada and then settled in Buffalo, where they were active members of the community and raised their three children, Tibor Jr., Kati and Peter.

Baranski, who died in 2019, was recognized by Yad Vashem as a Righteous Among the Nations in 1979, and was appointed by President Jimmy Carter to the U.S. Holocaust Memorial Council.

In an obituary in the New York Jewish Week, writer and close friend of Baranski’s Steve Lipman recalls an anecdote Baranski often repeated: “’Why do you, a Christian, help Jews?’ Uncle Tibor told me the Nazis asked him. ‘You are either silly or an idiot,’ he would answer. ‘It is because I am a Christian that I help the Jews.’”

For Dershowitz, who is based in Los Angeles, one of the goals of the murals — and his organization at large — is fighting antisemitism through education about Israel and the Holocaust. By making the art public and accessible, Dershowitz hopes people of all backgrounds will enjoy the art, and learn from it.

“These murals are very much for everyone to enjoy,” he said. “For the most part, they’re not geared towards the Jewish community as much as they’re geared towards a younger demographic, regardless of their religion or cultural heritage.”

Since its foundation in 2009, Artists 4 Israel’s principal mission has been to bring diverse groups of graffiti, street and mural artists to Israel to create projects that “benefit people in a direct, on-the-ground way,” such as painting murals in hospitals, bomb shelters and army bases. The organization has worked with more than 5,000 professional and amateur artists from 32 countries around the world, according to its website.

“When [the artists] come back [from Israel], they’re able to talk about the country and they’re able to speak about the Jewish people and be a window into the reality of Israel in the Middle East to their millions of followers,” Dershowitz explained.

In 2020, when COVID-19 arrived and international travel halted, the organization switched gears and started bringing their advocacy to cities around the world with the “Righteous Among the Nations” project.

For the artist Romero, the work has been especially gratifying. The 44 year-old artist has been involved with Artists 4 Israel since its inception and has visited Israel three times, painting murals for battered women’s shelters, community shelters and army bases.

“I’m creating art with purpose, which is beautiful. I’m also creating a dialogue. There’s a conversation,” Romero said. “This is one of those murals that touches home and it makes you really feel good. It is art that just separates itself from a lot of the noise out there.”

Painted over the course of two days, the mural will remain on the downtown corner for the next nine months.

At the unveiling party last month, which included a performance by singer Neshama Carlebach and blessings led by Rabbi Menachem Creditor, Baranski’s son Tibor Jr. retold his father’s story and emphasized the strong Catholic faith that guided him.

“Tibor Baranski was the merger of intellect and faith,” said his son, who drove from Buffalo for the event. “My father’s deeply held belief in God was uncompromising. It was the core driver in his saving thousands of innocent Jewish lives in 1944 in Nazi-occupied Hungary.”

“I will quote my father since his words captured the essence of our Catholic faith and what this mural that Fernando painted commemorating him represents: ‘Love each other, love each other sincerely. God is love. Love destroys hatred,’” he added.


The post A new mural in Nolita celebrates a Holocaust rescuer appeared first on Jewish Telegraphic Agency.

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VIDEO: A song about a Jewish girl, Khaye, who died in Treblinka

One of the most renowned poems by the Yiddish poet Binem Heller is one he wrote for his older sister Khaye who perished in the Treblinka concentration camp.

In the poem, “Mayn shvester Khaye” (“My sister, Khaye”) he describes how, before the war, she would look after him and his brothers as their mother worked:

And Khaye remained at home with her brothers
She fed them and looked after them
And she’d sing them beautiful songs often sung in the evening
As little children grow sleepy.

After the war, Heller returned to Poland, hoping to help revive its Jewish cultural life, but he became disillusioned and moved, first to Paris and then to Brussels. In 1956, he visited Israel, which was then a hotbed of Yiddish creativity, thanks to a number of poets who, having survived the Holocaust, had settled there. Heller was warmly received and ended up staying in Israel until his death in 1998.

The acclaimed Israeli singer Chava Alberstein befriended him and other Yiddish poets in Israel, and in 1995, she and film director Nadav Levitan released a documentary film about them. The film, Too Early to Be Quiet, Too Late to Sing, includes a moving video clip of Heller’s wife Hadassah Kestin reciting “My Sister Khaye,as Heller sits in the background, listening solemnly:

In 2001, Alberstein set the poem to music and recorded it with The Klezmatics, bringing Heller’s words to a much wider audience.

Musicologist Jane Peppler also performed it on the album “Rag Faire,” accompanied by English subtitles.

 

 

The post VIDEO: A song about a Jewish girl, Khaye, who died in Treblinka appeared first on The Forward.

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The Case for Zionism: Jews Must Always Act to Defend Themselves

People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad

As Israel marks tonight the beginning of Holocaust Remembrance Day, I found myself returning to a question that is not abstract, not historical, but immediate: what did we learn — and what have we done with that lesson?

I started writing this column after listening to Matti Friedman’s interview by Haviv Rettig Gur about his compelling new book “Out of the Sky” — the story of a small group of young Jewish men and women, most in their twenties and thirties, who parachuted into Nazi-occupied Europe on missions that fused intelligence work with a near-impossible hope: to reach Jews already marked for annihilation.

What stays with you isn’t only their courage. It’s the indictment embedded in the setting. By then, the leading powers of the world knew what was being done to the Jews — not vaguely, not abstractly, but in sufficient detail to understand the scale and intent. And yet the Nazi annihilation machine continued to operate at full capacity. Priorities were elsewhere. Calculations were made. The Jews were not high enough on the list.

In the interview, Friedman describes Zionism as “a call to the heroic impulse of the Jewish people.” That beautifully captures the spirit of those who volunteered. But it does not fully capture the conditions that made such a call necessary. That necessity was forged over centuries in which Jews learned — repeatedly, across continents — that when they did not act on their own behalf, no one else reliably would.

By the time Zionism emerged as a political movement in the late 19th and early 20th centuries, this was not a new realization. It was the product of accumulated experience.

In Europe, Jews were expelled from England in 1290 and from Spain in 1492 — decisions made by sophisticated societies that had benefited from Jewish presence until it became politically or socially convenient to discard them. Across the continent, Jews were confined to ghettos, barred from numerous professions, subjected to forced conversions, and periodically massacred when rulers or mobs required a scapegoat. In Eastern Europe, pogroms were not aberrations; they were recurring events, often tolerated, sometimes encouraged, and routinely administered by authorities.

In the Middle East and North Africa, the legal framework differed, but the condition often did not. Jews lived under dhimmi status — protected, but explicitly inferior. That protection was conditional and revocable. Jewish communities in Fez, Granada, and elsewhere experienced massacres from the 7th through the 19th centuries. In the 20th century, that fragility fused with Nazi ideology and erupted in events like the 1941 Farhud in Baghdad — a pogrom in a modern Arab capital, not medieval Europe, where Jews were murdered in plain view.

The 19th century is often invoked as a European turning point for civilization — a narrative of emancipation and integration. But when it comes to the Jews, that narrative collapses under scrutiny. The Dreyfus Affair did not occur in a backward state. It unfolded in France, a republic that literally defined itself by liberty and equality. Yet the public degradation of a Jewish officer, falsely accused and convicted, revealed how quickly those ideals could be suspended when the subject was a Jew and the society was looking for a scapegoat.

In 19th century Eastern Europe, antisemitic violence intensified rather than receded.

The Holocaust is often framed as a rupture, a singular descent into madness disconnected from what came before. But that framing is wrong. The Holocaust represents continuity taken to its most efficient extreme: the same logic of exclusion, dehumanization, and disposability, now executed with industrial precision — and when the entire world refused to act.

This is the environment in which Friedman’s protagonists took action into their own hands. Figures like Hannah Senesh, 23, and Enzo Sereni, 39, parachuted into occupied Europe under British auspices. They were not naïve. They understood the constraints. They were explicitly made to understand by the British that saving Jews was not the mission’s priority.

They went anyway.

That choice — risking everything to reach other Jews marked for death, in a world that had already decided not to make that even a secondary priority — captures the essence of Zionism more clearly than any political manifesto. It is the refusal to accept passivity in the face of annihilation.

And even after the war ended, the lesson did not soften.

Roughly 250,000 Jewish Holocaust survivors remained in Displaced Persons camps across Europe for years. Not weeks — years. Stateless. Unwanted. Warehoused in the shadow of a continent that had just attempted to erase them. The world had seen the camps. It had documented the atrocities. It had declared “never again.”

And still, Jews were in DP camps. For years.

That changed only with the establishment of Israel — a state that, from its inception, absorbed those survivors and provided what no one else had: a place where Jewish life was not contingent on the tolerance of others.

This is the record behind Zionism.

The post-Zionist claim — that Jews were better off without sovereignty, that Israel somehow makes Jews less safe — requires the erasure of everything that came before. It requires ignoring expulsions, pogroms, legal subjugation, and ultimately industrialized extermination. It requires treating the Holocaust as a complete anomaly instead of a culmination. It requires believing that a world that refused to absorb Jewish refugees before, during, and after that catastrophe would somehow behave differently in the absence of a Jewish state.

Strip away the rhetoric, and the “post-Zionist” expectation is unmistakable. Jews are being asked — again — to place their survival in the hands of others.

History has already tested that proposition.

If Jews do not secure their own survival, no one else will do it for them.

And when they finally did — when a sovereign Jewish state took in 250,000 survivors who had nowhere else to go, when it replaced statelessness with citizenship and dependence with agency — that was not merely refuge.

It was justice.

Justice that had been denied for centuries — finally asserted.

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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Iran Has Been America’s Enemy for 47 Years, Yet Critics Claim It’s Israel’s War

Illustrative: Members of the United Nations Security Council vote against a resolution by Russia and China to delay by six months the reimposition of sanctions on Iran during the 80th UN General Assembly in New York City, US, Sept. 26, 2025. Photo: REUTERS/Eduardo Munoz

In light of President Trump’s decision to attack Iran, enemies on the right, left, and in mainstream media, accuse him of breaking his promise to put “America first” — with the slanderous footnote that the US started the Iran war solely at Israel’s behest.

In fact, the Iran war is very much an “America first” war — launched to neutralize one of the longest-standing, most dangerous threats to the US, its allies, and the Western world.

Notable critics on the right have slammed Trump’s attack on Iran, including former head of the US National Counterterrorism Center, Joe Kent, who said Iran, “posed no imminent threat to our nation, and it is clear that we started this war due to pressure from Israel and its powerful American lobby.”

Hard-leftists have similarly condemned the President for attacking Iran on Israel’s behalf. Rep. Rashida Tlaib (D-MI), for example, accused Trump of “acting on the violent fantasies of the American political elite and the Israeli apartheid government.”

Legacy media, which take every opportunity to bash Trump or the Jewish State, have also accused the President of reneging on his “America first” promise and launching a war for Israel’s sake. An article in The New York Times, for instance, asserted that Israeli Prime Minister Benjamin Netanyahu was “determined to keep the American president on the path to war.”

Against all evidence, Israel’s enemies have managed to convince many that the Iran war is Israel’s war, not America’s.

This “blame Israel” movement corresponds with another major spike in antisemitism. In just the first week of the conflict, global antisemitism surged 34%, rekindling the age-old practice of blaming the world’s tiny (0.2%) Jewish population for its gargantuan troubles.

For decades, Iran has attacked Americans and US interests, all the way back to the 1979 Islamic Revolution. Notable attacks include the 1983 Beirut Marine Barracks bombing, which killed 241 American forces, and the 1996 Khobar Towers bombing in Saudi Arabia, which killed 19 US airmen and wounded about 500 more.

Iran was also responsible for the death of scores of US soldiers in the Iraq war, through its aid to terrorist groups there, and construction of IEDs and similar devices.

Iran has also consistently lied about its nuclear program, claiming it was peaceful, but steadily enriching uranium to approach weapons-grade levels. No one in the world disputes that Iran is trying to achieve nuclear weapons — the only debate was whether it was worth military action to prevent it.

Iran wanted these weapons so that it could blackmail America and our Middle Eastern allies, and not have to worry about an American military response.

It’s no wonder that before his death, Ayatollah Khamenei repeatedly declared, “Death to America is not just a slogan — it is our policy.” Thus, it’s no surprise that over the last 47 years, all nine successive US administrations, including Trump’s, have made Iran a foreign-policy centerpiece.

After decades of diplomacy and appeasement, one president said “no.” The administrations of Obama, Biden, and Trump (twice) attempted painstaking diplomacy to convince Iran to abandon its nuclear weapons program — to no avail. In fact, diplomacy only strengthened Iran and its terrorist network. The 2015 nuclear deal, for example, gave Iran billions of dollars in sanctions relief, which the mullahs used to expand their nuclear and ballistic missile programs, and fund terrorist proxies.

In short, after 47 years of lies, diplomatic failures, terrorism, and the threats of an Islamist regime sworn to America’s destruction, Iran’s determination to obtain nuclear weapons left the US no choice but military force.

Nonetheless, the lie that the Iran war is being fought because of Jewish conniving — primarily for Israel’s sake — continues to spread. The result will be more antisemitism, more violent attacks on Jews, and more generational anti-Jewish hatred.

Our best weapon to fight this is to keep explaining the real reasons for the Iran war — and the very real threat that Iran poses to America, the region, and the entire free world.

Jason Shvili is a Contributing Editor at Facts and Logic About the Middle East (FLAME), which publishes educational messages to correct lies and misperceptions about Israel and its relationship to the United States.

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