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Criticism of rabbi’s salary may have been erased from the internet due to fraud, investigation claims
(JTA) — Did someone associated with the late Rabbi Yehiel Eckstein’s nonprofit pay a company to remove criticism of his and his daughter’s salaries from the internet?
That’s the question being raised by a recent Washington Post investigation into the allegedly fraudulent activities of a firm that launders clients’ online reputations.
The large organization Eckstein founded, the International Fellowship of Christians and Jews, raises funds from evangelical Christians and other donors for impoverished Jews. It also facilitates Jewish emigration to Israel, including from Ukraine. Eckstein founded the group in 1983, and died in 2019.
But the issue of his compensation came up last week in a Washington Post expose about a company that allegedly makes baseless claims to protect the reputations of public figures. The Post reviewed nearly 50,000 records of the company, Eliminalia, documenting its activities on behalf of almost 1,500 clients over six years. Some paid more than $200,000 for the company’s services.
In the Eckstein case, Eliminalia is accused of demanding that the publishing platform WordPress erase two blog posts criticizing Yechiel and Yael Eckstein’s salaries as excessive, on the fraudulent basis that the posts were plagiarized from other sources.
The blog posts were written by Geri Ungurean, whom the Post identifies as a 71-year-old retiree in Maryland, and who also appears to identify as a “Jewish Christian.” Both posts, published in 2015 and 2018, were titled “Why Christians should Not Give Money to Rabbi Eckstein of IFCJ.”
Publicly accessible tax documents show Eckstein’s total compensation in 2018 was more than $700,000, and that his daughter Yael Eckstein, who then served as executive vice president, earned more than $400,000. In 2019, the year the elder Eckstein died, his total compensation jumped to roughly $3 million, which an IFCJ spokesperson, Shavit Greenberg, said was due to a death benefit paid out to his widow. The nonprofit’s revenue in both years exceeded $100 million. A Haaretz article published in 2017 also questioned the size of Yechiel Eckstein’s salary.
The top salaries of Jewish nonprofit executives and their employees has long been a topic of discussion and concern among Jewish groups. In 2017, the Forward counted 18 CEOs who were earning more than half a million dollars. The introduction to the survey said that since the Forward’s previous survey of CEO compensation, “the gender gap at Jewish non-profits has only widened and a few non-profit executives are receiving extraordinary payouts.” This year, a survey of Jewish nonprofit employees by Leading Edge, which focuses on workplace culture at Jewish groups, found that fewer than half of respondents said their “salary is fair relative to similar roles at my organization.”
In a statement to the Jewish Telegraphic Agency, Greenberg said the organization “has never engaged Eliminalia or any firm that engages in unethical practices.”
Greenberg’s statement added that the organization could not say whether Yehiel Eckstein paid for the service himself — though it did not rule that possibility out. If Eckstein did have a role in hiring Eliminalia, it would have been well before the company’s alleged activity on his behalf took place: The Post article made clear that Eliminalia was hired on the Ecksteins’ behalf in 2020, more than a year after the elder Eckstein died.
“If there is a record of Rabbi Eckstein making such payment over five years ago, it was a personal decision made completely independent of The Fellowship,” Greenberg said. “Rabbi passed in 2019 and is the only one able to comment on the alleged payment to Eliminalia.”
Asked about the discrepancy in dates, Greenberg wrote via email, “The Fellowship nor our current president has ever engaged with Eliminalia and had never heard of the company until the article.”
The Post wrote the expose with the assistance of Forbidden Stories, a Paris-based consortium of investigative journalists. Forbidden Stories had obtained internal documents detailing Eliminalia’s methods. Eliminalia did not respond to the Post’s requests for comment, citing “business secrecy.”
Eliminalia’s techniques, according to the Post, include burying negative stories in search results by supplanting them with positive ones from fake news sites — a practice that media watchdogs see as unethical, but not illegal. What is illegal is another practice: making false claims to web hosts that content on their sites has been previously published by other outlets, and is therefore copyright protected and should be erased.
That, according to the Post, is how Eliminalia approached WordPress about Ungurean’s blog in 2020. Two companies claimed copyright of Ungurean’s 2015 and 2018 blog entries. According to the Post article, those companies show no sign of existing other than to make those claims.
Eliminalia was paid roughly $6,400 for the action, the Post reported. Ungurean shared emails with the Post from Automattic, WordPress’s parent company, that said the company ignored the requests, finding them suspect.
Nonetheless, the 2015 post disappeared. The 2018 post is still online. Automattic told Ungurean that someone using her log-in erased the 2015 post in January 2022. Ungurean told the Post she did not erase her content and believes her account was hacked.
The Post compared two searches on Yahoo for “Yael Eckstein salary,” one in October 2020 and one from last month. On the 2020 search, the 2018 blog post by Ungurean shows up fifth; last month’s search did not turn up the blog post in its first 100 entries. Among the top posts, however, is an advertisement entitled “Yael Eckstein: Salary, Spending and the Non-Profit Double Standard,” in which the younger Eckstein posits that non-profit executives should get salaries commensurate with the for-profit sector.
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The post Criticism of rabbi’s salary may have been erased from the internet due to fraud, investigation claims 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.”