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Henry Rosovsky, refugee from the Nazis who shaped Harvard University, dies at 95
BOSTON (JTA) — When Harvard University’s rabbi first pushed to relocate the Hillel from the outskirts of campus to its center, Henry Rosovsky was initially skeptical.
“He was absolutely right. I was wrong,” Rosovsky told the Jewish Telegraphic Agency in 2017, at a 25th anniversary party for the Hillel building that bears his name: Rosovsky Hall.
The event was also a 90th birthday party for Rosovsky, an economist who almost all of his career at Harvard, spanning decades in which he influenced the school’s curriculum, led a committee charged with improving conditions for Black students and shepherded the flourishing of Jewish life on campus.
Rosovsky died Nov. 11 at his home in Cambridge, Massachusetts, where he lived and worked since joining the Harvard faculty in 1965. He was 95.
“His legacy continues to influence the experience of every person on our campus today,” Harvard President Lawrence Bacow, who is Jewish, told the Jewish Telegraphic Agency. “With his passing, Harvard has lost one of its greatest champions and its finest citizens.”
At his funeral at Temple Israel of Boston, Rosovsky was remembered by family, colleagues and friends for his brilliance, witty humor, love of tennis and jazz, and his sage advice and mentorship.
His daughter, Leah Rosovsky, said her father took his greatest satisfaction in the role he played in establishing what is now Harvard’s African and African American Studies Program and recruiting its longtime chair, historian Henry Louis Gates Jr., who attended the funeral.
Born in a Jewish family on Sept. 1, 1927 in what is now Gdansk, Poland, Rosovsky immigrated to the United States with his parents and brother in 1940, after escaping the Nazis through France, Portugal, Spain and Belgium. He volunteered for the U.S. Army in World War II and also served in the Korean War, according to an obituary published by Harvard. After graduating from the College of William and Mary, he arrived at Harvard for the first time in 1949 to pursue a doctorate in economics.
In 1965, he returned as a professor of economics, with a specialty in Japanese and Asian economic development. He would stay at the university for the rest of his career, shaping not only the Ivy League college but Boston’s Jewish community.
As dean of Harvard’s College of Arts and Sciences from 1973 to 1991, Rosovsky led implementation of the school’s groundbreaking core curriculum. He also served two terms as Harvard’s acting president; was appointed a member of the Harvard Corporation, where he was the first Jew on the school’s governing body; and oversaw the establishment of Harvard’s Center for Jewish Studies.
In 1969, with student unrest spurring changes at many universities, Rosovsky led a committee to study the experience of Black students at Harvard. The resulting “Rosovsky report” urged the creation of a standalone department for African and African American studies and other steps to integrate and empower Black students. Rosovsky quit the committee after students were given equal say, a move that he said should have taken place only after careful study. He resumed his involvement shortly before his retirement in the 1990s, recruiting high-profile scholars including Gates to transform the department into an academic powerhouse.
Rosovsky’s 1990 book “The University: An Owner’s Manual,” exposed outsiders to the complex operations of a research university. But the former dean was equally helpful to university insiders, Bacow said, noting the time Rosovsky devoted to doling out advice to college presidents. Several of Harvard’s presidents, including Drew Gilpin Faust, Lawrence H. Summers and Neil Rudenstine, echoed that sentiment in published remarks at the celebration of his 90th birthday.
His reach extended beyond Harvard, too. As chair of the Boston Jewish federation’s strategic planning committee in the 1990s, Rosovsky shared his analytical expertise and his ability to bring people together to help chart a course for Boston’s Jewish community, according to Barry Shrage, who for decades led the Combined Jewish Philanthropies of Greater Boston.
“It was a turning point in terms of Jewish learning, adult Jewish education, building community at the grassroots and engaging synagogues,” Shrage told JTA in a conversation at the funeral. “It all emerged in the strategic plan.”
Shrage added, “He was a secular Jew but his Jewish identity deeply influenced his vision of the world.”
Rosovsky is survived by Nitza, his wife of 66 years and a former longtime curator of the Semitic Museum at Harvard; his children, Leah, Judy and Michael and their spouses; four grandchildren; and one great-granddaughter.
“He didn’t set out to trumpet his own Jewish identity,” Rabbi Jonah Steinberg, Harvard Hillel’s executive director, told JTA in 2017 about Rosovsky. “By being very honestly who they are, they were an example to others.”
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The post Henry Rosovsky, refugee from the Nazis who shaped Harvard University, dies at 95 appeared first on Jewish Telegraphic Agency.
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Orthodox Jewish man stabbed in midtown Manhattan
(New York Jewish Week) — An Orthodox Jewish man is in stable condition after being stabbed on Wednesday evening in the Diamond District of midtown Manhattan. Police are investigating the attack as a possible hate crime.
Police told the Jewish Telegraphic Agency that the NYPD’s Hate Crimes Task Force is investigating the incident as a possible antisemitic attack, and Manhattan Shomrim — the Jewish community watch group — has asked people to share footage as police search for the suspect. No arrests have been made.
The victim was identified by police as a 26-year-old man, and Orthodox Jewish outlet COLLive identified him as a resident of Crown Heights, the neighborhood that is home to the Chabad-Lubavitch Hasidic movement’s headquarters.
He was taken to Bellevue Hospital in stable condition. Police said they were called at about 5:50 p.m. on Wednesday after the man was stabbed in the back with “an unknown sharp object” on 47th Street near Fifth Avenue. ABC7 reported that the victim told investigators he believed he was stabbed with a needle or syringe.
According to the Chabad website, which published an interview with the victim, he is a recently ordained Hasidic rabbi named Joseph, who commutes to Midtown each day to wrap tefillin with Jewish merchants. The attacker, Joseph told the website, was a woman who seemed to be following him prior to the stabbing.
The attack comes as Jewish New Yorkers have been targeted in more than half of the hate crimes committed in New York City this year, despite making up about 12% of the city’s population.
In July, an assailant stabbed two men on the Upper West Side, including one who was leaving a synagogue, while yelling “Allahu akbar,” and was charged with committing hate crimes.
Louis Keene contributed reporting.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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