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New all-digital Hunger Museum charts US response to food insecurity through a Jewish lens
An 1888 portrait of Ellen Swallow Richards and her all-female home economics class at the Massachusetts Institute of Technology. A 1915 campaign poster that maps out the 20 states providing food assistance for widows and single mothers. A 1940 photo of Japanese-American children eating hot dogs at a World War II internment camp in Idaho. A video of the 1950 launch of the “Betty Crocker TV Show.”
These are among the fascinating artifacts and mementos on exhibit at the Hunger Museum, a new barrier-breaking museum that seeks to inform and raise awareness about hunger in the United States.
A virtual project of MAZON: A Jewish Response to Hunger, the museum’s six galleries chronicle well over a century of U.S. hunger and anti-hunger public policy, from the Civil War through 9/11, the 2018 government shutdown and the COVID-19 pandemic.
The all-digital Hunger Museum was conceived by Abby J. Leibman, president and CEO of MAZON, a national organization based in Los Angeles. It took three years to put together and opened on March 9.
“The Hunger Museum began as an idea, and it has exceeded my wildest expectations,” said Leibman, who has led MAZON since 2011. “It’s visually stunning and incredibly immersive, as if you’re in an actual exhibit space. There’s so much to learn as you move through the museum’s galleries and artifacts.”
The website, developed by Dan and Tamara Zimmerman of Loyal Design, has six galleries with multiple exhibits and hundreds of webpages. Leibman says there is growing interest in and awareness of the issue of hunger among Americans generally — and U.S. Jews in particular.
“Because of the pandemic, hunger registered in a far more present way than it ever has before — and not only because millions of people instantly became food-insecure as jobs were lost and businesses closed,” she said. “It was also evident in media coverage and photos of literally hundreds of cars waiting in line for free boxes of groceries.”
MAZON, which produced the all-virtual Hunger Museum, envisions it as on the National Mall in Washington, D.C. (Courtesy of Mazon)
Besides its galleries, the Hunger Museum, like any physical museum, also features venues such as a multistory lobby overlooking an atrium, an auditorium (for online events), the Terrace Restaurant and a Wishing Tree inspired by Yoko Ono’s Wish Tree that allows visitors to leave a wish for those who struggle with hunger. However, at this museum, all these features are virtual. There’s also the SNAP Café — where virtual diners can select dishes from the five major food groups and calculate how much that meal would cost, and whether they could afford it if they were on SNAP (the Supplemental Nutrition Assistance Program formerly known as food stamps).
“This is really an innovative initiative, not only in the way it’s being delivered as a virtual museum, but also because of the story it tells about hunger in this country — and our response — over a 100-year period,” said Mia Hubbard, vice-president of programs at MAZON, which has 23 full-time employees and an annual budget of $8.5 million.
“Food insecurity is a pervasive and persistent part of our history, and that becomes clear as you go through the galleries,” said Hubbard.
The Hunger Museum aims not only to raise awareness and inform people about hunger’s history in America, but also to create a Jewish call to action — to inspire people to help fight hunger.
“We are focused on social justice and repairing the world, and since hunger has been an enduring part of the American social condition, it requires constant vigilance,” Hubbard said. “Part of MAZON’s role is to rally the Jewish community, and in turn, create the political will to end hunger.”
Naama Haviv, MAZON’s vice-president of community engagement, said that while plenty of brick-and-mortar museums have created online exhibits, nobody has ever done an entirely virtual museum before.
The most significant changes in American society on hunger issues occurred during the 1960s and ‘70s, Haviv said, when bipartisan efforts shifted public understanding and political will to address hunger more comprehensively.
“Americans started to realize that hunger was not a personal moral failing. It was systemic and based on people’s lack of access to economic security, and oftentimes lack of access to government safety net programs,” Haviv said.
She added that hunger in America can be solved because it was solved once before, citing household surveys showing that just 3% of Americans went hungry in 1969. Today, by comparison, 12% of the population is on SNAP, and over 34 million people are food -insecure.
A wishing tree at MAZON’s new Hunger Museum is inspired by Yoko Ono’s Wish Tree project, inviting visitors to leave a wish for those facing hunger. (Courtesy of Mazon)
“During the first few months of the pandemic, that number skyrocketed to around 80 million, but then, because we had robust government investment in food safety-net programs, we saw those numbers drastically reduced,” Haviv said. “We are now below pre-pandemic levels.”
But instead of understanding the lessons of history, and learning from the recent experience of the pandemic, efforts to make it more difficult for those who struggle to find stability and food security are now underway, she warned.
For example, under current U.S. law, SNAP work requirements restrict essential benefits for “able-bodied” adults without dependents between ages 18 and 49. Rep. Dusty Johnson, a Republican from South Dakota, has introduced a bill to expand this category to age 65. Earlier this year, Sen. Rick Scott, a Florida Republican, introduced similar legislation that would raise the restriction to age 59. Both bills would also bar states from seeking a waiver to the “able-bodied adults” time limit—even if there aren’t enough jobs for all those in need.
“These changes are unacceptable and will make matters worse, because not only do they ignore history — they rely on narrow thinking about the lives of struggling Americans while ignoring the many systems that contribute to hunger, and thus to its end,” Leibman said.
“But,” Leibman added, “we know we can end hunger in America. The proof is in our history.”
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The post New all-digital Hunger Museum charts US response to food insecurity through a Jewish lens appeared first on Jewish Telegraphic Agency.
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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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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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