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Teens push back on school mascots that celebrate persecutors of Jews
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with teens across the world to report on issues that impact their lives.
(JTA) — The New Braunfels Unicorns. The Gabbs Tarantulas. The Fisher Bunnies. High school mascots like these may encourage spirit and community, but other schools’ mascots have been called out in recent years for being racist and insensitive, especially to Native Americans and the descendants of the enslaved.
And some mascots can be perceived as antisemitic as well. In 2018, the name of the student publication at Monroe-Woodbury High School in Center Valley, New York was changed from “The Crusader” to “The Wire” when its editorial staff spoke up against what had been the public school’s long-time mascot.
For many Christians, the medieval crusades are associated with European armies’ attempts to recapture the Holy Land and ensure safety for Christian pilgrims visiting sacred sites. And yet they were also occasions for massive outbreaks of antisemitism, like the 1190 massacre of Jews in Norwich near England’s eastern coast. Muslims have complained that glorifying crusaders is Islamophobic.
In their letter to the principal at Monroe-Woodbury High asking for a change, students also noted that the Ku Klux Klan’s official publication is known as “The Crusader.”
“The Ku Klux Klan is a white supremacist organization that uses fear, hatred and violence to achieve its goals; we do not wish to be associated with this group in any way,” the students wrote. “We want our school’s student publication to be a place where all students will feel comfortable sharing their ideas and we would like our publication to be a place where all students feel comfortable reading those ideas.”
Hailey Lanari, a junior at Monroe-Woodbury, says fellow students are ignorant of how Crusaders might be seen as antisemitic. “I don’t think that people are really aware of it,” she said. “I think it kind of just normalizes certain things. I think it just makes it normal for us to be like, ‘Yeah, it was this really bad thing, but it’s ok cause it’s just our school’s mascot.’”
She doesn’t trust that the school would take public steps to address any complaints, and suggests that is why “The Wire” hasn’t written about the mascot in the context of the school. There was, however, a statement released when the paper changed its name.
Out of 231 high schools with “Crusaders” as their mascots, 208 of them are Catholic with little to no Jewish populations, according to MasseyRatings, a mascots database.
Other schools, like the Latin School of Chicago, use “Roman” as their mascot, a reference to the glories of the Roman Empire. But that same empire targeted Jews and destroyed the Second Temple in Jerusalem in 70 C.E. “As someone who finds themselves very involved with the community and plays a lot of sports, it is just something I have come to not enjoy so much,” said Lauren Altman, a student at Latin School and a head of the Jewish Student Connection club.
“Latin School was created to follow this Latin model which is very much about celebrating what is referred to as a Western Civilization,” Latin history teacher Dr. Matthew June said. He argues that the mascot isn’t problematic from a religious standpoint because the two groups clashed politically, not necessarily relating to religion. The destruction of the Second Temple predates the empire’s embrace of Christianity, when attitudes towards Judaism itself became more hostile.
In the past 12 years, 79 schools with Native American mascots across the country changed their mascots, according to The National Congress of American Indians. The NCAI says Native American mascots “remind Native youth of the limited ways in which others see them” and “undermine the ability of Native nations and people to portray themselves accurately as distinct and diverse cultures.”
The mascot of the Lane Tech College Prep High School in Chicago was the “Indian” for over a century before the local school council voted unanimously to change it in the summer of 2020 because of its stereotyping of Native Americans. Prior to the start of the current school year, the school officially rebranded to the Champions.
The Latin School of Chicago adopted its mascot, the Roman, in 1950 based on the suggestion of a sports writer from the Chicago Daily News, according to the school’s archivist, Teresa Sutter. Since then, one of the few conversations about the term occurred nine years ago, when some complained that the symbol was white and gendered.
But those aren’t the only issues with the Roman. The Romans are accused of crucifying Jesus, destroying the Second Temple and turning from a republic to an empire, said Dr. Jeffrey Ellison, a teacher of the Holocaust and the history of antisemitism at Bernard Zell Anshe Emet Day School in Chicago and a former teacher at Latin School. He suggests schools ask themselves, “Is this the symbol that we want to be using to represent us? [The Romans] were just brutal.”
Some mascots, like the Trevians of New Trier Township High School in Winnetka, Il., aren’t seen as obviously offensive, and are not being discussed in schools. The mascot wears the Roman-era costume of a soldier from Trier, a town in present-day Germany where Jews were persecuted by crusaders and ostracized repeatedly beginning as early as the third century.
The mascot and logo of New Trier Township High School in Winnetka, Il., is based on a soldier from Trier, a town in present-day Germany.
“I don’t think anyone’s ever made that connection before,” said Kimberly Hafron, the Hebrew teacher at New Trier. “They’re just this weird mascot.”
Hafron was hesitant to bring the issue to students, because she didn’t want to cause commotion in the community. “I think it would cause one of those ruckus’ where people are like, ‘Oh my God, is there latent antisemitism that we don’t know about?’” she said. “If the people who they could potentially offend don’t have any idea they’re being offended, then the question is, is it offensive?”
For Stella Dale, a Hebrew student at New Trier, the answer is no. “As a Jewish woman, I do not condone antisemitism in any form, but I do think that the mascot itself is not an antisemitic” symbol, Dale, 17, said. “I think that this extension of the Romans destroying the temple is obviously inappropriate, but in my day-to-day life, I really have no hate with the Trevian.”
Overall, because so few students at schools like Monroe-Woodbury and New Trier are aware of the significance of their schools’ mascots, it rarely affects feelings of inclusion at school.
At Latin, however, the Roman mascot does impact a sense of belonging at the school for some Jewish students. Altman said, “If you say you are a Latin Roman, and the Romans did try to kill the Jews, that is going against yourself — saying I am representing somebody who tried to kill my group.”
The Anti-Defamation League has not gotten any reports of discomfort regarding these types of mascots, according to Midwest Regional Director David Goldenberg. “We have spoken out in support of fighting prejudice and discrimination and hurtful stereotypes particularly in the professional sports arena,” Goldenberg said. “We do think it’s important to move away from the use of hurtful and offensive names, mascots and logos.”
The ADL has not, however, taken action regarding mascots like the Crusaders, the Romans, or the Trevians. Because no complaints have been filed on this subject, the ADL has not acted on the matter.
Goldenberg added, “I think one of the things that we are looking [at is] not necessarily the name of a mascot, but we would look at how certain images are adopted by extremist groups or that become extremist symbols.”
“I think there is a real good opportunity to think about what it is that we want to bind us together.” Dr. Ellison said. “What’s that symbol?”
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Senate rejects effort to rein in Trump’s power to fight Iran alongside Israel
(JTA) — The Senate late Wednesday rejected a measure that would have required President Donald Trump to get congressional approval to continue fighting against Iran.
The measure was initiated by Democrats, who have raised questions about the process by which Trump initiated the war alongside Israel on Saturday. The War Powers Act requires U.S. presidents to seek congressional approval for wars in advance or shortly after their start unless there is an imminent threat to the United States. Trump and his administration officials have given mixed signals about whether a threat was considered direct and imminent.
The vote took place along largely partisan lines, with two exceptions. Rand Paul, the Republican from Kentucky, who tends to oppose international intervention, backed the measure. John Fetterman, the pro-Israel Democrat from Pennsylvania, voted no.
The House is expected to vote on a similar measure today. The House also has a slim Republican majority.
The votes come as multiple polls have shown that a majority of Americans, about 60%, oppose U.S. participation in the war.
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Erich Wolfgang Korngold’s Broadway opus debuts in the U.S. — nearly 80 years late
In 1954, the Oscar-winning composer Erich Wolfgang Korngold staged a European homecoming with a new operetta. How this came to pass — and how his planned comeback failed to materialize — is even more convoluted than the piece’s farcical plot.
Korngold, a wunderkind and Jewish refugee from Vienna, first came to Hollywood to adapt Felix Mendelssohn’s music for Max Reinhardt’s 1935 film of A Midsummer Night’s Dream. Until then Korngold, a piano prodigy who began writing music at age 7 and had his first hit with a ballet he wrote at 11, had mostly composed for concert halls and opera houses. His ensuing career in Hollywood transformed film music by treating motion pictures as if they were “operas without singing.”
Korngold’s work on the swashbuckler Captain Blood, The Adventures of Robin Hood and later King’s Row (whose fanfare John Williams lifted for Star Wars) created a template for symphonic scores. But by the late 1940s, chafing under the Hollywood system, he set to work writing an original operetta, The Silent Serenade, that he hoped would premiere on Broadway.
The show collapsed. It’s never had a full staging in the United States or even in English.
As chronicled by the Korngold Society, the composer went through a litany of librettists to refine this tale of a love triangle and its improbable political fallout. After passing through a number of hands in English, Korngold returned it to Raoul Auernheimer, Theodor Herzl’s nephew and the original writer of the story on which the operetta was based, to translate it back to German. Korngold disagreed with the excessive demands of the producers, the Schubert Brothers, and left the project, leading the Broadway impresarios to fruitlessly search for a new composer.
Korngold, who with Reinhardt had previous success on Broadway with arrangements of other composers’ work, decided to resume a career in Europe with the piece. After delays owing to his health — a 1947 heart attack — a German version debuted on radio in 1951 and was followed by a staging in Dortmund in 1954. It bombed.
“We’re not exactly sure who it was for,” said Cris Frisco, music director at the Mannes School of Music at the New School, who is conducting the U.S. debut of The Silent Serenade at Mannes Opera. “It seems like it was given to the wrong public.”
That Germans in the post-war weren’t attuned to the piece’s sensibilities speaks poignantly to Korngold’s journey, which began at the center of Austrian high culture, orbiting names like Mahler and Artur Schnabel. “We thought of ourselves as Viennese,”said Korngold, the son of a music critic father. “Hitler made us Jewish.”
His exile in Hollywood realigned his sonic universe. As much as he changed film music, it — and America — left an impression on him.
“It is obviously influenced by Hollywood. It’s obviously coming out of those ’30s and ’40s musicals,” said director Emma Griffin, Mannes Opera’s managing artistic director. “It is a piece that is living between film and theater and opera and musical theater and operetta. It’s so emblematic of Korngold’s life, of how many different pieces of the 20th century he influenced, and this particular show is a crazy quilt of all of those influences.”
The plot of the show is, in Griffin’s words “daffy,” focusing on a Neapolitan actress, her would-be dress designer lover and her fiancé, the prime minister. Singing shopgirls, a tabloid journalist and a media circus round out the cast who perform tuneful numbers imbued with an MGM je ne sais quoi, while remaining rooted in Korngold’s post-romantic, classical mode. While Korngold’s symphonic stylings beefed up adventure films, the orchestration here is sparer, hinting at the Broadway pit for which the piece was devised.
The Mannes staging is part of a resurgence of interest in Korngold in the classical world, following decades of dismissal for his contributions to Hollywood.
It’s ironic that Korngold, who died at the age of 60 in 1957, had in Silent Serenade a profound professional frustration, given how buoyant and frothy the work is.
“It’s heartbreaking to think that he did not fully perceive the massive impact of his artistry,” said Griffin. Though he lived through hard times, Griffin says, his music has been a balm for the performers.
“The students have talked about it several times,” Griffin said, “how happy they are to be working on something where the source is joy.”
Mannes Opera’s production of The Silent Serenade debuts March 13 and 14 with an on-demand recording to follow. Tickets and information can be found here.
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Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps
(JTA) — TEL AVIV — Smartphones have become as essential as shelters for Israelis riding out Iran’s missile attacks, with internet traffic up 25% since the war began on Saturday. From the screaming alerts of the military’s official app that, as one comedian put it, sound like a “baby dragon giving birth,” to bomb-shelter Tinder to multiple apps that tell you when it’s safe to shower, the startup nation is trying to digitize the panic into something more manageable.
At the serious end of the wartime app stack is Home Front Command, the Israeli army’s app available in Hebrew, Arabic, Russian and English. It uses GPS to figure out where you are and only pings you when your area is at risk, with separate alerts for rockets, missiles and terror incidents. In this war, Iran’s long-range fire has come with an extra layer of notice, a warning-before-the-warning that can buy people a few more minutes. The shorter-range threats from Hezbollah, which joined the fray on Tuesday, do not come with that same courtesy.
Bomb Shelter Locator turns shelter-seeking into a map exercise, listing around 20,000 official sites, offering offline city maps and walking routes, and estimating the time it will take to reach the nearest protected space.
For anyone who cannot sprint, Purple Vest tries to close the gap. People with disabilities or older residents can register in advance and request help during alerts, with volunteers using the app to locate them and assist with shelter access or urgent supplies.
For others, shelters are turning into accidental social spaces where people can meet-cute on a mattress. The Hooked app, originally built for speed-dating at events, now doubles as a bomb-shelter icebreaker. Shelter-goers post a QR code at the entrance, and singles who scan it can see who else in the same bunker has the same relationship status. US Ambassador Mike Huckabee — who has not been single since high school — shared it on X alongside the caption: “Someday they will tell their kids ‘we met on a dating app in a shelter while dodging ballastic [sic] missiles.’”
But for some, even showering has become its own risk calculation. Martine Berkowitz was one of many who vented after her attempts to scrub up were interrupted by missiles no less than five times on the second day of the war.
For software developer Ben Greenberg, a father of teenagers, Berkowitz’s complaint was familiar, so he built an app called Best Shower Time that spits out a percentage risk score on whether a shower is likely to be interrupted by an alert.
Posts about it spread on social media and what began as a tool for his family is now drawing about 5,000 visitors a day. Greenberg, a California native who immigrated to Israel from New York in 2018, insists it’s “not a joke app.”
“Sirens are just the ultimate example of lack of control in one’s life,” he said, describing the app as a way to “restore some level of control and predictability … in a time when that feels most vulnerable and most taken away from us.”
The app uses real-time alert data from the Home Front Command, and the score is based on four inputs: how long it has been since the last alert, the average gap between alerts over a six-hour window, whether the frequency is trending up or down, and the total alert count over the past 24 hours. Those are weighted into a single score that appears when you open the app.
Users can then set their own parameters, including how long a shower typically takes and how much buffer time they want afterward to dry off and reach shelter.
And for those who have a penchant for extended bathroom breaks, Greenberg added a separate option that relies on the same logic.
It’s not the only app homing on issues of basic cleanliness to emerge this week. Another app, Can I Shower Now?, has developed a following of its own.
Berkowitz said she was “grateful” for apps to help her navigate the question of whether to jump in the shower. After checking and seeing a 13% chance of a missile alert on Wednesday afternoon, she decided to risk it.
“I took a full 20-minute hot shower and washed my hair. It was lovely. And the next warning only came when I was finished and getting dressed,” she said.
Greenberg is piloting a new app, called Best Walking Time, based on the same principle and prompted by his wife, who regularly walks around the neighborhood during work calls but has been afraid to stray from home lest a missile head their way.
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