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These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
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The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
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Bombing Can Weaken Iranian Regime, but Only Popular Uprising Can Overthrow It, Dissidents Say
Members of the police stand guard on a street, with a large billboard featuring Iran’s late Supreme Leader Ayatollah Ali Khamenei in the background, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 12, 2026. Photo: REUTERS/Alaa Al-Marjani
A senior official from a Paris-based Iranian opposition group said on Thursday that the US-Israeli war on Iran would not topple the clerical leadership, arguing that only a popular uprising backed by internal resistance could do so.
Almost two weeks of bombing have killed around 2,000 people in Iran including supreme leader Ayatollah Ali Khamenei, and damaged much of its military and security apparatus.
Iran has responded in kind, throwing global energy markets and transport into chaos and spreading the conflict across the Middle East, while the Islamic Revolutionary Guard Corps has tightened its grip on power and threatened to crush any unrest.
“The 12-day war in June, and the current war, now in its 12th day, proved that bombings cannot overthrow the regime,” Mohammad Mohaddesin, head of foreign policy at the National Council of Resistance of Iran (NCRI), told a news conference.
“Even if you have 50,000 armed soldiers on the ground, you need the support of Iranian people. You need a popular uprising. The combination of this 50,000 or 20,000 or any other number with a popular uprising, then you have this power to overthrow the regime.”
Mohaddesin said he did not consider a deployment of US ground troops realistic.
The NCRI, also known by its Farsi name Mujahideen-e-Khalq, was listed as a terrorist organization by the United States until 2012.
It is banned in Iran, and it is unclear how much support it has there. However, along with its bitter rival, the monarchists backing Reza Pahlavi, exiled son of the toppled shah, it is one of the few opposition groups able to rally supporters.
Mohaddesin acknowledged that his group alone could not bring down the system. But he said mass protests, like those that raged in January until they were bloodily quashed, would resume once bombing stopped, and could eventually shift the balance.
“I cannot say how many months or a year, but … this is the track of overthrowing the regime,” he said.
Israeli officials have said that one of their objectives is to weaken the security apparatus so that Iran‘s people can take control of their own destiny.
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Trump Says It Is Not Appropriate for Iran to Be in Soccer World Cup
Soccer Football – World Cup – Asian Qualifiers – Group A – Iran v North Korea – Azadi Stadium, Tehran, Iran – June 10, 2025, Iran players line up before the match. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
US President Donald Trump said on Thursday the Iranian men’s national soccer team was welcome to participate in the 2026 World Cup but that he believed it was not appropriate that they be there “for their own life and safety.”
“The Iran National Soccer Team is welcome to The World Cup, but I really don’t believe it is appropriate that they be there, for their own life and safety,” Trump said in a post on Truth Social.
Iran‘s sports minister said on Wednesday that it was not possible for his nation’s athletes to participate after the US launched airstrikes alongside Israel against Tehran. The attacks triggered a region-wide conflict that has shown no signs of abating.
The 48-team World Cup will be held in the US, Canada, and Mexico from June 11 to July 19, with Iran scheduled for matches in Los Angeles and Seattle.
An official withdrawal by Iran from the showpiece event, which has not yet happened, would be a first in the modern era and would leave soccer‘s global governing body FIFA with the urgent task of finding a replacement team.
Iran was the only nation missing from a FIFA planning summit for World Cup participants held last week in Atlanta.
FIFA did not immediately respond to a request for comment. Late last year it awarded Trump — who has campaigned aggressively for the Nobel Peace Prize — its own inaugural peace prize.
Earlier this week, Australia granted humanitarian visas to five Iranian women soccer players after they sought asylum, fearing persecution on their return home for their refusal to sing the national anthem at an Asia Cup match.
Trump had urged Australia’s Prime Minister Anthony Albanese to grant asylum to members of the Iranian women’s team, saying the US would if Australia did not.
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The New ‘Tokyo Roses’: How Social Media Influencers Amplify Authoritarian Propaganda
People stand near a destroyed vehicle as smoke rises after a reported strike on Shahran fuel tanks, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 8, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
At 04:38 on the morning of March 11, 2026, the alert blasted onto my phone: “Red Alert – Tel Aviv.”
Like millions of Israelis during the current war with Iran, my family and I moved quickly into our mamad — the reinforced safe room built into Israeli homes constructed after 1993 — grateful for the air-defense systems intercepting incoming missiles overhead.
Fifteen minutes later, the sirens stopped. I climbed back into bed.
That has become the rhythm of daily life here. Restaurants reopened. Businesses operate. Children move between Zoom classes and the occasional dash to a shelter when sirens sound.
But if you relied solely on social media — particularly X or TikTok — you might believe Tel Aviv had already been reduced to rubble.
Videos circulate claiming the city is burning and the electric grid destroyed. Posts declare Israel is collapsing under missile fire. Influencers insist the truth is being “censored.”
The problem is that this supposed “evidence” turns out to be fabricated, misrepresented, or recycled footage — often not even from Israel.
In other words: propaganda.
The tactic itself is not new.
During World War II, Allied soldiers in the Pacific heard English-language propaganda broadcasts from personalities collectively known as “Tokyo Rose.” Their purpose was to undermine morale, spread disinformation, and convince American troops their cause was hopeless.
The technology has changed, but the tactic hasn’t.
Today, the propaganda battlefield is on social media, and the new “Tokyo Roses” are often Western influencers with enormous audiences.
Consider the viral claims that Iran’s missile attacks have “devastated” Israel.
Several widely shared posts attempted to support this narrative with dramatic footage supposedly showing Iranian strikes on Israeli cities.
Basic fact-checking revealed something else: AI-generated fabrications or recycled clips from earlier events.
Repackaging old footage to fabricate a new narrative is one of the oldest tricks in propaganda. What has changed is the speed. In the social media age, recycled footage and fabricated videos spread globally in minutes, while corrections rarely travel as far as the original lie.
A similar pattern appeared recently when Putin- and Houthi-supporting influencer Jackson Hinkle circulated a video claiming to show massive crowds in Iran mourning the assassination of Ayatollah Khamenei. Fact-checkers later identified the footage as coming from the 2020 funeral of Islamic Revolutionary Guard Corps commander Qasem Soleimani. By the time the clarification appeared, the misleading version had already spread widely across social media.
Other influencers have gone further by promoting narratives that closely mirror those pushed by authoritarian regimes.
Social media personality Myron Gaines recently argued that Iran “poses no real threat to the United States” and that the war should end because it is “Israel’s problem, not ours.”
But Iran’s regime has spent decades building precisely the opposite reality. Since the 1979 Islamic Revolution, Tehran has treated the United States as a principal enemy. Iranian leaders regularly chant “Death to America,” and Iran and its proxies have been responsible for the deaths of hundreds of American service members, including attacks in Beirut, Iraq, and Saudi Arabia.
Through the Islamic Revolutionary Guard Corps, Tehran has built a network of proxy militias across the Middle East — Hezbollah in Lebanon, Hamas in Gaza, Shiite militias in Iraq, and the Houthis in Yemen.
These groups have launched thousands of rockets, drones, and missiles against America and its allies while Iran continues expanding its ballistic-missile arsenal and advancing toward nuclear-weapons capability.
This buildup also fits into the broader ambitions of the China-Russia-Iran axis, which seeks to weaken American global influence.
To describe such a regime as posing “no real threat” requires ignoring one of the most documented security challenges in modern geopolitics.
Unless one believes that the world — and especially the United States — would be freer or safer with China, Russia, and Iran ascendant, the stakes should be obvious.
In other cases, the rhetoric moves from distortion into outright antisemitic conspiracy.
Social media personality Dan Bilzerian has posted messages accusing Western leaders and the Muslim governments cooperating with Israel of “selling out” their people. His posts frequently invoke conspiratorial claims about hidden Jewish forces nefariously controlling Western governments.
These narratives mirror themes long promoted by state-controlled media in Iran and Russia.
Whether intentional or not, the effect is the same: Western audiences are fed narratives that erode trust in democratic institutions while portraying authoritarian regimes as misunderstood and even noble victims.
In some cases, the messaging goes further still.
Recent posts from Candace Owens, widely shared across social media, have encouraged Americans not to serve in the US military and urged those currently serving to quit, while framing the conflict through very dark and conspiratorial accusations about hidden motives to serve supposedly prurient and venal Jewish interests.
Messages designed to discourage military service during wartime have long been tools of psychological warfare. In the 1940s such efforts were broadcast over enemy radio. Today they appear in US based social media feeds.
None of this occurs in a vacuum.
For years the Islamic Revolutionary Guard Corps has treated information warfare as a central element of its strategy. Iranian state media and proxy networks attempt to shape global narratives by portraying the Islamic Republic as a victim while depicting Israel and the United States as degenerate and corrupt aggressors.
These campaigns rely on familiar tactics: recycled footage, conspiracy narratives, and emotionally charged messaging designed to spread rapidly online. What makes the modern environment different is that these narratives no longer need to originate inside Iran to reach Western audiences. Influencers with large followings amplify them instantly.
The propaganda circulating online often revives and relies on something far older than modern geopolitics: classic antisemitic tropes.
Many viral posts go far beyond criticism of US or Israeli policy. They invoke conspiracies about Jewish control of governments, repeat blood-libel accusations, and frame global events as the result of a shrouded Jewish plot.
Versions of these accusations have circulated for centuries. What is striking today is how seamlessly these myths have merged with contemporary geopolitical propaganda.
Authoritarian regimes hostile to Israel have long understood that antisemitic narratives can serve as powerful mobilizing tools. Portraying Israel as the center of a global conspiracy transforms a regional conflict into an ideological crusade.
When influencers with large Western audiences repeat these themes, they normalize ideas that have historically fueled violence against Jews.
The modern “Tokyo Rose” no longer sits behind a microphone in an enemy capital. He or she posts on social media.
The voices spreading propaganda today are influencers with millions of Western followers — many living safely and prosperously inside the democratic societies whose resolve they undermine. Some claim they are offering contrarian commentary. Others are motivated by attention or the financial rewards of viral outrage.
But the effect is the same: narratives promoted by authoritarian regimes are amplified to vast audiences, often stripped of context, facts, or accountability.
Meanwhile here in Tel Aviv, life continues between missile alerts. Millions of Israelis move between normal routines and red-alert interruptions as air defenses intercept incoming missiles. But it bears little resemblance to the apocalyptic fantasies circulating online.
That contrast — between lived reality and digital narrative — reveals something important about modern information warfare.
Propaganda no longer requires governments to broadcast lies. It only requires enough people willing to repeat them — and in the age of social media, there are always volunteers.
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.