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Yeshiva education reform activist launching independent haredi news organization
(JTA) — Naftuli Moster, the founder and former executive director of Yaffed, the advocacy group focused on improving secular education in haredi Orthodox Jewish schools, is launching a news organization focused on what he sees as a news desert in the haredi world.
With a board that includes seasoned Jewish journalists, Shtetl: Haredi Free Press will launch online in 2023, and Moster said he is exploring a print option as well. Shtetl’s online announcement said it had seed funding for two years; Moster declined to comment on who the funders are but emphasized that the media organization would produce independent journalism.
“Every community needs a free press,” Moster told the Jewish Telegraphic Agency. “Members of this community, my community, deserve a free media as well. Shtetl’s existence is an exciting development in the Jewish and media spaces, and we are looking forward to making a big splash in early 2023.”
Moster, who grew up in a haredi Orthodox family in Borough Park, Brooklyn, stepped down from his position at Yaffed in September after a decade as its founder and leader. During that time, Yaffed got the attention of city and state education officials as the group filed multiple lawsuits meant to increase access to secular education in haredi yeshivas. In turn, he drew the ire of haredi Orthodox leaders, who resented an ostensible insider inviting scrutiny of their educational institutions.
The haredi communities of Brooklyn and New York’s exurban Rockland and Orange counties are currently served by successful print and online newspapers, in English and Yiddish, that tend to be protective of community interests, including the yeshivas.
Elad Nehorai, an ex-Hasidic writer and progressive activist, said these sites are more akin to community newsletters than journalistic enterprises, publishing local interest stories like death and wedding announcements, notices about community events and stories about construction of new synagogues or schools. National and world news coverage tends to focus on the haredi community in Israel and syndicated news copy about events outside of the religious world.
“The haredi world in general is not used to the kind of journalism that exists in the secular world,” Nehorai said. “In the secular world, investigating wrongdoing of leaders is a normal thing.”
For example, it was a secular newspaper — the Israeli daily Haaretz — that in 2021 reported on allegations surrounding Chaim Walder, a once-celebrated Israeli haredi children’s author, who was accused of having sexually assaulted more than 20 women, and several underage girls. Only after the allegations became a prominent topic of conversation in haredi communities did the press there begin to cover them — often with apparent sympathy to Walder.
“Very often if you look at the press there, it’s more about building community,” Nehorai said of the haredi world. By contrast, “If you open the New York Times it’s generally a lot of negative stories.”
Leaders of the haredi community were incensed when, in September, the New York Times published a major investigation that found that in New York’s Hasidic yeshivas, “generations of children have been systematically denied a basic education, trapping many of them in a cycle of joblessness and dependency.”Backlash from the Hasidic and other Orthodox communities began before the story was even published, with people claiming the New York Times and the Jewish reporters themselves were biased and even antisemitic in their reporting.
Moster envisions a role for Shtetl that will foster “important discussions that are crucial for the well-being of the Haredi community and beyond,” according to an online announcement. At the same time, “it will produce content that other outlets are unable, unequipped, or unwilling to provide to their readers, whether owing to the lack of resources, cultural competency, access to insiders or Yiddish language proficiency.”
The project is currently recruiting board members, full-time and freelance reporters, editors and marketing professionals. Its founding board includes journalists Larry Cohler-Esses of The Forward and Ari Goldman of Columbia Journalism School, neither of whom is haredi, as well as Adelle Goldenberg, a recent Harvard University graduate who grew up in the Hasidic neighborhood of Borough Park. Goldenberg was the winner of the 2021 Yaffed Changemaker Award for her assistance to haredi students who want to go to college outside of the yeshiva system.
Goldman, a former New York Times religion reporter who attends a Modern Orthodox synagogue, told JTA he became familiar with Moster’s work with Yaffed about five years ago. He said he was impressed by Moster’s efforts to get haredi young people a strong secular education and believed that haredi communities could benefit from improved journalism, as well.
“I want to be supportive of an effort that tries to shine more light on a community about which a lot is hidden and unknown,” Goldman said. “I’m also very interested in good journalism, which I think is a cornerstone of our society. And I want to see it put to the best of use in the haredi community.”
Critics of Shtetl, purporting to be from within the haredi and Orthodox world, have already voiced their opinions on social media, claiming that the new media endeavor has some sort of agenda to undermine their communities.
The backlash echoes the one that Moster has received for a decade already, when his education advocacy even earned him the label of “moser,” reflecting a dangerous accusation that he had inappropriately involved secular authorities in Jewish affairs.
“The people who are reacting negatively don’t see it as, ‘Oh they’re just writing negatively about us,’” Nehorai said. “They see it as traitorous. They see it as someone who’s turned on us. And what’s fascinating about that is that it doesn’t matter if you are haredi or you are ex-haredi, what occurs then is you are labeled as an outsider.”
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The post Yeshiva education reform activist launching independent haredi news organization appeared first on Jewish Telegraphic Agency.
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VIDEO: Memories of the Workmen’s Circle in Montreal
מער ווי הונדערט יאָר לאַנג האָט דער אַרבעטער־רינג געשפּילט אַ וויכטיקע ראָלע אין דעם ייִדישן לעבן פֿון מאָנטרעאָל. די אָרגאַניזאַציע איז געווען איינע פֿון די וויכטיקסטע וועלטלעכע ייִדישע כּוחות אין דער שטאָט און האָט אין משך פֿון לאַנגע יאָרן אַנטוויקלט אַ רײַך קולטור־ און געזעלשאַפֿטלעך לעבן.
אין דער רעקאָרדירונג וועט איר זיך באַקענען מיט שלום (סאָל) עדלשטיין, וואָס האָט אָנגעפֿירט דעם אַרבעטער־רינג אין מאָנטרעאָל אין אירע לעצטע יאָרן. מיטן שמועס פֿירט אָן אלי בענעדיקט פֿון דער ייִדיש־ליגע.
אין די ערשטע יאָרן פֿונעם 20סטן יאָרהונדערט זענען געווען אַ ריי אַרבעטער־רינג-„ברענטשעס“ איבער קאַנאַדע, וואָס האָבן געפֿירט אַ רײַכע קולטור־אַרבעט, אַרײַנגערעכנט שולן, טעאַטער־טרופּעס און כאָרן. במשך פֿון די יאָרן האָבן זיך די „ברענטשעס“ צו ביסלעך פֿאַרמאַכט, און די פֿאַרבליבענע אַקטיוויטעטן האָבן זיך צונויפֿגעקליבן אין איין הויז אין מאָנטרעאָל. אין דעם לעצטן יאָר האָט זיך אויך דאָס הויז פֿאַרמאַכט. אין דעם שמועס וועט שלום עדלשטיין דערציילן וועגן די „ברענטשעס“, וועגן דעם לעבן און די אויפֿטוען אין דעם הויז, און וועגן זײַנע אייגענע איבערלעבונגען דאָרט.
The post VIDEO: Memories of the Workmen’s Circle in Montreal appeared first on The Forward.
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Facebook suspends radio broadcaster’s account over video of Holocaust survivor
Facebook has abruptly banned a Jewish broadcasting executive in Minnesota after he posted a link to a video of a 104 year-old Holocaust survivor in Texas sharing his story, prompting the Minnesota Attorney General to intervene.
Joel Glaser, CEO of AMPERS, a group of community radio stations across Minnesota, received an email from Facebook last month informing him that his personal account had been suspended because it violated the platform’s “child sexual exploitation” policies.
Because Glaser also administers the account for an AMPERS radio series titled MN90: Minnesota History in 90 Seconds, Facebook also took down that account, which has more than 10,000 followers.
The video produced by an NBC affiliate in Dallas and shared by an ABC affiliate in the Twin Cities, featured a talk by Walter Levy, a survivor who fled Germany in the late 1930s and still tells his story about how his family survived Kristallnacht and struggled with whether to flee to then-British mandated Palestine or America. His family eventually joined relatives in Arkansas.
“How it got flagged as being child sexual exploitation is absolutely beyond me,” said Glaser, who unsuccessfully appealed.. “It did not give me the opportunity to explain anything, ask any questions, provide any screenshots, do anything at all.”
Facebook has said the case has been “flagged for the team” and is “looking into this.”
Glaser initially speculated that an antisemite, Holocaust-denier, or a bot operating on their behalf had flagged his post. But then he started leaning toward the notion that it was probably just artificial intelligence run amok.
“I guess Meta’s AI isn’t smart enough to differentiate between child sexual exploitation and a legitimate news story,” he said.
Because Glaser also oversees AMPERS’ news coverage, losing access to Facebook has made his job more difficult.
“I’m being hindered from doing that,” Glaser said. “They need to fix it.”
Experts say Glaser’s experience is not unusual, underscoring a need for significant work on content moderation systems, as well as transparent correction mechanisms. Without seeing Meta’s internal enforcement signals, it’s impossible to know why the system acted to suspend Glaser’s accounts.
On the morning of June 25 Glaser received an email from Facebook saying that his personal account was being suspended and he had 180 days to appeal. While the platform attributed the suspension to a violation of child sexual exploitation standards, it did not specify what content of Glaser’s had violated those standards. The video of Levy just happened to be his most recent post.
Glaser appealed right away, taking the required nine photographs of his face to prove it was him. Facebook denied the appeal that afternoon and permanently banned him with no opportunity for additional appeals.
Glaser contacted Minnesota’s Attorney General, a standard recourse for Facebook subscribers in a number of states who have
unfairly had their accounts suspended. Brian Evans, press secretary for Minnesota Attorney General Keith Ellison, told Glaser that the office has interceded with Meta previously regarding their “heavy-handed approach to account deactivation.”
The Attorney General’s Consumer Action team will work to get Glaser’s two accounts reactivated, he wrote.
“The Minnesota Attorney General’s Office has received numerous complaints from consumers about moderation decisions that appear to have been made in error by Facebook,” Evans said.
Minnesota State Rep. Ginny Klevorn, a Democrat who represents the suburbs northwest of Minneapolis, has also asked that the state party’s liaison to Meta look into the matter, noting that AMPERS is partially funded by the state of Minnesota.
“Why is a public service network that deals with factual historic events being banned?” she said. “I think they owe Joel some sort of explanation.”
The post Facebook suspends radio broadcaster’s account over video of Holocaust survivor appeared first on The Forward.
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Artists are boycotting a show about Israel. The run’s already sold out
In the third act of Jonathan Spector’s Birthright, the character Izzy delivers the closest thing the play has to a thesis.
“I can go up on the bimah at my parents’ shul and I can say I am married to a woman, I can say I don’t keep kosher, I can say I don’t believe in God,” the character, a former J Street employee played by Molly Bernard, says. “The one thing that would get me kicked off the bimah, kicked out of the shul, kicked out of my family is if I say I am an anti-Zionist.”
There is an unspoken flipside to this equation: Just as Jewish communal life has instituted litmus tests, the pro-Palestine movement also has its dogma.
Jewish organizations once accepted all comers — gay, bacon-eating, atheist — Spector told me in an interview the day the show, tracking six members of a Birthright group over 18 years, opened at MCC Theatre. Recently, though, when it comes to the Jewish state, “there’s been a similar kind of shift away from tolerance from people on both sides of that divide.”
As if one needed more proof of Spector’s assertion, the group Theater Workers for a Ceasefire announced on Tuesday a call to boycott the production for “normalization,” even though the show is, at press time, sold out.
In an open letter, the organization outlines its concerns. “Normalization includes any plays, festivals, and other kinds of cultural activities that are based on the false premise of symmetry between oppressors and oppressed or which assume colonizers and colonized are equally responsible for the ‘Israel/Palestine conflict.’”
Birthright, they argue, meets this definition in its third act, when Izzy and Chaya (Zoë Winters), a former Obama staffer, debate the Gaza War in the aftermath of Oct. 7. “Chaya and Izzy perpetuate the fallacy that genocide has two equally legitimate sides,” the Theater Workers wrote. “The play does not challenge Chaya’s beliefs — it privileges them.”
But does it? We learn Chaya resigns from her job at the domestic nonprofit she founded over a pressure campaign by her staffers, who share an offensive text she sent via Instagram. The text: “Maybe they should spend a week in Gaza, and then come back and tell us if the rapes are real or not.”
In an Instagram carousel, Artists For Ceasefire describes this as “a text accusing Palestinians of being rapists.” This is a distortion, but reveals a familiar taboo in certain pro-Palestinian activism: the acknowledgment that Hamas and Palestinian Islamic Jihad committed sexual violence.
“Birthright emphasizes Chaya’s victimhood, whereby her own personal and professional losses in the wake of October 7th are greater than that of any Palestinian,” the letter continues. “Izzy is depicted as immoral for caring more about Palestinian strangers than her friend.”
This smacks of a bad faith reading. Once again we are in the realm of depiction not equalling endorsement. Cherries are being picked. That the play doesn’t “challenge” every argument, or “encourag[es] audiences to empathize with” an Israeli character’s “subjectivity” is seen as morally deleterious, rather than what it is: a play, with characters, not a debate, op-ed or struggle session.
As Spector told me, “plays contain ideas, but plays are about people.”
We needn’t wonder what Theater Workers for a Ceasefire would recommend as counter-programming: on Instagram they argued for an example in Seven Jewish Children by Caryl Churchill, a non-Jewish playwright. That play is more polemic than drama and runs on an engine of Holocaust inversion, which makes sense when you look at their Instagram post.
“Conventional drama demands we present contrasting viewpoints in the name of conflict,” the group concedes, “But how we write the conflict is not an ideological [sic] benign matter.”
The overriding interest is not art, but ideology. Not the mirror up to life, but of the funhouse variety that warps reality to an endless, echo chamber tunnel.
Eli Gelb, an actor in the show, acknowledged the boycott in an Instagram story, wrote “I’ve been outspoken as an antizionist Jew and I remain so. I believe in the show and will be continuing to perform in the production.” Molly Bernard’s Instagram stories Wednesday are of devastation in Gaza.
The letter makes clear “this would not be a boycott of MCC, nor of Jonathan Spector, but of this specific cultural product.” How can you boycott a run that, at press time, has no seats left to buy? Yield your tickets while ye may, someone will gladly snap them up.
In the play, a character, whose identity I won’t reveal due to spoilers, discusses an episode recounted in the Talmud, where a Super Bowl-sized crowd witnesses one priest stab another for the privilege of cleaning up ashes from a ritual sacrifice.
Rabbi Tzadok says all present were responsible for creating the conditions for the attack. But then the father of the stabbed priest retrieves the knife from his son’s back, and tells the crowd that, as he is not yet dead, the knife is still ritually pure. The onlookers cheer.
In the show, the story is cryptic, but speaks to Israel, where the ideal of the state has given way — perhaps irreversibly — to a culture of violence.
“This is how far they had fallen in this period,” the character says, “how far they had strayed, that they valued the laws of ritual purity over human life.” It’s an argument that would seem to align with Artists for Ceasefire, for whom the suffering in Gaza supersedes any gestures at complexity.
In their demands for a purity test, they may have missed it.
The post Artists are boycotting a show about Israel. The run’s already sold out appeared first on The Forward.
