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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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In ‘Fatherland,’ Thomas Mann finds a Germany divided
Speaking at the Library of Congress, just before the end of World War II, Thomas Mann insisted “that there are not two Germanies, a bad and a good one, but only one whose best qualities were perverted by devilish cunning into evil.”
Two years later, in 1947, he would publish Doctor Faustus, a meditation on his homeland’s slide into fascism in the idiom of Germanic legend. Two years after that, accepting the prize named for Goethe, the Faust legend’s greatest chronicler, he would return to Germany, which, by then, had split in two.
Paweł Pawlikowski’s Fatherland, is about the 1949 trip Mann took with his daughter Erika from American-administered Frankfurt to East German Weimar, then in the grips of Soviet control. They glide through bombed-out streetscapes in a black, all-American Buick. During the tour, dignitaries try to win Mann over to one of two ideologies vying to replace the fascist model: that of the free market, or that of Communism.
By the time the film takes place, Mann was an American citizen who had lived outside of Germany for over a decade. He railed against the Nazis and appealed to the conscience of his countrymen in radio broadcasts from exile in California. He had married into a Jewish family, and his anti-Nazi credentials were beyond reproach. But at a press conference in Frankfurt, when an AP reporter asks “where is home,” he responds in English with a German word that English can only approximate.
“I am an American citizen,” Mann, played by Hanns Zischler, answers. “I am also a German writer. Where my heimat is, where I belong, is a much more difficult question.”
His country no longer exists.
Pawlikowski, a Polish director whose silken, black-and-white films excel in painting the surreality of the Iron Curtain, plucked this compelling episode from Colm Tóibín novel of Mann’s life, The Magician. Zeroing in on the 1949 tour, he’s crafted an intimate story of a father and daughter navigating a new political order where one’s allegiance, as summed up by Mann’s son Klaus, is either to “Stalin or Mickey Mouse.”
When Klaus (August Diehl) dies by suicide while Erika and Mann are in the middle of the excursion, and Mann insists on sticking to the itinerary, the Great Man’s faults are blown open: He believes his lecture tour, and the power of words, can improve conditions for a nation, but he had long ago declared his son a lost cause.
Zischler’s performance is at once understated and monumental. His response to Richard Wagner’s glad-handing grandchildren, who want him to put in a good word for reviving his festival in Bayreuth, is a punchy quotable: “The opera should be razed to the ground and your mother should be put on trial.” His mystified look when a Soviet colonel asks him to discuss “Mephistophelian dialectics,” is better than any bon mot.
Hüller is dependably excellent, glowering at the supposedly de-Nazified guests at a banquet and musing to a former war correspondent comrade about “what they were up four years ago.”
Mann’s controversial visit to Weimar is marked by a perfunctory pilgrimage to Goethe’s final home for a photo op. Among the effects are Goethe’s death mask, a blunt-force metaphor following Mann’s speeches, to East and West Germans, extolling how the great poet “rejected the German Romantic death cult.”
When Goethe’s dead, can the winner of his eponymous prize make the rejection last?
History has a verdict. While Mann rejects his own Faustian bargains — the invitation to put in a good word for Wagner or take a job as president of the Arts Academy in East Germany — his fate is teased when Erika sees a catalogue of “Fifth Columnists,” which has his headshot near Einstein and Arthur Miller.
Mann was a victim of McCarthyism, and left his adopted country in 1952 to settle — and die — in the neutral environs of Switzerland.
The film has enough restraint to spare us this epilogue. It ends with a father, a daughter and a sublime expression of grief and untainted German art. (Fitting for Pawlikowski, whose films so often center music, it is a Bach composition that delivers the final beat.)
Mann never did make his homecoming permanent, but on this score, he had a properly self-aggrandizing, if apt credo: “Where I am, there is Germany.”
The post In ‘Fatherland,’ Thomas Mann finds a Germany divided appeared first on The Forward.
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This deli serves ham and calls itself Jewish. New Jersey says it’s not kosher.
The Kibitz Room in Cherry Hill, New Jersey, just outside of Philadelphia, serves shrimp salad. It also has a ham sandwich, and its doors are open on Saturdays.
So the people who run it were surprised this month when a state investigator walked in carrying a notice saying a deli with a “Jewish cheesesteak” on the menu needs to tell customers, in writing, that it isn’t kosher.
The backstory and fallout involve a brisket-boosting talk radio host, a rock-and-roll dive bar in Los Angeles, a historian known as Dr. Pastrami, a famous rye bread ad, and a question Jewish diners have been fighting over for the better part of a century: Can a deli be Jewish if it isn’t kosher?
Here’s the beef. The New Jersey Division of Consumer Affairs, which, yes, has a kosher fraud enforcement unit, sent an investigator to the Kibitz Room with a simple message. If you call yourself a Jewish deli, state consumer-fraud rules say you also have to post a sign, or otherwise let customers know, that your food isn’t under kosher supervision. The state isn’t accusing the deli of passing itself off as kosher, and it isn’t banning the word “Jewish.” It just wants a disclaimer next to it.
Neil Parish, 62, who runs the Kibitz Room with his son, Brandon, wasn’t having it. He told the investigator, “You’re not going to come in here and dictate to me the verbiage that I’m going to put on my menu,” he said in an interview with the Forward.
Parish grew up working in delis, first as a dishwasher at 14, and then he was slicing meat by 16. Apart from a six-year stretch in a job with health insurance (“I wasn’t cut out for that,” he says), he’s been in delis ever since.
Which is why the notice struck him as absurd. In Parish’s telling, no observant customer has ever mistaken the Kibitz Room for a kosher deli.
The state is proposing a $1,000 penalty and wants a sign that’s visible to customers saying the deli isn’t kosher. For Parish, it’s the principle, and what he calls government overreach. He says he told the investigator, “I’ll see you in court. I hope the Supreme Court,” adding that “we’re taking this thing to the end. Period. I’m not stopping.”
The fraud squad
New Jersey’s kosher unit spends most of its time on businesses that say they’re kosher.
The biggest cases involve packaging. In 2014, ShopRite’s supplier cooperative agreed to pay a $35,000 penalty for putting a kosher symbol on private-label coffee bags without the certifying agency’s approval. The state leaves the definition of kosher to rabbis. Its job is to check that sellers are telling the truth.
Delis that call themselves Jewish without claiming to be kosher are a smaller slice of the caseload, but not an unheard-of one.
The spark seems to have been lit on Sept. 14, when NJ.com published “New Jersey’s 15 best Jewish delis, ranked for 2026.” The Kibitz Room came in eighth.
Shortly after, the state investigator walked into Radin’s Delicatessen, a mile down the road and ranked No. 7, to see whether it was passing itself off as kosher.
Radin’s owner is Russ Cowan, a fourth-generation deli man, and the original owner of the Cherry Hill Kibitz Room, which he opened in 2001. He was happy to schmooze with the inspector. “Jewish does not mean kosher, and kosher style does not mean kosher,” he said in an interview with the Forward. “But for me personally, I avoid saying either because I don’t want to confuse a customer that might think we are kosher.” His shop sells bacon, ham and cheeseburgers.
When people ask what line of work he’s in, he replies, “the corned beef and pastrami business.” He had replicas made of the neon signs from his family’s old Brooklyn delis, and he says he took the word “kosher” off them.
Rabbi Chaim Dovid Zwiebel, executive vice president of the Orthodox advocacy group Agudath Israel of America, has been watching these fights for more than 20 years. His group supported New York’s kosher fraud law back when it was battling for survival in court. He argues kosher claims should be policed like any other: “From a perspective of consumer fraud,” he said, “the fact that we happen to be speaking about religious items shouldn’t make a difference.”
He isn’t bothered by what New Jersey is asking of the Kibitz Room. “The least you can do is put the disclaimer,” he said, referring to a sign saying the deli isn’t under kosher supervision, posted where customers can see it.
But he sees another problem. The word “Jewish,” Zwiebel says, “kind of implies there are certain foods which are reserved exclusively for Jews.” The current controversy reminds him of an iconic ad campaign, he says.
Starting in 1961, subway posters around New York showed an Italian grandmother, a Black child, an Asian kid and a Native American man, each enjoying a sandwich on Levy’s Real Jewish Rye, with the tagline: “You don’t have to be Jewish to love Levy’s.” The Brooklyn bakery had been losing customers as Jewish families moved to the suburbs. The campaign made Levy’s the top-selling rye in the city.
But Zwiebel takes umbrage with the larger concept. “Forget about the misleading nature that a phrase of ‘kosher style’ might be,” he says. “Jewish style is not so much misleading; it’s just deeply offensive.”
Offensive to whom, and why, depends on who you ask. And whether a deli can call itself Jewish without being kosher has been a fight for a long time.
‘A secular synagogue’
Ask people who’ve spent their careers thinking about Jewish delis what they make of the New Jersey news, and the first response is surprise.
To Jeffrey Yoskowitz — host of the podcast Meet Me at the Deli and co-founder of Gefilteria, which reimagines Eastern European Jewish cooking — the notice “clearly comes from a place of ignorance or not understanding.”
To understand the fight, start with how the Jewish deli began. In the 1880s, a wave of Jewish immigrants from Eastern Europe began arriving on the Lower East Side. They borrowed the format of the German delicatessen to sell the foods they’d left behind. Pastrami came from Romanian Jews. But hot pastrami on rye, says Yoskowitz, “is an entirely American innovation.”
Then the deli became a place to sit. Yoskowitz says it turned into what’s sometimes called a “secular synagogue,” where immigrants could feel Jewish, speak Yiddish and become American at the same time.
Kosher was part of the story, never all of it. In 1915, New York amended its false-labeling law to punish fraud in the sale of kosher meat, but that didn’t solve the problem. According to “I’ll Have What She’s Having,” a traveling deli exhibit, an estimated 40 percent of the meat sold as kosher in New York in 1925 wasn’t. Meanwhile, delis multiplied. By the early 1930s, the city had roughly 5,000 of them.
Lara Rabinovitch, who was a co-curator of the exhibit, isn’t sure the question can be answered. To really answer it, she says, “you have to get to the question of what is a deli, what is Jewish? What do those two words even mean?”
Rabinovitch has a PhD in Jewish food history from New York University. Back in grad school, her husband got tired of her long academic answers about her work and told her to “just say you have a PhD in pastrami.” The nickname stuck. She’s now Dr. Pastrami, and has a Substack newsletter.
The only part of the story that really troubles Rabinovitch is “whether the deli pays explicit homage to its namesake, the original Kibitz Room attached to Canter’s Deli” in Los Angeles. Missing that, she said, “would be a shanda.”
That Kibitz Room is a legend. It opened in 1961 as a cocktail lounge next to the dining room at Canter’s Deli. It has a full bar and a small stage, with live music or comedy most nights that often turns into a jam session by midnight. Everyone from Joni Mitchell to members of Guns N’ Roses and the Red Hot Chili Peppers has passed through. (Cowan, who founded the Cherry Hill Kibitz Room, says he was inspired by the Kibitz Rooms at Canter’s and at Attman’s in Baltimore.)
David Sax, author of Save the Deli, has been in the middle of this argument for years. He heard it constantly after his book came out, he says: deeply kosher people insisting a deli can only be Jewish if it’s kosher, and everyone else saying it’s Jewish if it serves kosher-style food.
“The same fight, the same battle, has been going on for the better part of a century,” he says. Can a deli be Jewish without being kosher? “Yeah, 100 percent.” Ban the non-kosher ones, he says, and you lose Katz’s, Carnegie, Canter’s and Langer’s, “almost every single famous and well-known Jewish deli” in the U.S.
“Does it make it less Jewish? Sure, if that’s your definition of Jewish,” Sax says. “But how do you define Jew? Who is a Jew?”
Brisket boosterism
By the second week of October, the notice to the Kibitz Room had found its way onto New Jersey 101.5, the statewide talk radio station, where host Bill Spadea spent most of his show pontificating about it.
Spadea grew up in Cherry Hill. Friday nights meant pizza from a shopping center in the Woodcrest neighborhood, next to a Jewish deli where his dad ordered the chicken livers and chopped egg. He admitted on the air that he had never been to the Kibitz Room. He wanted his listeners to go anyway. “Get them sold out today,” he said. Then, in case that was too vague, he added: Buy the brisket.
His theory of the case was that nobody was fooled. “No consumer was harmed in the creation of a kosher-style Kibitz menu item,” he argued. No observant diner, he figured, would see pastrami with Swiss and think they were in a kosher kitchen. A listener texted in that Little Caesars isn’t Italian food, it’s Italian-style.
Parish agreed with that logic. “When I go into an Italian restaurant, it doesn’t say ‘not authentic Italian American,’” he says.
What really got to him was the adjective. “You want a Jew to change his menu to not use the word Jewish,” Parish says. (The state isn’t asking the Kibitz Room to drop the word. It wants a disclaimer next to it.)
Parish says he is not planning to pay the penalty and that “a very powerful Washington D.C. law firm” will represent him at a hearing scheduled in the coming weeks.
To Parish, the notice didn’t arrive in a vacuum. He says it landed at a moment when Jews feel under threat, around the world but “especially in this country and in my community.” He says he has customers in Cherry Hill who have taken the mezuzahs off their doors “because they’re scared.” His daughter and son-in-law live on the Upper East Side, and the stories he hears from them about rising antisemitism in New York City are worse, he says.
So when the state investigator — who is Jewish — showed up to talk about his menu, Parish says he lost his temper. Echoing a quote from Israeli Prime Minister Menachem Begin, Parish says, “I’m not the trembling Jew. I’m not going to take this anymore.”
Which may explain the Kibitz Room’s Instagram bio, which now reads: “Not kosher. Still Jewish.”
The post This deli serves ham and calls itself Jewish. New Jersey says it’s not kosher. appeared first on The Forward.
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AIPAC to halt direct campaign contributions and candidate endorsements
(JTA) — The American Israel Political Affairs Committee has announced that it will no longer make direct campaign contributions or endorse candidates, instead focusing on mobilizing individual donors.
The pro-Israel lobby disclosed the change in a letter to its members on Wednesday, as first reported by Jewish Insider. The letter stated that the lobby would still operate its super PAC, the United Democracy Project, which was launched alongside AIPAC’s PAC in 2021, ahead of the 2022 midterms.
The strategy shift occurred in an increasingly tense environment in which AIPAC has become a boogeyman among many progressive politicians – particularly among members of the Democratic Socialists of America in their Democratic congressional campaigns.
“We will prioritize increasing direct, organized contributions from individual Americans to candidates – expanding upon our current efforts – and maximizing the emerging political fundraising tools,” the AIPAC letter stated.
“Endorsements, direct PAC contributions, and earmarking will no longer be part of our approach so we can expand individual giving and utilize new tools to help our friends win,” the lobby added.
The letter detailed the lobby’s accomplishments in this political cycle, saying it helped 290 pro-Israel candidates secure election wins nationwide and prevented 29 “detractors” from winning.
Looking ahead, the letter noted that “the 2028 cycle will demand an even stronger commitment by our activists to pro-Israel politics.” As a result, the lobby said it would be important to adopt new fundraising strategies and ensure that individual member contributions are being used as effectively as possible.
“Our mission and strategy remain the same,” AIPAC spokesperson Deryn Sousa told the Jewish Telegraphic Agency in a statement.
“Our goal is to build support for the U.S.-Israel relationship,” Sousa added. “AIPAC members gave more than $90 million directly to candidates this cycle, and that organized, direct giving from our members will continue and increase.”
This article originally appeared on JTA.org.
The post AIPAC to halt direct campaign contributions and candidate endorsements appeared first on The Forward.
