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A manufactured ‘mainstream’ wants the White House to define antisemitism on its own flawed terms
(JTA) — As the Biden administration nears the long-awaited announcement of its National Strategy to Counter Antisemitism, tensions have emerged over what definition of antisemitism the White House will use. According to Jewish Insider, “major mainstream Jewish groups” are battling against the “left” to define antisemitism, suggesting that the groups’ preferred definition, that of the International Holocaust Remembrance Alliance, is the mainstream one.
The framing determines a winner before the contest even begins — this is the power play of the term “mainstream.”
Here’s how it works: A purportedly neutral source — Jewish Insider, say, or the Associated Press — names a set of players as the “mainstream.” Without any discussion of method or sources, the characterization produces reality. The self-fulfilling designation allows a select group of organizations to command the center. These groups and their spokespeople then use their “mainstream” power to naturalize and normalize their own agenda, like defining the IHRA definition as the “gold standard” despite concerns that it chills legitimate criticism of Israel, or condemning “progressive” voices for their refusal to conflate anti-Zionism and antisemitism, or chastising Rep. Rashida Tlaib for commemorating the Nakba, the “catastrophe” that befell her people with the creation of Israel.
Game on.
The strategy of claiming the center to control it is nothing new. In the annals of American Jewish institutional formation, it’s happened again and again. Just witness the names of organizations: the Union of American Hebrew Congregations, the Central Conference of American Rabbis, the American Jewish Committee, the Zionist Organization of America, and the list could go on and on. One after the other, these groups have claimed to be the center, the “mainstream.”
RELATED: The IHRA definition of anti-Semitism and why people are fighting over it, explained (2021)
As a historian who has written about many of these groups, I can tell you that every claim to be the united front, the central address, the singular American Jewish organization has rested on the surety that most American Jews believed no such thing. Indeed, words that posture such a “mainstream” are best read as indicators of dissent, debate and fracture.
When it comes to confronting antisemitism, some of today’s Jewish leaders might imagine that American Jews can achieve unity that has long eluded them or Jewish institutional life. They might be so certain of this vision as to pretend that it is true, with fundraising and media blitzes that appear to speak on behalf of all Jews. Slick advertising campaigns, whether on television and social media or highway billboards, and a hotly contested and poorly constructed yet exclusive definition of antisemitism may make it seem that the Jewish “mainstream” speaks as one, loudly for all Jews and all people who care about fighting antisemitism.
But don’t let the powerplay bulldoze you. Those television and social media blitzes? They are the product of one megadonor’s imagination and thick wallet. The pink highway signs that deliver glib “lessons” against antisemitism in the form of snark? They are brought to you by the same high-net-worth family that advertised its storage company with similarly cheeky taglines. And even the creation of and campaigns to endorse the IHRA definition have specific histories and funding sources.
None of this is to say that those efforts should be dismissed because they have histories and are tied to narrow but deep pockets of wealth. The problem comes when those histories and sources of power go unacknowledged and instead parade themselves as the “mainstream,” the authentic truth of what all Jews must believe.
RELATED: The White House intends to fight antisemitism. That starts with a sensible definition. (Opinion)
In the power plays to claim the Jewish “mainstream,” institutions and their leaders are trying to silence those who disagree with their policies and politics. The term “mainstream” acts as a cudgel against efforts to build solidarity between Palestinians and Israelis who oppose the actions of the Israeli government. Its purveyors vocally and consistently defend harsh anti-boycott laws, on the books in several American states, that penalize institutions or individuals for engaging in or promoting boycotts against Israel. Or they helicopter onto American college campuses to pressure university administrators to subscribe to the IHRA definition of antisemitism.
Instead of arriving at the field ready to play an honest game, “mainstream” Jewish institutions and their leaders want to be the only players. To argue that we must all agree on one definition in order to talk about antisemitism is like clearing the field before the game even begins.
Because this is more than a game — because hatred and bigotry fuel violent crimes at an alarming rate in the United States — Jewish and non-Jewish people who have a stake in the conversation about antisemitism should refuse to play. Publications that insist on anointing a “mainstream” ought to be called out. And the press, instead, should investigate the role that some of its agents play in advancing the power play of the “mainstream” — including, for example, Jewish Insider, which is less than transparent about its own history and sources of funding.
As a participant in one of the “listening sessions” convened by the White House in February of this year, I can report that the scholars who joined me around the table (OK, Zoom screen) had a wide range of perspectives. When asked to share our views on antisemitism, none of us got to call ourselves the “mainstream” expert on the questions. Instead, we identified the methods, sources and theories that authorized our understandings of the roots and manifestations of antisemitism.
I can only hope that the other listening sessions and the White House process has proceeded accordingly, with little reverence for the self-appointed Jewish “mainstream.” A resolve to understand the diversity of views and what led people or groups to them will upset any single view — or definition. A successful strategy will not be cowed by the “mainstream” but instead will highlight the varieties of truly and authentically held ideas that together can animate efforts to stem the tide of antisemitism and bigotry.
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BBC Issues Correction After Claiming ‘There Have Been Other Holocausts’ in Response to Complaint
The BBC logo is seen at the entrance at Broadcasting House, the BBC headquarters in central London. Photo by Vuk Valcic / SOPA Images/Sipa USA via Reuters Connect
The British Broadcasting Corporation (BBC) has been accused of “trying to downplay or deny the horror of the Holocaust” after the broadcaster claimed “there have been other holocausts [sic]” when responding to a complaint by a reader about an online article.
The BBC posted on its website an article about King Charles III and Queen Camilla meeting with survivors of Nazi persecution to mark International Holocaust Remembrance Day on Jan. 27. According to Jewish News, the article originally stated that Bergen-Belsen concentration camp survivor Mala Tribich “became the first holocaust [sic] survivor to address the cabinet,” and she asked ministers: “How, 81 years after the holocaust [sic], can these people once again be targeted in this way?”
A reader wrote a complaint about the article using a lowercase “h” in the word “Holocaust” and received a response via email in which the BBC rejected the request to make the change but did not explain why. The reader was also told in the email, “Historically there have been other examples of holocausts [sic] elsewhere,” according to Jewish News. The email was reportedly written by an experienced BBC broadcast journalist.
The BBC has since edited the article to feature an uppercase “H” in the word “Holocaust” and added a note to the online article. “Several references to ‘Holocaust,’ which had been initially spelled in this article with a lower case ‘h,’ have been changed to take an upper case ‘H,’ in accordance with the BBC News style guide,” the BBC wrote. A BBC spokesperson further told Jewish News the email to the reader had been “sent in error.”
“All references to the Holocaust in this article should have been capitalized and we have now updated it accordingly and added a note of correction. We will be writing again to the original correspondent,” the spokesperson noted.
The Campaign Against Antisemitism (CAA) was outraged by the BBC’s error, and said the incident is another example “of an institutionalized dismissal or even hatred of Jews that permeates the BBC’s increasingly agenda-driven reporting.”
“Why is the BBC effectively joining far-right, far-left, and Islamist propagandists and conspiracists in trying to downplay or deny the horror of the Holocaust?” CAA posted on X. “The BBC is peddling softcore Holocaust denial by trivializing the name of this horrific crime.”
“It is difficult to know where the monumental ignorance of the BBC news and complaints divisions ends and their willful revision of history begins,” the organization added. “The Nazi slaughter of the Jews was so extensive that the word genocide had to be invented to describe it. While that word has since been applied to other attempts to wipe out whole peoples, the older word ‘holocaust’ was newly adapted to this event, with which it is uniquely associated.”
The BBC just recently issued an apology after it failed to mention Jews during some of its coverage of International Holocaust Remembrance Day.
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‘You Really Saved Me’: Pianist, Former Hamas Hostage Dedicates Performance to Fellow Survivor Eli Sharabi
Former hostage Alon Ohel reacts as he is welcomed home, after he was discharged from the hospital following his release from captivity in Gaza, where he was held after being kidnapped during the deadly Oct. 7, 2023, attack by Hamas, in Lavon, Israel, Oct. 24, 2025. Photo: REUTERS/Shir Torem
A musician and former Hamas hostage returned to the stage on Monday night in Israel for a performance and dedicated a song to fellow survivor Eli Sharabi, who was his companion in captivity.
Israeli-Serbian pianist Alon Ohel survived 738 days in captivity in the Gaza Strip after being kidnapped when he tried to flee the Nova Music Festival in southern Israel on Oct. 7, 2023. He was released more than two years later, on Oct. 13, 2025, along with the last remaining 20 living hostages. Ohel was held for some time in Hamas’s tunnels alongside Sharabi, who was abducted from Kibbutz Be’eri on Oct. 7, 2023, and released last February.
Several Israeli artists performed on Monday evening as part of a concert for Ohel at Hangar 11 in Tel Aviv.
At one point during the event, Ohel went on stage and did a solo performance of “Yesh Li Sikui” (“I Have a Chance”) by singer-songwriter Eviatar Banai. Ohel dedicated the song to Sharabi, who was standing in the audience.
“In a way, you really saved me with your approach to life,” Ohel said to Sharabi from on stage.
The pianist then shared memories of sitting with Sharabi in the terror tunnels. “We had backgammon or some card game. We played and laughed a bit, and joked around, and I remember you mentioned my mother’s name, Idit, and in that moment I fell apart,” he said. “I couldn’t handle it. The longing broke me in an instant. I went aside and cried. I just cried and broke down. A longing that never ends.”
“After you let me fall apart, I remember you came over to me,” Ohel added, still addressing Sharabi. “You told me: ‘Alon, you have to pull yourself together. You have to disconnect. This can’t work like this. You broke down, now that is it, you pick yourself up. You’re a big kid and we have one goal: to return to our families no matter what. It’s okay to break down, but we must never lose hope.’”
Ohel then recalled how after a year and a half of being together in the terror tunnels, during which time the two men were chained to each other, Sharabi was taken away and Ohel was held in captivity alone.
Sharabi’s words helped him get through those lonely days, Ohel admitted. He told Sharabi on Monday night: “I continued with the mantras you taught me, the ones you kept drilling into my head: ‘Be mentally strong and optimistic,’ and I added being calm in soul. This is my opportunity to say thank you.”
Monday night’s concert featured many artists, including Idan Amedi, Shlomi Shaban, Alon Eder, Gal Toren, Guy Levy, and Guy Mazig. All proceeds went toward a rehabilitation fund for Ohel.
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Why Bad Bunny’s halftime show delighted New York Jews of a certain age
Since last month, a TikTok has been floating around, showing arthritic Latino grandmas and grandpas hearing Bad Bunny for the first time, courtesy their bemused grandchildren. On the reel, he samples “Un Verano en Nueva York,” a 50-year-old salsa song about New York City — or “Nueva Yol,” as Bad Bunny calls his update in his echt Puerto Rican accent. He sang “Nueva Yol” at the Super Bowl halftime show. The original dates from the 1970s, when the old folks were young and lithe and out on the town. On TikTok, when they listen to the new version, they perk up, and then they dance, as the kids look on, bemused and delighted.
I imagine that something similar happened to countless aging Jewish salsa music freaks like myself when they saw the halftime show. I’m 75 now, and I got up and danced, remembering those years during Jimmy Carter’s presidency when I donned high heels and tight skirts to dance away my Saturdays nights at venues like Casino 14 — catorce, it was pronounced — on 14th Street right by Union Square. I’d had a Jewish boyfriend whose mom, a Bell telephone operator, had danced mambo in the 1950s and taught her son the moves. He taught me the cha-cha and rhumba; other friends my age, many of them Jews, loved the music too and knew the steps and clubbed along with me. All this seemed no more remarkable to us than knowing how to say the prayer over the bread on Friday nights.
The Jewish love affair with Latin music began back in the 1950s and, since then, Jews have played it as musicians, produced it as record company owners, and DJed it in clubs and on the radio. Scholars have tried to explain the affinity, and why it has been such a comfortable fit for both ethnic groups. Some speculate that the music of both cultures tends to minor scales. Others point out that, as Jewish neighborhoods such as East Harlem were transitioning in the 1950s to Puerto Rican enclaves, the two groups lived side by side. (Working-class Jews even shared factory spaces with Puerto Rican laborers, especially in the garment industry.)
And there was the Borscht Belt. Starting in the 1950s, the big hotels typically maintained two house bands: one for mainstream pop, and the other for all Latin — the tummlers taught mambo lessons around the swimming pool. By the 1930s, Puerto Rico had been thoroughly colonized by the U.S. and was thoroughly poverty stricken. A vast exit began to the mainland: Puerto Ricans, after all, were American citizens. Many moved to the Bronx. By the 1960s, many of the kids had grown up to be musicians. Some had big bands and a big-band sound. They played regular gigs at places like Kutscher’s in the Catskills. You can still hear Tito Puente in 1959 playing “Grossinger’s Cha Cha Cha.”
Some of the musicians were Jews — for example, Larry Harlow, a classically trained pianist whose grandfather was a cantor and father a Latin music bandleader in the Catskills. Harlow’s actual family name was Kahn; his nickname among musicians and audiences was “El Judio Maravilloso,” the Marvelous Jew. His cousin Lewis Kahn was a salsa violinist and trombonist who’d studied at Julliard; he was “El Segundo Judio Maravilloso.” Once, I gave Lewis a lift back to his hotel post-concert, after I saw him shambling down the street alone. Painfully shy and bespectacled, he seemed more like a member of the Frankfurt School than someone in a band with matching suits and screaming brass.
My foreign language in high school had been Spanish. My conversational skills were good but still stilted. I didn’t get better — didn’t pick up the rhythms and slang and everyday spoken beauty of the language until the 1970s. I began listening then, over and over and over, to my growing collection of LPs from the salsa label Fania, copying the words and learning how they mashed together. Based in New York City, Fania even had a fan magazine. New York also had the annual Puerto Rican parade, and I vividly recall running into impromptu conga circles on street corners, where young people sang not just in Spanish but also in Lucumi, the deeply spiritual language of the Afro-Caribbean Yoruba and Santeria religions. They’d picked up the words from the same records I listened to. Their devotion to the musical aspects of their heritage reminded me of my fascination with cantorial music, which was also available on vintage LPs and even on low-watt radio in Brooklyn.
Twenty-five years ago I went to Columbia one summer to study Yiddish. In class I learned that Molly Picon had sung in Yiddish in the 1940s on the Forward-owned radio station WEVD. Her show was followed by one in Spanish with mambo bands like La Sonora Matancera. How many Jews kept listening after the Picon program signed off? Were Sholem Aleichem and Uriel Weinreich the salseros of their own culture? I got bat mitzvahed at age 71 at a shul in Brooklyn. I had kosher food at the after-party. And we danced to a mambo band, led by Benjamin Lapidus, a fellow synagogue member.
Bad Bunny’s “Nueva Yol” couldn’t be more New York. It talks about going to Bear Mountain in the summer. About the Yankees and the Mets. The 4th of July. About Willie Colon, the beloved salsa trumpeter from the Bronx who ran (unsuccessfully) for Congress in 1994 and for Public Advocate in 2001.
Bad Bunny’s halftime performance of “Nueva Yol” also celebrated a Brooklyn matriarch named Maria Antonia Cay, aka Toñita. She runs an intimate social club for Puerto Ricans in Williamsburg where she cooks traditional food, serves it, and tends bar at age 85. She made a cameo appearance at halftime, as Bad Bunny sang lyrics about conflict and anxiety, featuring his signature tic, the phrase “Uuy, uuy!” Go forward in the mouth just a bit and you’re at Yiddish “Oy oy!” At one point he jumped into a joyful mosh pit of dancers. They hoisted him up and paraded him around. It could have been the reception, in any borough, of any Jewish wedding.
There’s a lot of talk these days about Diaspora Jews versus Israel Jews. It’s a topic that’s been fraught for years and inspires endless discussion. There’s not so much talk about Diaspora Puerto Ricans: the people who settled and struggled here decades ago and whose lives became cultural cross-over when Leonard Bernstein, Jerome Robbins and Leonard Bernstein — all Jews — created West Side Story. Today, the New York boroughs, with about a million Jews, constitute the biggest Jewish city in the world after Tel Aviv. And New York City has more Puerto Ricans than San Juan. Bad Bunny’s halftime show reminded us of our shared diaspora. It did so as our bodies grooved, even if they were geriatric bodies grooving slower than before.
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