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Behind the scenes of Justin Jones’ viral ‘tikkun olam’ encounter with Jewish teens in DC
(JTA) — Sam Rosen and Noah Segal were sitting with their friends on the steps of the Executive Office Building in Washington, D.C., on Monday when they spotted one of America’s most talked-about politicians.
Justin Jones, a Democratic lawmaker in Tennessee whom Republicans kicked out of the state’s legislature in retaliation for a gun-violence protest, was walking by in his signature white suit.
“I remember me and my friend looking at him and being like, ‘Is that him? Is that really one of the Tennessee Three?’” Rosen recalled on Wednesday from his home in Dallas. “To me, he’s kind of the face of upholding democracy right now, so it was very cool to see that.”
Jones waved at their group, this year’s crop of Bronfman Fellows, a prestigious leadership program that aims to empower Jewish teens. That initiated an encounter steeped in Jewish lingo that went viral after a liberal news outlet in Tennessee shared a video on social media.
“Can I shake your hand?” Segal, a high school senior from Ardsley, New York, asked Jones. Several of the other teens introduced themselves, too, and one explained that they were all Jewish teens from across North America.
“This is a Jewish program?” Jones asked after giving a brief pep talk about getting more young people involved in politics, drawing an affirmative response.
“Tikkun olam,” Jones ventured, seemingly testing whether he had correctly named the Hebrew term meaning “repair the world” that has come to signify social justice in progressive circles.
“Yes,” the teens replied in unison, many of their faces lighting up with excitement. “We just talked about that!” Rosen said, with apparent delight. After chatting with the group for a few more minutes, Jones said he had to head off for a White House meeting with President Joe Biden — but he took the time first to pose for a picture with the group.
For many of the people who saw and shared the video, produced and posted Tuesday by the Tennessee Holler news site, the exchange offered an example of cross-cultural solidarity at a time of polarization. The video has been seen well over 2 million times on Twitter and more on other platforms.
“It seems like it resonated because it was a genuine, uplifting moment that showed how impactful it can be to have young leaders showing other young people the way forward — and because it crossed lines. Racial lines. Religious lines. Geographic lines. It shows how essential it is to come together,” Justin Kanew, Tennessee Holler’s founder and editor, told JTA. (The site was the first to report that a Tennessee school board had banned the Holocaust novel “Maus” last year.)
Kanew added: “Also: Justin Jones is the real deal. Sincere, and inspirational. So that helps.”
Jones burst onto the national scene last month when he and another Tennessee lawmaker were ejected from the state legislature after staging a protest over the Republican-led body’s inaction after a school shooting in Nashville. Both men are Black; a third lawmaker who protested is a white woman and she was not ejected. The racial disparity in the lawmakers’ treatment drew widespread criticism, even after local elected officials in Nashville and Memphis reversed the ejections.
The saga has made Jones into a folk hero among progressives, as well as an inspiration to those who want to see young adults — he is 27 – play an active role in shaping the country.
“Thank you for being a role model for the young,” Dan Libenson, the head of a Jewish education philanthropy who teaches in the Bronfman program, tells Jones in the video.
WATCH: “Thank you for being a role model for the young.”
As the #TennesseeThree arrived at the White House a group of Jewish students from across were there on a tour, and they were thrilled to meet @brotherjones_. #TikkunOlam pic.twitter.com/vii89sTsIp
— The Tennessee Holler (@TheTNHoller) April 25, 2023
Libenson told JTA that it had taken the group a moment to realize that the man in the white suit was in fact Jones, as the group had been sequestered at a Jewish retreat center in Maryland and had not heard about Jones’ visit, or about the backlash from some conservatives against it.
“As you can see from the video, as soon as it registered, we all rushed down to greet him,” Libenson told JTA in an email. “It’s clear that Gen Z has been traumatized by the mass shootings that seem to happen every day, and I think many of the fellows see Justin Jones as a hero for not taking no for an answer with regard to the safety of young people like them.”
Said Segal, “The whole seminar theme was vision and the future, so it was random and funky and cool to see someone who is right there making a change.” About Jones’ invocation of tikkun olam, he said, “I was impressed with him before that and impressed with him after that.”
The Bronfman Fellows program is not partisan, and participants hold a wide range of political views, according to Becky Voorwinde, the group’s CEO. But she noted that applicants for the fellowship must write about a contemporary issue that matters to them, and many choose gun violence. “It cuts across political viewpoints,” she said. “They grew up after Sandy Hook. This is their reality.”
Asked whether the issue was one he thought a lot about, Rosen answered, “How can it not be?”
He went on, “It’s not like it’s one awful shooting a year. It’s every day. It seems like it’s only a matter of time before it’s me. It’s not something that controls my entire life, but it’s always in the back of my mind.”
What the Bronfman Youth Fellows’ group photo with Tennessee Rep. Justin Jones looked like from the vantage point of where they’d been sitting before they spotted the prominent lawmaker. (Courtesy of Becky Voorwinde)
Segal said that he, too, viewed the threat of gun violence, alongside climate change, as one of the widest problems facing young people. In fact, he said, for part of a final project in the fellowship, he’d facilitated a discussion about what it means to fight antisemitism for a generation surrounded by mass shootings.
The Washington trip was a closing activity for the cohort of Bronfman Fellows, who first spent five weeks together last summer before getting together throughout the year virtually and in person. Before running into Jones, the group had been meeting with four Jewish White House staffers; afterward, they broke into small teams to meet with past fellows working in a wide array of jobs in the area.
The day before the viral encounter, the group visited a haredi Orthodox yeshiva in Baltimore. There, too, tikkun olam came up in discussion — but the head of the yeshiva seemed to dismiss it as a meaningful framework for Jewish life compared to the commandments of traditional Jewish law.
Rosen, who belongs to a Reform synagogue in Dallas and is headed to Brandeis University in the fall, pushed back.
“I said, ‘Rabbi, this is an obligation that we all uphold in our community. It’s a core value of Judaism and who I am,’” he recounted. “To me, that’s why it was so cool that Justin Jones said that.”
The entire encounter with Jones, Rosen said, felt authentic and empowering. And that feeling, Kanew said, could be contagious.
“Everything we need to save this country from descending into a dark place was right there in that exchange,” Kanew said. “And the beauty of it is everything that moment represents will inevitably come to fruition if people stay engaged and keep fighting for it. So it’s an incredibly hopeful moment, and hope is what people are looking for right now.”
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West Elm’s Russ & Daughters merch did something their in-house line could never
Figuring out one’s Judaica vibe can be a challenging endeavor for those of us who don’t have tastes in line with the colorful stained glass or embossed silver aesthetics that tend to dominate the category. Newer designers have introduced some minimalist options, but that’s also not really for me.
But for those of us with a tendency toward the whimsical or kitsch, furniture retailer West Elm is coming to the rescue with two new collections, geared toward the High Holidays and Hanukkah.
There’s a Russ & Daughters collaboration of blue-and-white ceramics, featuring serving platters with handpainted designs such as a fish or latkes, trinket trays with pickles and more fish, simple Delft-colored dinnerware and napkins with little cutlery printed in the corners.
And, separately, in an apparent attempt to capitalize on the Jewish market, West Elm also released a set of their own plates, bowls and tea towels printed with colorful “deli favorites” — pickles, brisket, hamentaschen, black-and-white cookies, and the like.
The concepts are pretty similar; both lean into the idea of decorating plates with food objects that may or may not be the food you actually put on them.
I do admittedly already have a large blue-and-white platter with a fish painted on it that I find charmingly eclectic, and just as suitable for serving foods that are not of the oceanic persuasion as it is for foods that are indeed from the briny deep. So I’m not inherently opposed to the concept. But I don’t feel as good about the in-house West Elm Jewish designs, like a bowl with a sort of mushy depiction of matzo balls at the bottom. Imagine eating anything else out of that. Honestly, imagine eating matzo ball soup out of it. It seems disorienting.
Everyone’s tastes vary, and if you want to eat a salad off of a plate with a colorful brisket sandwich painted on it, be my guest. But I think the Russ & Daughters offering is the better of the options. For the most part, the collection stays on the artful side of kitsch largely thanks to the simplicity of the designs and the color scheme. And, more importantly, the internal logic seems actually Jewish. The pieces are useful — perhaps with the exception of the latke platter — for multiple Jewish occasions. The matchbox with a challah on it may feel a bit random at first glance but it does conjure an image of lighting candles on Shabbat, and there are matching candle holders. The art kind of evokes Marc Chagall.
The West Elm deli hits sets on the other hand — which are separate from their collab with the iconic Lower East Side deli — feel as though they’re screaming their Jewishness. The tea towel mixes together hamentaschen and sufganiyot (or possibly a bagel, it’s hard to tell) on the same piece of cloth, despite the fact that these desserts correspond to different holidays. The drawings are cute, but the overall effect is frantic, like someone dumped every Jewish food they could name onto the same page and sent it off to the printers. It’s giving Target Rosh Hashanah decorations — the sort that have a menorah alongside the apples and honey.
A few years ago, Crate and Barrel had Jewish lifestyle influencer Rebecca Lowin curate a Hanukkah display, but it was done using items the store already carried in white, blue and silver; only the menorah was specifically Jewish. Now, a similar home decor store is creating entire lines catering specifically to Jewish holidays and culture. That’s a sign of an increased mainstream embrace of Jewish culture, and that’s a good thing — it wasn’t so long ago that it wasn’t possible to find much public recognition of the existence of the High Holidays, and every attempt featured a hanukkiah with the wrong number of branches or a loaf of challah for Passover. Today, if Jews want twee merchandise — and no judgment — there’s plenty. There are even Hanukkah gnomes, if your taste runs to that.
But there’s still a dearth of decor that feels elegant and thoughtful, instead of try-hard. Decor that feels actually rooted in Jewishness, instead of like a Jewish gloss on something that’s really for another holiday. The Russ and Daughters collaboration is rooted in actual Jewish history. Even if you don’t like a fish motif as much as me, that’s a step in the right direction.
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Sephardic and Mizrahi groups accuse New York Magazine of erasing Middle Eastern Jews. The editor-in-chief agreed to a meeting.
As editors of New York Magazine dug in their heels this week, defending the magazine’s viral “Habibi City” package published earlier this month, 14 Sephardic and Mizrahi Jewish organizations delivered an open letter on Monday night, accusing the magazine of erasing Middle Eastern Jews from its coverage.
On Tuesday, Editor-in-chief David Haskell invited them to meet in September, saying he wants the magazine’s coverage to reflect the multitude of perspectives in the region.
In addition to asking for a meeting, co-signers of the letter, convened by JIMENA (Jews Indigenous to the Middle East and North Africa), asked the magazine to acknowledge what they call the package’s exclusionary framing and provide more representative coverage of Sephardic and Mizrahi Jews going forward.
The dispute centers on the magazine’s August issue about the city’s burgeoning Southwest Asian and North African cultural scene known as SWANA. The package explores restaurants, cafes, cultural collectives and dance parties, tracing much of their growth to the war in Gaza that followed theHamas-led attacks on Israel on Oct. 7, 2023.
“Out of that resistance,” the magazine writes, “a cultural ecosystem started to bloom.”
This week, the magazine published a statement standing by its use of the term genocide to describe Israel’s actions in Gaza, adding that “accusations of antisemitic intent were in fact obfuscating an overwhelming scholarly consensus, and that its use would be allowed in our pages.”
The open letter did not address the use of that term. Instead, it addressed the article’s framing.
The package describes membership in SWANA community in political terms.
“To be in SWANA community,” one article says, means “embracing a set of shared beliefs: that Palestinians deserve human rights. That what happened in Gaza in the aftermath of October 7 constitutes a genocide. That social justice and social welfare override capitalist concerns.”
The same article describes the place of Israelis within SWANA culture as “complicated,” in part because of the term’s “political framework.”
It also says SWANA New Yorkers “face xenophobia, Islamophobia and Zionism” in the city — language that drew particular ire from the coalition and online critics.
According to the letter, New York Magazine’s framing turns SWANA from a geographic and cultural identity into an ideological one, excluding many of New York’s Jews from the Middle East and North Africa unless they reject Israel — the country where many of their families found refuge after fleeing persecution and discrimination elsewhere in the region.
“A Mizrahi Jew whose grandparents were born in the region, expelled from their country of origin, and who carries the region in her language, liturgy, and kitchen belongs only upon disavowal of the movement through which her family survived,” the letter reads.
As the letter puts it, for a great majority of Sephardic and Mizrahi Jews to be represented “as we actually are” means representing them as Zionists.
The letter also faults the package for invoking Oct. 7 repeatedly without acknowledging the atrocities committed that day and erasing the region’s non-Muslim populations.
“When we read ‘Habibi City,’ we immediately saw that this wasn’t something one organization should answer alone,” Sarah Levin, JIMENA’s executive director told the Forward. “The feature made claims about who belongs in contemporary Middle Eastern and North African and ‘SWANA’ communities in NYC, so the response needed to come from the breadth of the communities being written out.”
After she read the package, she began contacting other Sephardic and Mizrahi organizations about writing an open letter. Within four days, all 14 organizations had signed on.
“Iranian, Iraqi, Syrian, North African and Sephardic communal organizations almost never act in concert, and they’ve united around one argument,” Levin said.
Signatories include the American Sephardi Federation, the Iranian American Jewish Federation of New York and the Jewish Community Relations Council of New York.
Levin said the groups had little difficulty reaching consensus. “When the argument is, ‘We exist, and we will not be defined out of our own region,’ there isn’t much for our communities to debate.”
What concerned Levin most, she said, was the size of New York Magazine‘s audience and cultural reach. The Pulitzer Prize-winning bi-weekly magazine boasts reaching 1.8 million readers each week.
“When a magazine that shapes American culture tells millions of readers that belonging to the Middle East requires renouncing Zionism, that is not a small thing,” Levin said. “That is why we responded the way we did.”
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The secret Jewish history of Dolly Parton
Dolly Parton, the musician, actor and philanthropist died Aug. 25 at the age of 80. A Christian known for her Christmas output, she nonetheless connected to Judaism through a cause dear to her heart: literacy.
In a “By the Book” interview, Dolly Parton told The New York Times that a copy of the Bible is always on her nightstand, next to a “daily devotional book.” In her memoir “Songteller,” Parton explains, “I’m not that religious, but I’m very, very spiritual. I grew up in very religious surroundings. I grew up with a Bible background, and I’m glad I did.”
Parton’s knowledge of the Jewish Bible is evident in several of her most beloved songs, including “Coat of Many Colors” and “The Master’s Hand.” The song “Coat of Many Colors” is based on Parton’s own childhood growing up in relative poverty and draws upon the story of the biblical Joseph. Parton sings, “As she [her mother] sewed, she told a story from the Bible she had read / About a coat of many colors Joseph wore….”
In “Songteller,” Parton recounts, “My mom made me this little coat. In order to make me proud of that little coat, I know now, she told me the story about Joseph from the Bible and his coat of many colors. So I thought, ‘Well, if it’s from the Bible, and Joseph was an important person, it has to be very special and important.’ Then when I went to school, the kids did not see that. They just made fun of my little coat. I had seen so much more in that coat than what Mama had sewn, things sewn into my body, my soul, my everything. Mama had made it and told the story and made it all seem so real. It was so mind-warping and heart-shattering to me when they made fun of it. In my mind, I thought I looked just like Joseph. But the kids didn’t, and it crushed me.”
Her song “The Master’s Hand,” written in 1971, displays Parton’s deep immersion not only in the Five Books of Moses but also in the Writings — specifically, the Book of Daniel. The song begins by recounting the familiar story of Noah thusly:
In the days before the flood
The world grew wicked and corrupt.
But Noah was a good man,
And the Lord unto him came.
And He said to Noah, “Go build an ark.”
Noah did, and the sky got dark,
And a great flood destroyed everything.
Except for Noah and his wife
And their three sons and their wives
And a pair of every kind of creature
Walkin’ in the land.
And the people mocked.
And they made fun.
But ol’ Noah worked ’til it was done,
’Cause he was holding to the Master’s hand.
After the song’s refrain, it continues with the lesser-known story of Shadrach, Meshach and Abednego, three figures from the Book of Daniel. The three are thrown into a “fiery furnace” after refusing to bow down to an image of Nebuchadnezzar II, the king of Babylon. Rewarded for their loyalty to God, the three miraculously survive the fire. Or, as Dolly Parton puts it:
Three Hebrew children in days of old
Were marched into the fiery coals,
’Cause they would not deny the Lord,
Would not obey command.
And the furnace roared like a mighty storm,
But the Hebrew children saw no harm.
The flame was smothered by the Master’s hand….
Shadrach, Meshach and Abednego
Had no fear of the fiery coals,
’Cause they were holdin’ to the Master’s hand.
“I know my Bible stories, like the ones I mention in this song,” Parton writes in “Songteller.”
Parton’s charity, the Imagination Library, a program with free books for children was the inspiration for Harold Grinspoon’s PJ Library, which provides Jewish-themed books to young readers.
“I’m always honored when my Imagination Library inspires others,” Parton said.
While Dolly Parton’s musical roots are in country and gospel, by the mid-1970s, with her career at a standstill, she was ready to reach a larger audience. Two Brooklyn-born Jewish men played essential roles in helping Parton make the leap from Nashville to mainstream pop stardom. Parton gives full credit to Sandy Gallin, one of the most successful talent agents from the 1970s through the 1990s, for helping her to achieve “crossover” success in music and to expand into TV, movies and even a theme park.
In 1977, Gallin convinced Parton to record a song called “Here You Come Again,” written by the Jewish husband-and-wife songwriting duo Barry Mann and Cynthia Weil. He brought in another Brooklyn native, Gary Klein, to produce the song and the album of the same name. The single cracked the Top 20 Pop Album charts and spawned her first Top 10 pop hit; the album was her first to sell millions. (Incidentally, her pop success didn’t come at the cost of her country credibility; the song sat atop the Country Singles chart for five weeks.) The song also garnered Parton her first-ever Grammy Award, for best female country vocal. Over the next few years, Klein produced a number of other hits for Parton.
But for Gallin, it didn’t end there. He convinced Parton to open the “Dollywood” theme park in Tennessee, and the two co-founded a production company, Sandollar, among whose many successes were the Steve Martin film “Father of the Bride” and the hit TV series “Buffy the Vampire Slayer.” The producers won an Academy Award in 1990 for their AIDS documentary, “Common Threads: Stories from the Quilt.” Gallin also produced the Parton-starring movies “Rhinestone” and “Straight Talk.” Parton commemorated her friendship and loyalty to Gallin by writing “Sandy’s Song,” sung to the tune of “Greensleeves.”
In “Songteller,” Dolly Parton writes of Gallin, “We were so close and our relationship was so loving. We were from two completely different worlds, but we just clicked, somehow. He was just one of those friends that you find who you just know are going to be your friend forever.” For a time, the two even shared an apartment on Manhattan’s Upper East Side. After Gallin died in 2017, Parton told an interviewer, “Nobody could quite get how the Christian Southern girl and the New York Jewish boy could have so much in common. But it was real.”
PJ Grisar contributed to this article.
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