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Chabad women come together once a year in person. The rest of the time, there’s Instagram.
(JTA) — The first post on Rivky Hertzel’s Instagram account — which she and her husband signed up for last year ahead of a planned move to Zambia — depicts a classic Chabad activity: a mock matzah bake for children that the couple organized in Lusaka, the country’s capital, ahead of last Passover.
But like many Instagram posts, the cheerful photo didn’t exactly tell the whole story:
The kids’ chef hats were made out of paper, their aprons were made out of garbage bags, and their rolling pins were actually the detached handles of toilet plungers — wrapped in Saran Wrap — that Hertzel picked up on the fly at a local store when she realized she was short on baking supplies.
Only after the bake was done did Hertzel, 22, reveal the origins of the “rolling pins.” Much to her relief, the kids’ parents had a good laugh about it.
And months later, in a “Throwback Thursday” post, Hertzel shared a photo of the deconstructed toilet plungers themselves. The red ends of the plungers sat in rows next to the separated handles.
“What do you think we used the plungers for?” she wrote. One viewer responded, “Moshe’s staff.” Another wrote, “As a plunger:).” She then revealed that they were rolling pins, to her followers’ delight.
“I have friends in Alaska and in New York and anywhere else, and I think they were excited and kind of inspired by that,” Hertzel told the Jewish Telegraphic Agency. “When you’re living in New York, what are you thinking about Jewish kids in Africa? No one’s thinking about it. They were inspired by the lengths that we were willing to go to make a special Jewish experience for kids.”
Hertzel’s experience is an example of the increasingly significant and versatile role Instagram is playing in the lives of Chabad’s women emissaries, known as shluchos. Nearly 4,000 shluchos gathered this past weekend for a conference that concluded with a massive gala dinner at a New Jersey convention center. But during the rest of the year, many of the emissaries live without a robust local Orthodox support system, often taking the lead in organizing Jewish activities in far-flung locales with few, if any, other observant Jews.
To fill that gap, some have turned to Instagram as a vehicle to document both their work and personal lives. And as a younger generation of emissaries begins taking up posts around the world, the way they portray their Jewish outreach cuts across Instagram’s many vibes. Some stick to curating a beautiful photo grid, while others use the platform to broadcast the messier parts of raising a family while running a Jewish community. Some keep their accounts private, viewing social media primarily as a way to reach friends and relatives across the globe.
“There’s so many wonderful, beautiful things that social media can be used for,” said Chavie Bruk, the Chabad emissary in Bozeman, Montana. “The more we can talk about the day-to-day struggles and the day-to-day life and the not-glorified part about being a shlucha, I feel like it just creates community and comfort and support.”
Bruk, 38, has been on Instagram for about 10 years, and started using it regularly about three years ago. Her Instagram is a combination of colorful family photos on the permanent grid, and front-camera facing 24-hour stories where she “doesn’t sugarcoat things” about her life as parent to five adopted children, one of whom is Black and another has a seizure disorder, living in a mostly rural state with only 5,000 Jews.
On Wednesday, she posted a story about a blockage in the septic tank of her house, which is not connected to the city sewer system.
“This has been two days of trying to figure out where is the blockage and they cannot figure it out,” Bruk says in the video. “And we’ve tried everything. Which means we haven’t really been able to use a lot of water in the house. So now it means that we have to get a backhoe. We’re very lucky that our neighbor has one. So Montana!”
Until the blockage is found, Bruk says in the video, her family has to limit their consumption of water.
“I show up how I am,” Bruk told JTA. “Just because you’re doing something really awesome and just because you even love what you’re doing, doesn’t mean it’s not going to be hard.”
She added, “My parents’ generation, there wasn’t room for that. There wasn’t room for expressing hardship. I think [in] that generation, the shluchos were looked at as superhuman. They just were able to pull it all off without their hair being ruffled… We need to embrace that and really be like, ‘You know what? No. We’re shluchos, we do amazing things. We do things that are superhuman, but we’re not superhuman.’”
Other emissaries use Instagram as a way to broadcast a fashionable version of themselves in an effort to connect with young Jews. Emunah Wircberg, 31, a shlucha and director of a Philadelphia art gallery called Old City Jewish Arts Center, is also a fashion blogger. Wircberg and her husband Zalman primarily serve Jews in their 20s and 30s, and they usually meet at the gallery for art-themed social events, networking opportunities and chic Shabbat dinners.
Wirchberg’s Instagram is largely beige, black and white, showing off her modest style of silky skirts layered with chunky knits, oversized blazers and coats, and a variety of wide brim hats, all with a loose silhouette. Some of the photos are shot in Philadelphia and others are taken in Israel, posing in front of the iconic Jerusalem stone.
Wircberg also posts stylized pictures of her family life and Jewish ritual, such as shots of her family’s Purim costumes, Hanukkah and pre-Shabbat candle lighting. Some of them are inflected with Chabad teachings, including references to Chaya Mushka Schneerson, the wife of Rabbi Menachem Mendel Schneerson, the late Chabad leader known as the Rebbe.
Emunah Wircberg is a Chabad emissary and a modest fashion blogger. (Screenshots via Instagram)
With 20,000 followers, Wircberg’s friends have asked her why she doesn’t try to monetize the page, though she does include links to donate to local Jewish institutions. “I view my Instagram as part of my shluchos, so I don’t want it to be a place where I’m trying to make money,” she said.
Wircberg also posts videos of her Shabbat cooking — recounting one time when she accidentally used an unkosher mustard for a chicken that she had to throw out — and shares artist-centered events and other activities.
Wirchberg said she appreciates “every opportunity that you have to show your life as a shlucha, Chabad Hasidic woman.” She added, “Showing that to the world and showing that to your followers and connecting with them in that way is actually a really cool, great channel to be able to do that.”
Other shluchos shy away from using Instagram as a public platform. For Esther Hecht, the 26-year-old emissary in Auckland, New Zealand, making phone calls to her friends and family in England and the United States often feels like an impossible task — a distaste that, polling shows, she shares with other members of her generation.
Instead, she finds the asynchronous nature of social media to be a helpful alternative when it comes to catching up with people.
At the conference, in between speaking at the podium in front of the nearly 4,000 guests, she found herself handing out her phone to exchange social media handles. Asked why she focuses on the platforms, she said, “It keeps me connected.”
Esther Hecht, the shlucha for Auckland, New Zealand, speaks at the annual conference for Chabad women emissaries. (Courtesy of Chabad)
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The post Chabad women come together once a year in person. The rest of the time, there’s Instagram. appeared first on Jewish Telegraphic Agency.
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How a complete unknown created one of the most iconic music events of the 1970’s
“I’ve always been a stranger,” Ido Fluk told me when I met him in a near-empty conference room in a sleek, Nordic-designed hotel in Berlin this past February. It was the afternoon after the Berlin Film Festival’s world premiere of the Israeli director’s German-language film, Köln 75, a kinetic behind-the-scenes look at Keith Jarrett’s famous live album, The Köln Concert. Jarrett improvised the hour-long set at the Cologne Opera House on Jan. 24, 1975, on a substandard piano — a beat-up baby grand rehearsal piano instead of the 10-foot-long Bösendorfer Imperial he’d been promised.
The film has grossed over a million dollars at the German box office — no mean feat for a domestic production — and was nominated for four Lola awards (Germany’s version of the Oscars) including Best Picture.
Fluk, 40ish, with tousled hair and a thick mustache, stubble and round, dark-framed glasses, had a peripatetic upbringing. Born in Tel Aviv, he was raised both there and in Paris, where his family relocated for five years during his childhood. Just shy of 20, he moved to New York City to study at N.Y.U.’s Tisch School of the Arts.
He returned to Israel to shoot his first feature film, Never Too Late (2011) about a young Israeli man who comes home after eight years in South America and takes a road trip in his 1985 Volvo through the country he left behind. It holds the unusual distinction of being the first crowd-funded Israeli film and won the main prize at the Fribourg Film Festival. Fluk shot his next film, The Ticket (2016), about a blind man who regains his vision, in Kingston, New York. Köln 75 was filmed largely on location in Cologne.
“I’ve always been, like, moving around. So for me, it’s very natural to go to a new country to make a film,” said Fluk. “I also think it’s the story of cinema a little bit these days where art house cinema in the States is kind of a dying breed. You see more and more filmmakers from the U.S. traveling to Europe.”
“And, you know,” he added, “it’s also kind of the story of Keith Jarrett in the 70s, which is that jazz musicians were losing their audiences in the States, and they started coming to Europe, because in Europe they still found an eager audience for their work. So I could identify with that, in a way.”
Fluk was wearing a black T-shirt for the British punk rock band Idles that showed a man in a balaclava posing with a birthday cake. The image was captioned, “JOY STILL AN ACT OF RESISTANCE.” Fluk has a musical background. When he moved to New York, he played bass for “all these punk bands that never made it.” One band that sort of did was Elephant Parade, a lo-fi indie outfit that he formed with his now-partner, Estelle Baruch. They played legendary venues and festivals like CBGB and South by Southwest and even opened for Beirut.
“I’m not a good musician by any means,” he said, “but it helps you understand just how difficult what Jarrett is doing. It’s such a feat, what this man was doing in the 70s, which means driving in this tiny car, and every night showing up at a new city and playing a new thing that nobody’s ever heard before. He doesn’t think about it. He just starts playing.”
Despite, or perhaps because of, the respect that Fluk has for Jarrett (a reclusive artist, now 80, who had nothing to do with the film), the director did not set out to make a conventional biopic. Instead, the narrative and emotional center of the film, which Fluk also wrote, is Vera Brandes, the 18-year-old self-made concert promoter who, 50 years ago, signed Jarrett for the gig, sold out the venue, and convinced the reluctant pianist to perform on a subpar keyboard for the 1400-strong crowd that packed into the Cologne Opera House for the 11:30 pm concert. (The late hour was due to a performance of Alban Berg’s Lulu earlier that evening, a wonderfully strange detail that makes it into the film).
“There are a lot of movies about music that tell you the same story. It’s about the artist. It’s about his rise. There’s some complication, then there’s a comeback, there’s a big show at the end. And here was a story about the woman behind the scenes. It wasn’t a story about the artist so much as about the promoter and the invisible people behind the artist. I thought that was really interesting and fresh,” Fluk said. At the start of the shoot, Fluk invited Brandes, now 69, to visit the set, an event that he recalled as inspiring for him and the film’s team.
“She’s like a punk rock goddess from the 70s who, like, changed the world and never got a proper thank you. This was an opportunity to shine a light on her, because however good Keith Jarrett is, no Vera Brandes, no ‘Cologne Concert.’ If Keith Jarrett had the perfect piano on stage that night, the album wouldn’t sound the way it sounds, and it wouldn’t be as special as it is,” he said.
Mala Emde, a 29-year-old German actress, plays Brandes as a spirited and determined young woman striking out on her own, using her charm, enthusiasm and tenacity to navigate (and often bluff her way through) an exciting adult world that she cannot wait to enter. Emde carries the film on her capable shoulders. Jarrett, performed with brittle world-weariness by the American actor John Magaro, is another standout.
Köln 75 was in pre-production for four years and Fluk used that time to learn German. “By the time we were shooting, I already understood German. Now I can read, I can understand – I don’t like speaking it because I sound like an idiot — but it was enough for me to hear actors improvise, which was really important for me in this film, because it’s a film about improvisation and it needed to feel free,” he said. He added that Michael Winterbottom’s 2002 film 24 Hour Party People, about the birth of rave culture in late 1970s Manchester, was a key inspiration in terms of tone and energy, calling it “the spirit animal of this film.”
Fluk didn’t reveal too much about his upcoming projects, which include an HBO series based on the bestselling non-fiction book Empty Mansions and a legal thriller about the trial of Julius and Ethel Rosenberg, which Fluk described as “a really beautiful script and really important story about American Jews and the way they were perceived in America.”
With so many stateside projects lined up, can we expect Fluk to film again in Europe or Israel in the future?
“If the story I want to tell is located there? Absolutely,” he said. “I am very agnostic about territory. I have a film, and the film says where it needs to be shot, then we go there and shoot it.”
Köln 75 begins its theatrical run at the IFC Center in New York on Oct. 17. (It opens a week later in Los Angeles).
The post How a complete unknown created one of the most iconic music events of the 1970’s appeared first on The Forward.
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3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce
(JTA) — Israel has identified the remains of three more hostages following a second release by Hamas on Tuesday, bringing the number of deceased hostages in Gaza to 21.
But even as the conditions of the first phase of the ceasefire agreement were still being met, both President Donald Trump and Israeli Prime Minister Benjamin Netanyahu indicated that further fighting could be in the future if Hamas does not move forward with disarming — as footage from Gaza shows it is far from doing.
The three hostages whose remains were returned were Uriel Baruch, Eitan Levy and Tamir Nimrodi. Nimrodi’s death had not previously been confirmed, though Israeli authorities said there was “grave concern” about his condition. The Hostages and Missing Families Forum said he had been abducted alive but was subsequently killed in an Israeli airstrike.
A fourth set of remains sent to Israel was not that of a hostage and likely came from a Gazan, officials said DNA analysis showed.
More remains could be released on Wednesday as Hamas faces calls to hold up its end of the deal struck last week, which required the return of all 48 Israeli hostages. All 20 living hostages and four deceased hostages were released on Monday.
U.S. President Donald Trump, who pressed for the deal, called attention to Hamas’ delay in returning the deceased hostages in a post on Truth Social on Tuesday. But he also said that the second phase of the ceasefire, in which a lasting peace and plan for Gaza’s future governance is supposed to be negotiated following the release of all hostages, was already underway.
“ALL TWENTY HOSTAGES ARE BACK AND FEELING AS GOOD AS CAN BE EXPECTED. A big burden has been lifted, but the job IS NOT DONE,” Trump wrote. “THE DEAD HAVE NOT BEEN RETURNED, AS PROMISED! Phase Two begins right NOW!!!”
Meanwhile, footage showed Hamas operatives emerging from hiding in Gaza and reasserting themselves in the enclave, including by executing those seen as having opposed Hamas during the war with Israel.
Trump’s peace proposal called for Hamas to disarm and not play a role in governing Gaza, but the group has not agreed to those terms. Trump said before traveling to Israel on Monday that Hamas had been given temporary approval to act as a police force in Gaza.
“Well, they are standing because they do want to stop the problems, and they’ve been open about it, and we gave them approval for a period of time,” he told reporters.
On Tuesday, he said the show of force “didn’t bother me much, to be honest with you,” because the group had targeted rivals “that were very bad.”
But both Trump and Israeli Prime Minister Benjamin Netanyahu indicated that a long-term failure to demilitarize by Hamas could risk a return to fighting.
“They’re going to disarm, and because they said they were going to disarm. And if they don’t disarm, we will disarm them,” Trump told reporters at the White House on Tuesday. He was then pressed on how he knew the group would do something it has said it would not do.
“I don’t have to explain that to you, but if they don’t disarm, we will disarm them. They know I’m not playing games,” Trump said. “If they don’t disarm, we will disarm them, and it’ll happen quickly and perhaps violently. But they will disarm.”
Netanyahu told CBS News that he understood Trump’s comments to be a version of the threats Trump made on social media that coincided with a ceasefire deal moving forward: Disarm or “all hell breaks loose,” Netanyahu said.
The Israeli prime minister said he hoped it would not come to that. “We agreed to give peace a chance,” Netanyahu said, adding, “I hope we can do this peacefully. We’re certainly ready to do so.”
The post 3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce appeared first on The Forward.
Uncategorized
3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce
Israel has identified the remains of three more hostages following a second release by Hamas on Tuesday, bringing the number of deceased hostages in Gaza to 21.
But even as the conditions of the first phase of the ceasefire agreement were still being met, both President Donald Trump and Israeli Prime Minister Benjamin Netanyahu indicated that further fighting could be in the future if Hamas does not move forward with disarming — as footage from Gaza shows it is far from doing.
The three hostages whose remains were returned were Uriel Baruch, Eitan Levy and Tamir Nimrodi. Nimrodi’s death had not previously been confirmed, though Israeli authorities said there was “grave concern” about his condition. The Hostages and Missing Families Forum said he had been abducted alive but was subsequently killed in an Israeli airstrike.
A fourth set of remains sent to Israel was not that of a hostage and likely came from a Gazan, officials said DNA analysis showed.
More remains could be released on Wednesday as Hamas faces calls to hold up its end of the deal struck last week, which required the return of all 48 Israeli hostages. All 20 living hostages and four deceased hostages were released on Monday.
U.S. President Donald Trump, who pressed for the deal, called attention to Hamas’ delay in returning the deceased hostages in a post on Truth Social on Tuesday. But he also said that the second phase of the ceasefire, in which a lasting peace and plan for Gaza’s future governance is supposed to be negotiated following the release of all hostages, was already underway.
“ALL TWENTY HOSTAGES ARE BACK AND FEELING AS GOOD AS CAN BE EXPECTED. A big burden has been lifted, but the job IS NOT DONE,” Trump wrote. “THE DEAD HAVE NOT BEEN RETURNED, AS PROMISED! Phase Two begins right NOW!!!”
Meanwhile, footage showed Hamas operatives emerging from hiding in Gaza and reasserting themselves in the enclave, including by executing those seen as having opposed Hamas during the war with Israel.
Trump’s peace proposal called for Hamas to disarm and not play a role in governing Gaza, but the group has not agreed to those terms. Trump said before traveling to Israel on Monday that Hamas had been given temporary approval to act as a police force in Gaza.
“Well, they are standing because they do want to stop the problems, and they’ve been open about it, and we gave them approval for a period of time,” he told reporters.
On Tuesday, he said the show of force “didn’t bother me much, to be honest with you,” because the group had targeted rivals “that were very bad.”
But both Trump and Israeli Prime Minister Benjamin Netanyahu indicated that a long-term failure to demilitarize by Hamas could risk a return to fighting.
“They’re going to disarm, and because they said they were going to disarm. And if they don’t disarm, we will disarm them,” Trump told reporters at the White House on Tuesday. He was then pressed on how he knew the group would do something it has said it would not do.
“I don’t have to explain that to you, but if they don’t disarm, we will disarm them. They know I’m not playing games,” Trump said. “If they don’t disarm, we will disarm them, and it’ll happen quickly and perhaps violently. But they will disarm.”
Netanyahu told CBS News that he understood Trump’s comments to be a version of the threats Trump made on social media that coincided with a ceasefire deal moving forward: Disarm or “all hell breaks loose,” Netanyahu said.
The Israeli prime minister said he hoped it would not come to that. “We agreed to give peace a chance,” Netanyahu said, adding, “I hope we can do this peacefully. We’re certainly ready to do so.”
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The post 3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce appeared first on Jewish Telegraphic Agency.