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I can’t forget what the Nazis did to my family, but I can be grateful to a repentant Germany
(JTA) — Picture a cute-looking, 6 1/2-year-old girl with curly braided hair. She is standing on a sidewalk, on a cold, dreary day in Leipzig, Germany, together with her parents and my wife and me. My granddaughter Vivi is staring intently at a 75-year-old worker, kneeling on the ground. He is digging a hole through the pavers to install several 4” x 4” brass plaques mounted on cement cubes — memorials to relatives who perished at the hands of the Nazis more than 80 years ago.
In February, we traveled 9,500 miles round-trip to dedicate 12 Stolpersteine plaques in memory of relatives I never knew, or even knew I had. (All 16 of my family members would have stood with us that day, but Germany’s airport worker strike canceled the others’ flights.) They were just some of my late father’s aunts, uncles and cousins who were murdered in the Holocaust, and we regarded the ceremony as a pseudo-levaya, a quasi-funeral that would be the final act of respect and farewell Hitler had denied my relatives.
I couldn’t have imagined, 60 years earlier when I first visited Germany, that I would ever return in a spirit approaching forgiveness, or that I’d feel a deep connection to a country that was once synonymous with brutality, pain, humiliation and suffering.
Stolpersteine, a German word meaning “stumbling block,” refers to a design brilliantly conceived by the non-Jewish German artist Gunter Demnig in the early 1990s. Installed in front of the homes where innocent Jewish victims last freely lived, the brass plaques simply and artistically memorialize, honor and personalize those brutally persecuted. On each plaque are engraved the victim’s name, dates of birth and death. As Demnig once said, “A person is only forgotten when his or her name is forgotten.” Hence, 100,000 of his plaques throughout Europe remind us that Jews are part of a shared history, and a common memory.
Whether consciously or not, the “stumbling pedestrian” instantly recalls the extraordinary evil unleashed by ordinary people, on once vibrant Jewish communities, and the terrorized Jewish neighbors who lived within them. This evil was driven by a blind loyalty to a gratuitous hatred of “the other,” meaning non-Aryans.
Who were these relatives I recently memorialized? Recently uncovered documents suggest my relatives were all decent, law-abiding citizens who contributed to Leipzig’s economy, enriched its cultural life and strengthened its social fabric. Sadly, being model citizens did not spare them from torturous fates.
One of those relatives, Elfriede Meyerstein, my paternal grandfather’s sister, was born Feb. 27, 1871 in Breslau. At 20, she came to Leipzig where her husband Menny ran a textile trading company with his family. They lived at the same address for many years. By 1931, after Menny’s death, she lived with her daughter Käthe Huth.
The Nazis, once in power, immediately expropriated Elfriede’s assets, comprising foreign stocks meticulously accumulated by Menny. The Nazi “Ordinance on the Registration of Jewish Assets” of April 26, 1938, forced her to surrender those securities to the state. In 1939, shortly after Kristallnacht on Nov. 9-10, 1938, the Nazis collected a “reimbursement tax” as “atonement,” from Elfriede and the rest of Germany’s Jewish community, for the damage Nazis did that night.
Just prior to her Sept. 19, 1942 deportation to Theresienstadt at age 71, Elfriede was forced to sign a “home purchase agreement,” the Nazis’ final act of expropriation. The document falsely and cynically promised her a “retirement home,” with free lifetime accommodation, food and medical care, but paid for by her, in advance. The Reich Security Main office confiscated 65,000 Reichsmarks ($300,000 in today’s currency). Her “retirement home” was in a ghetto with disastrous hygienic conditions, starvation, and no medical care. Elfriede died one month later.
After considerable soul-searching and three visits to Germany, spaced over 60 years, my attitudes and feelings today, vis a vis Germany and its citizens, are dramatically different from when I first visited in 1966.
Then, I came with unprocessed emotional baggage. In 1939, my father, Ralph Meyerstein, fled Dusseldorf and my mother, Cecily Geyer, fled Dresden, both for England. My paternal grandparents, Alfred and Meta Meyerstein, were deported from Dusseldorf on Nov. 8, 1941, to Minsk, where they were killed. My maternal grandmother, Salcia, was deported to Riga in January 1942; in November 1943 she was sent to Auschwitz and murdered.
My parents met in Ware, a small town north of London, where some German Jews took refuge. They moved to London where they married during the Blitz and we came to the United States in December 1947.
The German-issued ID card of Max Israel Meyerstein, the author’s great-uncle, who was murdered by the Nazis in 1942 at the age of 80. (Courtesy Michael Meyerstein)
As an only child, I shouldered much of my parents’ guilt over abandoning their parents, even though it was their parents who, thankfully, had urged them to flee Germany. When retelling their survival story, my eyes still well up with tears, revealing a lifetime of trauma I’ve absorbed on their behalf. That first visit felt almost adversarial in tone. It was I, representing my parents’ personal losses and those of the Jewish people, versus Germany and Germans. I reacted viscerally to hearing guttural Deutsch being spoken. I eyeballed Germans on the street and asked myself: How old are they? Did they commit heinous crimes against my family and my people?
By 2018, when I dedicated a Stolpersteine in my maternal grandmother’s memory, my judgmental attitudes and harsh feelings had softened. Maybe I realized that 75 years later, the ordinary citizen on the street could not be held responsible for the carnage of the Holocaust. Also, working with non-Jewish German volunteers in planning the ceremony showed me their humanity, sensitivity and outright remorse for Nazism’s impact on my family and their German state. Their kindness was an atonement for a past not of their making.
My visit in February shed further light on my evolving relationship with Germany and Germans. Today’s Germany is doing teshuva, or repentance, by strengthening democracy, creating an inclusionary society, responding resolutely to far-right extremism, educating its young about the Holocaust, offering sanctuary to Jews fleeing Russia and Ukraine and being a true friend to the State of Israel. It also is supporting Jewish communal institutions, paying reparations to Israel, to individual victims and their descendants.
My relationship became much more nuanced upon learning that Germany was once home to five generations of my family, as far back as 1760, in the small town of Grobzig where Matthias Nathan Meyerstein was born. On our visit to its mid-17th-century Jewish cemetery, I gazed incredulously at the graves of Meyersteins. I saw schutzbriefen, documents issued by the reigning duke, that assured my ancestors protection, commercial privileges and religious rights. In the old Leipzig Jewish cemetery, I visited 12 relatives’ graves from the 1800s and 1900s, which reflected much about their secure socio-economic status.
Before my retirement, I never knew that Grobzig or Leipzig or other towns were in my family’s history. This discovery led to one conclusion: Unquestionably, 1933 to 1945 was a tragic anomaly in human history, and especially Jewish history. However, I must also gratefully acknowledge the Germany that sustained my family for over 300 years, and Jewish communal life for 1,700 years.
Nazi Germany’s ill-treatment and intolerance of “the Other” still affects me today as I mourn my relatives’ death. On the other hand, I feel heartened by this sentiment written by a non-Jewish German who funded research about my family: “For me, as I am part of this country and its history, it will be a never-ending task to find ways to deal with this horrible past and most importantly, never to forget,” she wrote.
Navigating this complex relationship with Germany and Germans is intellectually and emotionally messy for Jews. My engagement with “the Other,” however, has been profoundly satisfying.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
The post VIDEO: A Hasid gives us a tour of Morocco in Yiddish appeared first on The Forward.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
The post Conservative and Christian movies are coming for Hollywood appeared first on The Forward.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.

