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In an unusual alliance, Jewish media and striking journalists are uniting to cover the Pittsburgh synagogue shooting trial
PITTSBURGH (JTA) — How many times should an alleged synagogue shooter’s name be mentioned in a news story about his trial, now beginning after more than four years?
For the Pittsburgh Union Press last month, the answer was seven. For the Pittsburgh Jewish Chronicle, it was an uneasy five, in a departure from its usual answer of zero — a number chosen out of deference to a community devastated by the shooting.
The slight difference was the only discrepancy between one set of stories published by the two news organizations covering the trial of Robert Bowers, accused of murdering 11 Jews in their synagogue here in 2018.
The anomaly offers a window into an unusual partnership between the two publications — the city’s Jewish paper and the news site established by striking staffers for the Pittsburgh Post-Gazette — born in February when it became clear that the trial would last months.
Pittsburgh Jewish Chronicle editor Toby Tabachnick was dreading the trial coverage, with a staff of just three on the editorial side: herself and two reporters, David Rullo and Adam Reinherz.
“I started getting really nervous. Like, how are we going to do this?” Tabachnick said on the eve of the trial, speaking at the federal courthouse where jury selection would soon begin. “Our regular reporters could have been here. But it would have been extremely taxing, difficult and emotional for us, because we’re so ingrained in the community too.”
Plus, she added, “In addition to this trial, which is going to be every day for three months, we’re covering the synagogues, events and the holidays, the lectures, we still have a regular community newspaper to put out.”
Tabachnick knew Andrew “Goldy” Goldstein, one of the Post-Gazette’s team that picked up a Pulitzer for their coverage of the massacre, from his time as a Pittsburgh Jewish Chronicle intern. She also knew he was on strike and wondered whether he could use the extra freelance opportunity.
Instead, Goldstein immediately offered up a better idea: Join with the Pittsburgh Union Progress, the strike paper, in a joint reporting project, organized in part through the Pittsburgh Media Partnership, an incubator for local journalism. (The Jewish Telegraphic Agency is raising funds for the coverage.)
Working together just made sense, Goldstein said. The Chronicle was deeply resourced and credible in the Jewish community, and the Progress had on board Torsten Ove, a local legend.
From left to right, Bob Batz of the Pittsburgh Union Progress, Toby Tabachnick of the Pittsburgh Jewish Chronicle and Andrew Goldstein of the Progress pose in the Joseph Weis Jr. Courthouse in Pittsburgh, April 21, 2023. (Ron Kampeas)
“We have the all-star federal courts reporter in Torsten and we have a lot of really great journalists who love Pittsburgh, love this community, and we’ll do our best to cover it,” Goldstein said, noting that the Chronicle would also have access to the Progress’s photographers. “But the Chronicle brings something different entirely to the table, which is, they’re so deeply sourced in the Pittsburgh Jewish community, and they have such an interest in this trial in particular.”
Newsroom collaborations have become more frequent in recent years as publications realize they can expand their impact and audience by working together. But while there are a growing number of relationships between local and national publications and between daily and investigative outlets, ties between mainstream newsrooms and community or ethnic media are less common.
S. Mitra Kalita, the founder and director of URL Media, a network of Black and Brown community news outlets that share content and revenue, said the value in such partnerships was not just in delivering relief as media staffs shrink, but also in sensitizing mainstream media to minority sensibilities.
“Talking about who [the ethnic media outlet is] serving and why we’re doing it this way — the spirit of real collaboration is a bit of that give and take,” she said. “We make mainstream media way better because it starts to infuse mainstream media with aspects of community and thus redefine the mainstream.”
The residual trauma of the massacre in the Pittsburgh collaboration made it all the more important for the mainstream reporters to be sensitive to the nuances that the Jewish media was bringing, she said.
“Especially a story like this one, which was such an attack on a community — a community that was singled out for their sheer existence, the strategy cannot be ‘let’s just work in parallel,” Kalita said. “It’s not going to work. It has to be kind of a cross-pollination and a real collaboration.”
That’s exactly what is happening, according to the reporters and editors involved in the project, with communication easy between each publication’s editor and expertise flowing in both directions.
Ove a denizen of the Joseph F. Weis Jr. Courthouse for so long that he can tell stories about a sizable stretch of the portraits of judges that line its corridor walls; he may be the only court reporter to seek an interview with a judge after his death, to ask him why he was haunting the place. (The judge never showed, but his widow was less than surprised to hear that he was still working.)
He led a passel of Chronicle and Progress staffers through the warren-like courthouse on the Friday before the trial, handily impressing them with his intimacy with the building — he knew the provenance of the paintings in each courtroom — and its staff. Soo Song, the assistant U.S. attorney who is leading the prosecution team, smiled and nodded as she passed.
Torsten Ove, left, of the Pittsburgh Union Progress and Adam Reinherz of the PIttsburgh Jewish Chronicle confer on the first day of jury selection for the Pittsburgh synagogue massacre trial, April 24, 2023. (Toby Tabachnick)
Ove showed the reporters how to access court records for free, and while they stood around him at one of the computer terminals, the teams’ different emphases emerged: Ove predicted that jury selection, which started last week and is expected to last as long as three weeks, would not be a news generator, because in his experience, it rarely has been.
Reinherz and Tabachnick, attuned to reporting on faith communities, were not so sure: Reinherz wondered whether believing Catholics, who reject the death penalty, would be eliminated, and Tabachnick wondered whether defense attorneys would seek to keep Jews off the jury — and how they would go about doing that.
Reinherz ended up covering the first day of jury selection. “Local and national reporters decided the Pittsburgh Jewish Chronicle should have one seat during the initial session of day one,” Reinherz explained in a story that appeared on both news sites. He noted that the first member of the public to enter the courtroom was Daniel Leger, one of two survivors of the attack.
Working together across platforms was odd, said Bob Batz Jr., the Progress’s interim editor, but he could get used to it.
“This is uncharted territory for someone like me, and I’ve been doing this for a long time, and we don’t, you know, we don’t collaborate,” he said.
“We compete!” Tabachnick interjected.
“What we’re doing is not common, and it’s not going to be easy,” Batz said. “Surely, we’re going to tick each other off about something or somebody is going to put the wrong word in or there’s a million things that can go wrong, but the breaking of ground where you’re actually working together, it just makes sense in so many ways on this story. We’re really trying to serve the community.”
Tabachnick said she saw added value in keeping journalists she admired in the limelight while they are on strike. Journalists at the Pittsburgh Post-Gazette went on strike back in October over wages and working conditions, in a crescendo of mounting tensions between the paper’s longtime owners and the staff that contributed to a newsroom exodus even in 2018, when the paper won a Pulitzer for its synagogue shooting coverage. The strike is now one of the longest in journalism history, and the staffers contributing to the Pittsburgh Union Progress are doing so despite earning well below than their regular salaries.
“I feel good about getting their names, their publication’s name out,” Tabachnick said.
Each story is running in essentially identical form on both publications’ websites, with a line crediting their collaboration. Tabachnick and Batz had a brief and friendly email exchange before each clicked “publish” on their story about debate among victims’ families about the appropriateness of the death penalty.
The Chronicle is minimizing appearances of the name of the accused killer, out of sensitivity to readers who may want to see their community members centered rather than their aggressor. Some researchers and law enforcement officials have also called on journalists not to print mass shooters’ names and photographs, citing evidence that doing so may contribute to their glorification and even copycat crimes.
Batz says he totally gets the Chronicle’s thinking, despite making a different choice in his newsroom.
“We’re still feeling our way, we’re still figuring this out,” Batz said. “They don’t name the defendant in their story, and they haven’t. And our guy Torsten who’s an all-star courts reporter, he’s going to use the guy’s name. And then in real time going back and forth on email and text we came up with his solution and that story was on both websites in minutes and it was really kind of cool.”
Tabachnick picked up the account of the previous night’s collaboration as if she’d been working across a desk from Batz for decades instead of online since February.
“The solution was that I realized that with the trial starting, it really didn’t make sense not to use his name at all anymore that we really needed to as a news organization,” she said. “But that didn’t mean we had to overuse his name. And I’m not saying Torsten overused his name. He used it as much as he needed to use it in terms of style, but I took out a few of them and replaced it with ‘the defendant’ and we were all happy.”
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Canadian progressive party picks Jewish anti-Zionist politician as its leader
(JTA) — Canada’s main progressive party aims to make a comeback under its new leader Avi Lewis, a Jewish anti-Zionist.
Lewis, a filmmaker and former journalist, was elected to lead the New Democrats on Sunday. He campaigned on principles that have energized the global left, including affordability, the environment and unapologetic anti-Zionism. He repeated his position on Israel in his acceptance speech in Winnipeg.
“When Israel commits a genocide in Gaza, we call it by its name, and we do everything in our power to bring it to an end,” Lewis said in his speech.
Lewis hopes to rebuild a party that suffered its worst losses in history during the 2025 federal election. Center-left voters who were alarmed by President Donald Trump’s threats to Canada flocked to the Liberal Party and elected Mark Carney as prime minister.
Lewis comes from a line of progressive royalty. His grandfather, David Lewis, was one of the founding members of the New Democrats and its leader in the 1970s. His father, Stephen Lewis, led the party in Ontario. He is also the great-grandson of Moishe Lewis, who was an outspoken member of the socialist Jewish Labour Bund in Eastern Europe and immigrated to Canada in 1921.
Lewis is married to Naomi Klein, a prominent author and critic of Israel. Klein was among several writers who declined to participate in PEN America’s annual World Voices festival in 2024, saying the group failed to “stand firmly” with Palestinian writers. She also addressed protesters during a rally outside U.S. Senate Majority Leader Chuck Schumer’s residence in Brooklyn during Passover that year, called “Seder in the Streets to Stop Arming Israel,” and urged Jews against worshipping the “false idol” of Zionism.
Lewis was formerly a reporter for the Canadian Broadcasting Corporation and Al Jazeera. In a debate with other candidates in January, he described himself as an “anti-Zionist Jewish person” seeking to “unlearn and unpack the Zionist myths that most Canadian Jews were brought up with.”
The Centre for Israel and Jewish Affairs, an advocacy arm of the Jewish Federations of Canada, said it acknowledged Lewis’ victory “with a deep sense of sadness.”
“Avi Lewis is himself Jewish, and we respect his family’s history in this party,” the group said a statement. “But Jewish identity is not a shield against accountability. When a leader declares that Zionism is inseparable from ethnic cleansing, he is not engaging in legitimate policy critique. He is telling Jewish Canadians that a core part of their identity is illegitimate.”
On the eve of the New Democratic Party’s leadership convention, CIJA joined dozens of rabbis from across the country in an open letter criticizing the party.
“Too often, the NDP’s response to antisemitism in Canada has been inconsistent, hesitant, or clouded by rhetoric that fails to recognize how hatred manifests in today’s environment,” said the letter.
Perhaps anticipating Lewis’ victory, they added, “Even more troubling is the repeated elevation of fringe or non-representative Jewish voices to deflect, dilute, or dismiss the legitimate concerns of the vast majority of the Canadian Jewish community.”
This article originally appeared on JTA.org.
The post Canadian progressive party picks Jewish anti-Zionist politician as its leader appeared first on The Forward.
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Netanyahu orders Church of the Holy Sepulchre open after Palm Sunday closure flares tensions
(JTA) — Israeli Prime Minister Benjamin Netanyahu has ordered that the top Catholic clergy in Israel be allowed into the Church of the Holy Sepulchre ahead of Easter, in an attempt to calm tensions that flared after police blocked their access.
Police cited wartime restrictions when prohibiting Cardinal Pierbattista Pizzaballa and three other Catholic representatives from visiting the church, located in the Old City of Jerusalem, on Palm Sunday, a holy day for Christians.
Many holy sites in the city, including the Western Wall for Jews and al-Aqsa Mosque for Muslims, have been closed or tightly restricted since the start of the Iran war last month because they lack bomb shelters for the number of people who typically gather there. Shrapnel from Iranian missiles have landed in the Old City multiple times, including near the Church of the Holy Sepulchre.
But the prohibitions on Pizzaballa’s access come at a time when some Christians are expressing concern that Israel is discriminating against them. A statement from the Latin Patriarchate on Sunday accusing Israel of having made a “hasty and fundamentally flawed decision, tainted by improper considerations,” seemed to fuel those sentiments.
“For the first time in centuries, the Heads of the Church were prevented from celebrating the Palm Sunday Mass at the Church of the Holy Sepulchre,” the Latin Patriarchate said. “This incident is a grave precedent and disregards the sensibilities of billions of people around the world who, during this week, look to Jerusalem.”
Christians believe that the church is the site of Jesus’ burial and resurrection, making prayers at the site on Palm Sunday, which kicks off the week leading up to Easter, particularly significant. Pizzaballa was seeking to pray privately at the site, not lead a major service as is typical.
Criticism over the closure resounded across the globe, including among allies of the Israeli government. Italian Prime Minister Giorgia Meloni condemned the closure as “an insult” and U.S. Ambassador to Israel Mike Huckabee called it “difficult to understand or justify” given that wartime rules prohibit only gatherings of 50 or more.
Soon, Israeli authorities were negotiating a special arrangement that would allow Pizzaballa and a handful of other Christian leaders access to the holy sites without opening them widely. Israeli President Isaac Herzog said he called Pizzaballa personally to express his commitment to religious freedom.
“I reiterate the unwavering commitment of the State of Israel to the freedom of worship for people of all faiths and the importance of upholding the status quo at the holy sites in Jerusalem,” Herzog said in a statement.
For his part, Pizzaballa downplayed the incident when speaking to a Catholic news channel. “There were no clashes, and we don’t want to force matters, but rather figure out what to do while respecting the right to prayer,” he said. “There were misunderstandings, we didn’t understand each other, and that’s what happened. It’s never happened before; it’s a shame this happened. This morning’s events are important, but we must consider the broader context. There are people who are much worse off than us who cannot celebrate for very different reasons. Once again, we are celebrating a subdued Easter.”
The police said the closure was justified because in addition to the lack of bomb shelters in the Old City, the area’s narrow and winding streets make it hard for emergency vehicles to reach anyone who might be injured in an attack.
Netanyahu said that while he understood the safety considerations involved in turning Pizzaballa back on Sunday, he had called for changes going forward.
“I have instructed the relevant authorities that Cardinal Pierbattista Pizzaballa, the Latin Patriarch, be granted full and immediate access to the Church of the Holy Sepulchre in Jerusalem,” he said in a statement.
The dustup came as Pope Leo, in his Palm Sunday address in the Vatican, condemned the Iran war and lamented that Christians in the Middle East “are suffering the consequences of a brutal conflict and, in many cases, are unable to observe fully the liturgies of these holy days.”
This article originally appeared on JTA.org.
The post Netanyahu orders Church of the Holy Sepulchre open after Palm Sunday closure flares tensions appeared first on The Forward.
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While sculpting Jesus, this Jewish artist wrestled with his demons
You may not know the name Jimmy Grashow, but it’s likely you’ve seen his work. His psychedelic drawings have been featured in The New York Times, Ms. and Playboy. He illustrated album covers for The Yardbirds and Jethro Tull. His cardboard sculptures of people, animals and buildings have been shown all over the country, including at MoMA, the Library of Congress, and the San Jose Museum of Art. Within the first 30 seconds of Jimmy & the Demons, a documentary about the artist directed by Cindy Meehl, I recognized his cardboard sculptures of a dancing couple; a version lives in the Cameron Art Museum in Wilmington in my home state of North Carolina.
The documentary follows Grashow as he works on his latest commission: an eight-foot tall wooden sculpture of Jesus hoisting a cathedral on his back, while demons, each one completely different from the other, reach out of the flames around his feet. The cathedral’s intricate exterior is matched by an equally elaborate interior: A mural of Eden decorates the cathedral wall and a figure resembling the piece’s commissioner Michael Marocco, a Catholic art collector who has several Grashow pieces in his private sculpture garden, kneels in prayer. If you look closely at the mural, you can see God’s name written in Hebrew on a painted banner. The cathedral’s stained glass windows are illuminated by an electric bulb.
Grashow’s work is painstakingly detailed and took years to complete, as the slightest error in measurement or cut could have ruined the whole thing. While the documentary doesn’t last for years the way the project did, it follows a similarly leisurely pace, spending lots of moments in silence with Grashow in his home workshop in Redding, Connecticut. It’s a close look at the mostly solitary work of an artist, although viewers also get a few moments to meet Grashow’s family, including his daughter who is a rabbi.
Meehl has profiled unconventional figures in her past documentaries, such as Buck, about horse whisperer Dan “Buck” Brannaman, and The Dog Doc, about holistic veterinarian Marty Goldstein. Grashow, who passed away in September 2025, three months after the film premiered at the Tribeca Film Festival, is no exception.
Despite his artistic talent, Grashow said that as a kid he “felt inadequate in every way.” Dyslexic and bad at math, Grashow struggled in his Brooklyn high school. At home, he felt overshadowed by his athletic brother and brilliant older sister. But he found a place to succeed at the Pratt Institute, where he studied woodworking, and received a Fulbright to study in Florence. There he fell in love with the cathedrals that would appear in many of his projects over the years.
Grashow did not view his sculpture of Christ as conflicting with his Jewish faith, noting the relationship between the word “Israel,” which means one who wrestles with God, and the meaning he saw in the piece.
“The world is full of peril and devils,” Grashow said. “And there you are trying to carry your faith and keep your faith alive. It’s a simple idea of trying to move forward in life with chaos and the possibility of chaos everywhere.”
“I’m wrestling all the time,” Grashow said. “It’s a brutal world.”
Grashow told the filmmakers that, when the idea for Marocco’s sculpture came to him, he “knew it was like a hineini moment,” using the term which means “here I am” and is also the name of a prayer traditionally chanted during the High Holidays, implying that one is showing up as their full self, with all of their flaws.
“It was God saying ‘Here’s this’ and it was up to me to say ‘Here I am. I’ll do it,’” Grashow said.
It was not a simple task. In addition to the years spent building the project, there was an emotional toll. Early in the film, Grashow says that the project feels like “the grand finale.” He asks that the filmmakers not share that information with his wife, Guzzy, although she later tells them herself that she feels Grashow’s time is running out.
Later in the film, the Museum Contemporary Art in Westport, Connecticut offers Grashow a retrospective exhibit of his work, with the new piece at the center. Grashow’s musings about death imbue the project with a sense of urgency and the proposed exhibit title is fittingly Man, Mortality: A Retrospective. However, when the museum refuses to fully fund the show, Grashow and Guzzy are left scrambling for a way to showcase his life’s work.
As Grashow wrestles with his own corporality, his art is both an escape from and an expression of his worries.
“When I’m doing demons, I know that it’s a little boy playing,” he said. “And an old man being terribly afraid.”
Jimmy & the Demons opens in New York at the Quad Cinema on April 3, 2026.
The post While sculpting Jesus, this Jewish artist wrestled with his demons appeared first on The Forward.