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‘Mercenaries for Jesus’: Christmas is a busy time for Jews who sing in churches
(New York Jewish Week) — “Jesus is a paycheck,” said Rob Orbach, one of the many classically trained Jewish vocalists who perform Christian sacred songs in churches across New York City.
“There’s a lot of money to be made in churches, especially in New York,” Orbach, 30, who lives in West Harlem, told the New York Jewish Week. “It’s a competitive gig. It’s challenging. We have to be perfect.”
It’s the Christmas season, which means churches throughout the city will be presenting holiday music during worship services and in concerts. And because churches don’t discriminate when hiring professionals for their choirs — and New York City has a surplus of Jewish musicians — many of the singers and instrumentalists bringing comfort and joy, comfort and joy, will be Jewish.
“There are lots of Jews all over the church scene,” Maya Ben-Meir, an Israeli singer who has nine years of experience singing in churches, told the New York Jewish Week. “These churches have stellar ensembles. They hire only professionals and perform magnificently beautiful music. Why wouldn’t I go for this type of job?”
While Christmas may be the busy season, singing in a church is one of the rare jobs for professional singers that is “a steady source of income for most of the year,” she added.
Jewish singer Rob Orbach, 30, performs as part of a church choir in 2021. (Courtesy)
David Gordon, 49, a singer who lives in Manhattan and has more than 20 years of experience singing professionally in churches, estimates that there are hundreds of Jewish singers in church choirs all across New York during this holiday season.
“My choir right now, there are a dozen paid members, and nearly half of them are Jewish, and so is the woman who plays the piano,” said Gordon, who, like other singers interviewed for this article, was hesitant to name the churches where he works.
Gordon, who said that “he’s not very religious” but celebrates the Jewish holidays with his family, told the New York Jewish Week that just this week, he sang a jazz nativity scene and received a call “to ring for the ‘Messiah’” — that is, Handel’s “Messiah” oratorio, a staple of the Christmas season.
“Everybody I know talks about how many ‘Messiahs’ they’re going to have to pay their bills in December,” Gordon said. “It’s a huge part of the career at a certain level.”
He added that he sees himself as “a mercenary for Jesus” — and the outsider angle of a Jew coming into a church to sing Christian worship music is not lost on him.
“There were times where I did not feel welcomed,” Gordon said. “There’s this overlap of ‘We don’t really want you here because you’re a mercenary, you’re getting paid to be here.’”
He said he once heard a pastor say during a sermon that “it’s the fault of the Jews that Jesus was killed the way that he was killed,” Gordon said — a historic charge that the Catholic Church and other denominations have tried to quash.
“It’s something that occasionally comes up,” Gordon said. “Just the sort of standard institutional and relatively harmless antisemitism that’s just part of the Christian tradition.”
Stephanie Horowitz, 41, a Reform Jew who has sung in churches for years on Long Island, told the New York Jewish Week about how she has heard “upsetting things” while working in church choirs.
She described an experience of when the story of Jesus’ crucifixion was told during a service. “This particular church used a translation that was very incendiary towards the Jewish people,” Horowitz said. “It was very clear that they’re trying to send the message that the Jews of the time were responsible for his death, without clarifying that this doesn’t mean we need to hold Jewish people today responsible.”
She added that in another experience, a pastor was giving a sermon about how “the Messiah will be a successful man.”
The pastor “said that, to a Jewish person, a successful man means a rich man,” Horowitz said. “I literally almost stood up and left. The musical director, afterwards, asked if I was OK.”
Meanwhile, Ben-Meir, who grew up secular, said that she was “fortunate enough to work in churches where I didn’t feel antisemitism directed toward me.”
“Everyone knew that I was Jewish,” Ben-Meir said, who is taking a break from singing in churches this season to travel with her partner. “It was never a secret.”
Horowitz explained that when one studies classical music, all roads lead to the church, as Western composers such as Bach, Haydn and Handel led church ensembles and wrote through a Christian lens.
“One of the few places that value musical tonality is the church,” Horowitz said. “I’m obviously not busy on Christmas anyway, so it works out.”
(The custom, it should be noted, goes the other way as well: Some synagogues hire non-Jewish singers and instrumentalists for their choirs. One rabbi even weighed in on whether the practice was permissible.)
And yet, it may seem that for a Jewish person, who is somewhat religious, who celebrates holidays, who grew up around all the Jewish customs, may have trouble singing Christian worship music.
Orbach, who identifies as culturally Jewish, said it is “very easy to separate” his Jewish religion from Christianity when he sings in churches. However, he recalled a time when a church leader asked him to read prayers outside of the rehearsed song.
“As much as I’m not religiously Jewish, that was the line for me,” Orbach said. “I said to them in my interview that I am Jewish.”
Ben-Meir said she never “considered myself to be Christian” while singing in churches.
“It’s a job,” Ben-Meir said. “I always felt that what I was doing when I was singing was bringing joy to the congregants themselves. That, to me, is a form of service, and I don’t necessarily ascribe religiousness to the service.”
Gordon, who is also an actor and teaches acting classes, said that when he performs Christian worship songs as a Jew, it’s similar to when he “checks his ethics at the door when playing a misogynist in an opera.”
“I check my personal feelings aside,” Gordon said. “That’s what I’m paid to do. I just take on the character and the intention of the text, and I’m always glad when an audience is with me, and I’m able to affect them. I don’t really care how.”
He added that there are times when he’d prefer to sing other songs and play other characters that don’t “support the structure of the church.”
“We all have to make compromises as artists,” Gordon said.
Horowitz said that there are plenty of positive experiences involved with singing in the church, and looks forward to taking part in her professional Christmas carol trio, The Jewel Tones, that gets consistent work throughout the holidays.
“Most of the time, it’s really nice,” Horowitz said. “I feel like I’m helping them practice their religion, and there is something beautiful in that. I’m helping them get closer to God.”
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After drawing BDS backlash, progressive Jewish writer Peter Beinart apologizes for speaking at Tel Aviv U
(JTA) — Peter Beinart began his first social media post after his latest speaking engagement with an apology.
“By speaking earlier this week at Tel Aviv University, I made a serious mistake,” the progressive Jewish writer posted on X, a day after a scheduled appearance at the Israeli school.
The morning before, he had defended his plans, saying he saw “value in speaking to Israelis about Israel’s crimes.” Now, he said, “I let my desire for that conversation override my solidarity with Palestinians, who in the face of ethnic cleansing, apartheid and genocide have asked the world boycott Israeli institutions that are complicit in their oppression.”
Beinart’s apology came in the face of steep criticism from some on the anti-Israel left, where Beinart has long been one of the most prominent Jewish voices. The Palestinian Campaign for the Academic and Cultural Boycott of Israel, a founding member of the Boycott, Divestment and Sanctions movement, publicly and privately called on Beinart to cancel his talk, and he endured a bruising volley of castigation online.
Emphasizing that he had not been paid for his speech, Beinart said he had been motivated by wanting to influence Israeli Jews as he said he had with American Jews “with whom I strongly disagree, both to listen and in hopes of changing their minds.” But he said he had come to understand that he could have done that without speaking at an Israeli university, and that he had erred by not consulting Palestinians when making his plans.
“It’s embarrassing to admit such a serious mistake,” Beinart wrote. “I dearly wish I had not made this one, which has caused particular harm because international pressure is crucial to ensuring Palestinian freedom. This was a failure of judgment. I am sorry.”
PACBI did not publicly respond to Beinart’s apology. But the mea culpa ignited a wave of criticism of its own from Jewish and pro-Israel voices who said it typified an absolutist ethos in the progressive pro-Palestinian movement that they have long denounced.
“The dynamics of the radical left, especially the American one (which draws on puritanical patterns) demonstrated here include social pressure, incessant border-drawing, threats of boycotts, repeated demands to confess sins, and the perception of confession as a submission that redeems the guilty from the fate of traitors to the revolution,” tweeted the Israeli scholar Tomer Persico, who is currently on the faculty of the University of California, Berkeley. “This is a political-social space that is purist to the point of self-destruction.”
An Israeli trauma psychologist said Beinart’s apology reflected a stance she had seen before from abused women or people trapped in cults. “They start treating ordinary acts of agency — talking to someone outside the circle or forming a judgment on their own — as betrayals that must be confessed,” wrote Orli Peter in a widely viewed post. “This isn’t moral clarity; it’s fear wearing the mask of conscience.”
Some said Beinart’s apology landed in a historical pattern in which Jews who have sought to ally themselves with antisemitic movements are cast out themselves, sometimes with mortal consequences.
“No Jew is ever good enough for the Jew-hater,” tweeted the Scottish Jewish pundit Ben Freeman. “The goal posts are always moved. The Jew is always left begging for acceptance. They are the ultimate parvenu. Always seeking approval, never gaining it. A Jewish tragedy if ever there was one.”
Some moderate pro-Palestinian voices also weighed in critically. “This is truly embarrassing and deeply self-deprecatory behavior,” tweeted Ahmed Fouad Alkhatib, a Gazan emigre who is critical of much of contemporary pro-Palestinian activism and who himself spoke to an Israeli news organization this week.
“Asking for forgiveness because you spoke to Israeli students who belong to your tribe, are your people, and part of your community is not going to make you more liked, accepted, or embraced by the rabid elements of the ‘pro-Palestine’ movement and the BDS cultists who have long stopped viewing their efforts as a tactic and devolved into demonizing Jews, Israelis, and Zionists as the actual end goal,” Alkhatib added.
Before his apology, Beinart had spoken to a number of Tel Aviv students, including some who attended because they disagree with his views on Israel. Gabi Schiller, a social media activist who has worked at the pro-Israel advocacy group StandWithUs, wrote that some of her Tel Aviv University classmates had spoken with Beinart after his talk to challenge him on his ideas, including his promotion of a one-state solution.
“Putting aside the content of what they discussed, what took place in that moment was inherently valuable, despite how much I oppose Beinart’s stances: the exchange of opinion and ideas in an academic space in a respectful way,” Schiller wrote on Instagram, where she posts under the account name Yehudim Omrim. The experience, she said, was “increasingly impossible on North American campuses around domestic politics and certainly around the Israeli-Palestinian conflict where anti-normalization has become the new litmus test to be permitted into social spaces.”
The post After drawing BDS backlash, progressive Jewish writer Peter Beinart apologizes for speaking at Tel Aviv U appeared first on The Forward.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.