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The ‘Are You There God? It’s Me, Margaret’ movie is a dated view of intermarriage

(JTA) — After watching “Are You There, God? It’s Me, Margaret” with one of my grandchildren, I’m very concerned that the thousands of tweens and teens who watch the movie will accept, as true, its very negative message about religion in general, and interfaith marriage in particular.

The movie is based on a book Judy Blume wrote in 1970, a long time ago. That date does flash on the screen when the movie begins, but it’s easy to forget that you’re watching a story based on things as they were over 50 years ago. The movie’s treatment of puberty, pre-teens kissing and mean girls ages well, although I’m no expert on those issues.

But the ways people experience interfaith marriage and religion today are very different.

The most dramatic part of the story is how Margaret’s Christian mother’s parents cut off contact with her when she married Margaret’s Jewish father — and had no contact with their granddaughter for 12 years.

It’s true that even today some non-Orthodox Jews react very harshly if their children fall in love with someone who is not Jewish. That definitely happened more in the 1970s, when there was not yet much interfaith marriage and the taboo against it was still high. My mother’s father literally sat shiva when a first cousin of mine intermarried in the 1960s. 

When I married in 1974, my parents were unhappy that my wife was Christian, and while my wife’s parents never said anything, we learned much later that her father was unhappy that I was Jewish. 

But they all put love of their family over those preferences, and they all had very loving relationships with our Jewish children. 

Both of our children married partners from different faith backgrounds; I am pretty sure that our Christian machatunim (their spouses’ parents) were as delighted with these marriage choices as we were. Our grandchildren are adored by their two Jewish grandparents and two from different faith backgrounds.

I am afraid that the tweens and teens who watch the movie will not understand that its depiction of parents cutting off contact with their children for marrying someone from a different religion has fading relevance in our world today. As far back as 2000, an American Jewish Committee study found that 56% of American Jews did not oppose interfaith marriage and 80% said it was inevitable in an open society. The most recent Pew study of Jewish Americans found that only 22% of Jews said it was very important that their grandchildren marry Jews. 

Meanwhile, Pew found that the number of Americans who have a spouse from a different religious group than their own rose from 19% who wed before 1960 to 39% who wed after 2010 — suggesting taboos have fallen among non-Jews as well. 

Viewers of the movie won’t understand that people realize now that giving up connection with children and grandchildren deprives one of so much love, it’s just not worth doing

The second largely out-of-date part of the story is how Margaret’s parents do not practice any religion — they don’t celebrate Christmas or Hanukkah — and tell Margaret she can pick a religion when she’s an adult. Margaret is clearly curious about religious matters — after all, as the title says, she’s always trying to talk to God.

I’m afraid that kids who watch the movie will not understand that today it is rare for Jewish-Christian couples to decide not to have any religion in their lives. The recent Pew study found that 57% of interfaith couples raise their children as Jewish only; that may include celebrating Christian holidays in a not-religious way, or it may not. The study found that 12% of parents raise their children partly Jewish and partly another religion. Some 30% do not raise their children Jewish at all; they may be raised Christian only, maybe with or without Jewish holidays, or with no religion at all. 

There’s no suggestion in the movie that for Jewish-Christian interfaith families like Margaret’s, engaging in a religious community — whether Jewish, Christian, or both — can be a profound source of meaning and connection. Instead, the message is that religion is boring and confusing. In the movie’s synagogue scene, everything is unfamiliar to Margaret because she had no prior experience, and incomprehensible because all in Hebrew. I’m afraid that kids who watch the movie will have no idea that Jewish worship services can be lively and meaningful — even with lots of Hebrew. 

The dramatic climax of the movie is a scene in which the Christian grandparents show up to say that Margaret should be baptized. They’ve had no contact with her for 12 years. The Jewish grandmother’s declaration that Margaret is Jewish because she went to services once is equally ridiculous. In over twenty-five years working with and studying interfaith families, I almost never encountered this kind of conflict. I’m afraid viewers won’t understand that this kind of fighting over a granddaughter’s religious identity — instead of respecting her parents’ decisions about religion — thankfully is very rare.

Fiction seems to need conflict. There is a paucity of positive messaging about interfaith families being happily engaged in fulfilling religious communities with supportive grandparents. Perhaps those stories wouldn’t sell — but they are the reality for so many interfaith families. It is very unfortunate that this movie will leave tween and teen viewers — especially those from interfaith families — questioning that reality.


The post The ‘Are You There God? It’s Me, Margaret’ movie is a dated view of intermarriage appeared first on Jewish Telegraphic Agency.

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UC Berkeley Settles Lawsuit Brought by Israeli Professor Denied Teaching Position

Students attend a protest encampment in support of Palestinians at University of California, Berkeley during the ongoing conflict between Israel and the Palestinian Islamist group Hamas, in Berkeley, US, April 23, 2024. Photo: Carlos Barria via Reuters Connect

The University of California, Berkeley has agreed to pay a five-figure sum to settle claims that it unlawfully denied a teaching position to a dance instructor because she is Israeli, both the victim’s legal counsel, provided by the Louis D. Brandeis Center for Human Rights Under Law, and the school announced on Wednesday.

As previously reported by The Algemeiner,  Dr. Yael Nativ, who taught in UC Berkeley’s Department of Theater, Dance, and Performance Studies as a visiting professor in 2022, was denied another appointment in the department because a hiring official allegedly believed that her employment would be unpalatable to students and faculty in the aftermath of the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel, amid the ensuing Gaza war.

“My dept [sic] cannot host you for a class next fall,” the official allegedly told Nativ in a WhatsApp message. “Things are very hot here right now and many of our grad students are angry. I would be putting the dept and you in a terrible position if you taught here.”

Berkeley’s Office for the Prevention of Harassment and Discrimination (OPHD) later initiated an investigation into Nativ’s denial after the professor wrote an opinion essay which publicly accused the school of cowardice and violations of her civil rights. OPHD determined that a “preponderance of evidence” proved Nativ’s claim, but school officials went on to ignore the professor’s requests for an apology and other remedial measures, including sending her a renewed invitation to teach dance.

After nearly two years, the situation had remained unresolved, prompting Nativ to file suit and seek damages as well as the apology UC Berkeley refused to pronounce at the time. Now, just under four months after the filing of Nativ’s complaint, the two parties have reached an amiable settlement and disclosed its terms in a joint statement.

“As part of the settlement, UC Berkeley has agreed to continue to strictly enforce the University of California’s Anti-Discrimination Policy and ‘respond promptly and equitably to reports’ of prohibited conduct as defined in that policy,” the statement said. “Dr. Nativ will receive a personal apology from UC Berkeley’s Chancellor Rich Lyons and monetary damages in the amount of $60,000, a portion of which she has decided to donate to a charitable organization.”

The statement added that Nativ will be invited to teach the course she was denied, a major victory for the professor and a positive, if unusual, act of reconciliation between an employer and employee who were only recently contesting claims of discrimination in civil court.

“The excellence of Dr. Nativ’s teaching was never in question, and UC Berkeley appreciates Dr. Nativ’s willingness to teach the course despite the discrimination that OPHD found to have occurred,” the statement added.

In her own statement, Nativ said, “Incidents of discrimination of any kind must have no place within environments dedicated to learning and the free exchange of ideas. It is my hope that this outcome contributes to strengthening these commitments for all scholars and students.”

UC Berkeley was the site of one the most shocking antisemitic incidents in recent memory in the months which followed the Hamas-led Oct. 7 massacre across southern Israel, as previously reported by The Algemeiner.

In February 2024, a mob of hundreds of pro-Palestinian students and non-students shut down an event at UC Berkeley featuring an Israeli soldier, forcing Jewish students to flee to a secret safe room as the protesters overwhelmed campus police.

Footage of the incident showed a frenzied mass of anti-Zionist agitators banging on the doors of Zellerbach Hall while an event featuring Israeli reservist Ran Bar-Yoshafat — who visited the university to discuss his military service during Hamas’s Oct. 7 invasion — took place inside. The mob then stormed the building — breaking glass windows in the process, according to reports in the Daily Wire — and precipitated school officials’ decision to evacuate the area.

During the infiltration of Zellerbach, one of the mob — which was recruited by Bears for Palestine, which had earlier proclaimed its intention to cancel the event — spit on a Jewish student and called him a “Jew,” pejoratively.

“You know what I was screamed at? ‘Jew, you Jew, you Jew,’ literally right to my face,” the student who was attacked said to a friend. “Some woman — then she spit at me.”

Shaya Keyvanfar, a student, told The Algemeiner that her sister was spit on and that the incident was unlike any she had ever witnessed.

“Once the doors were closed, the protesters somehow found a side door and pushed it open, and a few of them managed to get in, and once they did, they tried to open the door for the rest of them,” Keyvanfar said. “It was really scary. They were pounding on the windows outside — they broke one — they spit at my sister and others. They called someone a dirty Jew. It was eerie.”

In July, the chancellor of UC Berkeley described a professor who cheered Hamas’s Oct. 7 atrocities as a “fine scholar” during a congressional hearing held at Capitol Hill.

Richard K. Lyons, who assumed the chancellorship in July 2024, issued the unmitigated praise while being questioned by members of the US House Committee on Education and the Workforce, which summoned him and the chief administrators of two other major universities to interrogate their handling of the campus antisemitism crisis.

Lyons stumbled into the statement while being questioned by Rep. Lisa McClain (R-MI), who asked the chancellor to describe the extent of his relationship and correspondence with Professor Ussama Makdisi, who tweeted in February 2024 that he “could have been one of those who broke through the siege on Oct. 7.”

“What do you think the professor meant,” McClain asked Lyons, to which the chancellor responded, “I believe it was a celebration of the terrorist attack on Oct. 7.” McClain proceeded to ask if Lyons discussed the tweet with Makdisi or personally reprimanded him, prompting an exchange of remarks which concluded with Lyons saying, “He is a fine scholar.”

Follow Dion J. Pierre @DionJPierre.

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Praise for soccer star Leo Messi in new album of Yiddish songs for kids

Jordan Wax, a Santa Fe-based performer and composer of Yiddish and New Mexican regional music, has just released a record of original secular Yiddish children’s songs. When asked why, he didn’t skip a beat: “My day job is doing kids’ music,” he said.

It started eight years ago when Wax, who’s a vocalist and multi-instrumentalist, took a job singing bilingual Spanish-English songs for toddlers across the three branches of the Santa Fe public library. The repertoire included traditional songs from New Mexico and Mexico, as well as his own adaptations of traditional songs to make them bilingual and participatory.

Now, he’s a regular feature at the local Jewish preschool, in Temple Beth Shalom. The songs are still bilingual — but this time, they’re in Yiddish and English.

In his new album Pantakozak and Other New Yiddish Songs for Kids, some of the songs were actually written in collaboration with these very preschoolers. “The Polar Bear song came from one of them who was kind of grumpy that day, and just wanted to roar and be ferocious and express rage,” he said.

The album was released by the Yiddish specialist label Borscht Beat in late November of this year.

Wax’s background with children’s music might seem surprising if you’ve heard his other album, the recently-released Taytsh [The Heart Deciphers], which features heavy subject matter like the bloodlust of power, the loss of culture, perpetual war and the fallout of late-stage capitalism, all sung in Yiddish.

At the same time, he’s very comfortable with being silly, and wants people to know that Yiddish culture is, too. “Yiddish music does have a lot of seriousness. It does have a lot of political commentary. It has a lot of spiritual commentary. But it also has fun and goofiness.” For example, “Bulbes,” a nonsense song about eating potatoes everyday, is part of the traditional Yiddish canon.

Along with light humor, Pantakozak is deeply infused with stories and musical references to prewar Jewish Eastern Europe — material that Wax started recording in earnest during a visit to Moldova in 2023. He took a special interest in the traditional Romani Lăutari music of the Bessarabian region, which was once closely entwined with local klezmer music, and befriended the Lăutari band Taraf de Chișinău. They feature on several tracks, including the Hanukkah song Khanike iz Freylekh / Spin Around Like a Dreydl, where Vladislav Tanas’ cimbalom drives the pulsating rhythm.

The album reflects a deep Jewish connection to the Old World. Wax’s late friend, Misha Limanovitch, was a storyteller who grew up in a Yiddish-speaking home in Olechnowicze, formerly Poland, now part of Belarus. Limanovitch made the old world that felt nearly mythical to Wax feel close at hand until he passed away in 2023.

Limanovitch described a resident of the village called Itshke the Klezmer, a recording of which later became the introductory part of Wax’s song, “Itshke the Klezmer.” “He remembered this character in his village who would come around, who was a kind of itinerant musician, a klezmer,” Wax said. “That made a big impression on me after studying klezmer music.” Wax had heard a lot about the village musicians in Eastern Europe, and before hearing about Itshke the klezmer, it all felt “like a million light years away.”

Limanovich also told Wax the story of Pantakozak, the Cossack-like figure who threatened children that he would go into their cradles if they didn’t lay quiet — a story which his sister used to tell him before going to bed. Wax wasn’t sure if this young girl made up the story or not, since he couldn’t find any reference to this creature anywhere.

Wax also looked through the Yiddish Book Center’s OCR (optical character recognition) for phrases that Limanovich had told him about Pantakozak, like “ikh hob dray lange nezer, ikh trink fun draytsn glezer,” (I have three long noses, I drink from 13 glasses) and other absurd rhymes. He found the phrases in the 1917 Antologye, 500 yor yidishe poezye, an anthology of 500 years of Yiddish poetry, in a verse written by the compiler himself, Morris Bassin. Bassin called Pantakozak, the Cossack-monster, by a different name: Gonte Kozak.

Wax was enthused to see that his preschoolers enjoyed the resulting song he composed from the story. One of the preschool teachers sent him a phone video showing a group of four-year-olds sitting around a table during snack time, reciting lines from his song about Pantakozak: “My name is Panta Kozak! I blow up like a blozak! I put on stripey pants, I do my Panta dance!”

The structure of the album is designed not only for kids, but also for their parents and caretakers. The album begins with music aimed at motivating kids to move their bodies and wiggle. One is a Yiddish counting song, “Di hent af di fis un di fis af di hent” (“Your hands on your feet and your feet on your hands”). While it resembles the contemporary English children’s song “Head, Shoulders, Knees and Toes,” it contains references to a traditional Jewish “patsh-tants,” a hand-clapping dance.

Afterwards, the album settles into storytime legends old and new, featuring  Limanovich’s tales and a ballad dedicated to Argentinian soccer star Leo Messi. (“There was a kid who wouldn’t sing about anything if it wasn’t Leo Messi,” Wax explained.) The songs then adopt a slower pace until they lead into the peaceful, moving lullaby, “Khayeles Viglid”  (Little Chaya’s lullaby).

But when the kids are asleep, the album isn’t over. A more somber adult-oriented piece appears: “Yugnt-Himen” (“Anthem of the Young, written in 1943 by Shmerke Kaczerginski, the Vilna Ghetto cultural organizer and member of the “Paper Brigade,” the group that smuggled important cultural materials into the ghetto. The melody was composed by Basye Rubin, a contemporary of Kaczerginski’s.

In an archival recording excerpted at the beginning of the track, Kaczerginski recalls the need to give courage to the younger generation through song. “Those times demanded, more than any other time, courage and spirit in the face of despair; I taught this song in the ghetto to children,” he says.

Wax sings the original along with adaptations of his own in English. Its stirring message is meant for everyone: “Yung iz yeder, yeder, yeder ver es vil nor,” anyone who wants to be young is indeed young.

Pantakozak’s lyrics, its embrace of intergenerational bonding and its meaningful historical references — as well as its high quality production and performances — are unusual in children’s music. The care that Wax put into this record comes from his idea that we should respect our children’s intelligence, just as Kaczeginski implied in his introduction to the song.

“They deserve to be given something that has the same integrity as what I would want to be given,” Wax said.

 

The post Praise for soccer star Leo Messi in new album of Yiddish songs for kids appeared first on The Forward.

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Israeli Druze Leader Seeks US Security Guarantees for Syrian Minority

Leader of the Druze community in Israel, Sheikh Mowafaq Tarif, speaks with Reuters at his house in Julis, northern Israel, July 28, 2025. Photo: REUTERS/Ali Sawafta

Israeli Druze leader Sheikh Mowafaq Tarif urged the United States to guarantee the security of the Druze community in Syria to prevent a recurrence of intense violence earlier this year in Sweida, a Druze-majority province in Sunni-dominated Syria.

Washington needed to fulfill its “duty” to safeguard the rights of Syria’s minorities in order to encourage stability, Tarif told Reuters on Tuesday during an official visit to the UN in Geneva, adding that US support would also remove the need for Israeli intervention in Syria’s south.

“We hope that the United States, President Trump, and America as a great power, we want it to guarantee the rights of all minorities in Syria … preventing any further massacres,” he said.

US President Donald Trump vowed in November to do everything he can to make Syria successful after landmark talks with Syrian President Ahmed al-Sharaa.

BLOODY CLASHES IN JULY

The Druze are a minority group whose faith is an offshoot of Islam and have followers in Israel, Syria, and Lebanon.

In July, clashes between Druze and Bedouin residents broke out in Sweida after tit-for-tat kidnappings, leading to a week of bloodletting that shattered generations of fragile coexistence.

The violence worsened when government forces dispatched to restore order clashed with Druze militiamen, with widespread reports of looting, summary killings, and other abuses.

Israel entered the fray with encouragement from its Druze minority, attacking government forces with the stated aims of protecting Syrian Druze and keeping its borders free from militants.

Tens of thousands of people from both communities were uprooted, with the unrest all but ending the Bedouins’ presence across much of Sweida.

In the aftermath, Druze leaders called for a humanitarian corridor from the Golan to Sweida and demanded self-determination, which the government rejects.

‘NEED TO REBUILD TRUST’

Asked about proposals by influential Druze Sheikh Hikmat al-Hajari to separate Sweida from Syria, Tarif took a different stance, stressing the need for internal autonomy or self-governance within Syria as a way of protecting minorities and their rights and pointing to federal systems in Switzerland and Germany as examples.

It was inconceivable to ask the Druze to surrender their weapons, he said. Talks to bring Sweida’s former police force onto Damascus‘ payroll — while allowing the Druze to retain wide local autonomy — had been making steady progress until July’s bloodshed derailed them.

Al-Sharaa, a former al Qaeda commander who led rebel factions that ousted former long-time leader Bashar al-Assad last December, has vowed to protect the Druze. However, Hajari insists he poses an existential threat to his community and in September rejected a 13-point, US-brokered roadmap to resolve the conflict.

Asked if talks should be revived, Tarif said trust had to be rebuilt by allowing residents to return to their homes, and permitting full humanitarian access to Sweida.

“There is no trust today … Trust must be rebuilt,” he said.

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