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These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
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The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
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How I found freedom in a Passover Seder, an amp and a red Fender Duo-Sonic guitar
Passover at my cousin Doug’s house was always a strange blend of ritual, impatience and barely contained chaos. None of us was particularly religious, but we knew the drill: Read the Haggadah, dip the bitter herbs, eat a boatload of matzo, and laugh along as Uncle Sonny delivered his annual denunciation of religion. We rushed through the Seder with the urgency of people trying to outrun a bullet train. Everyone wanted to get to the oleshkas, the tzimmis, and my Grandma Min’s gefilte fish.
At some point during the adult drone that followed — politics, real estate, digestive-related medical complaints — I slipped away from the table in search of Doug’s electric guitar: a red Fender Duo-Sonic. Sleek, curved, impossibly alluring. The first time I saw it, Doug, then 17 or 18, played a halting version of “Hey Joe” for my sister and me. But it wasn’t only the sound that hooked me; it was the shape of the thing. I was 13, only a few months after my Bar Mitzvah, and the guitar felt like contraband, akin to the pot I would soon be smoking. I stared at it with the same stunned focus I reserved for an occasional glimpse of the bare backside of a Playboy centerfold.
The Haggadah asks: Why is this night different from all other nights?
For me, the answer was simple: It was the night I transformed from a pimply suburban teen into something mythic. If daily life — compulsive worry about my untamable Jewy hair, god-awful grades, and a steady stream of unrequited urges — felt like Egypt, then that red Duo-Sonic was my personal Moses.
A few weeks after Passover, my father — a serial entrepreneur who once marketed his own brand of car battery, opened the first Suzuki motorcycle shop in Minneapolis, and launched an eight-track cassette store he called Tape-O-Rama — bought Doug’s Duo-Sonic guitar and his Princeton Reverb amplifier for $150. He was as thrilled about it as I was. I remember him standing in my room, sleeves rolled up, trying to look like he knew what he was talking about. It was endearing and a little sad when he pointed at the amp’s knobs — treble, bass, tremolo, and reverb — and suggested I set them all to five.
“Let’s make ’em all the same, Pete.” He said. “Even Steven.”
My dad knew less than zero about rock, but as always, he wanted to help with something that mattered to me.
The guitar changed my life. Not instantly, but decisively. The first time I played with another kid my own age, my drummer friend Andy Kamman, an impressive musician even as a fifth-grader, I felt something shift. It wasn’t like school band, where I played the alto sax while the band director hovered over us, selecting songs notable only for their excruciating lameness. This was fully ours. No supervision. No rules. No permission required. I pulled my Duo-Sonic and the Princeton amp down the street in my Radio Flyer and set it up in Andy’s basement.
When he and I started playing, it felt shockingly intimate — frightening at first. Not that I knew what a sexual encounter was, but that’s what it felt like: two separate things — guitar and drums; two separate people — me and Andy — merging into a kind of oneness. I had no idea that this sudden unanimity would become an aspiration, not only in music but in all things. Music was simply the clearest expression of that spiritualized coming-together.
I’d play a riff; he’d shift the rhythm; I’d shift again. Words I hadn’t planned poured out. It was as close to conception as I’d get for a while. That transcendent aspect of music — its weird mixture of beauty, ego, and power — was already becoming clear.
By sixth grade we had a band: me on lead guitar and vocals, Andy on drums, Steve Grossman on bass, and Aron Goldfarb on rhythm guitar. We were rehearsing for the Peter Hobart Elementary Spring Concert in Andy’s basement and the whole neighborhood seemed to show up. We had a makeshift PA — one microphone duct-taped to his brother’s stereo — and we played our three originals on repeat. Most of them barely counted as songs. “Sorrowland” was two lines of lyrics and a four-chord progression. “Down by the River” had two chords and one line clearly stolen from Creedence Clearwater.
Our masterpiece was “Exit,” which I wrote during Drug Prevention Week. Every kid had to make a filmstrip warning against marijuana. Mine consisted entirely of dinosaurs I’d rubbed from National Geographic onto overhead projector sheets. I told the class that pot would make you hallucinate brontosauruses, which — completely contrary to the purpose of the curriculum — made drugs sound irresistible.
“Exit” was about a boy who tried to touch his girlfriend’s breast before she was ready and, to soothe his rejection, turned to pot. Its last verse closed with these lyrics:
Your hopes are down and you pick up a J,
it ain’t gonna help you anyway.
But you strike a match and you let it burn
now your mind is ready to turn…
I hit the tremolo pedal on the line “strike a match,” making my voice wobble in druggy vibrato. Everyone went nuts.
With all the attention, the band drama kicked in. Aron, our rhythm guitarist, kept insisting he sing lead — even though we had only one microphone and it was plugged directly into the stereo’s single input. “Hey, Goldfarb, stop being such a dickfarb,” I said into the mic. It got a big laugh. I repeated it until the phrase turned into a song. I strummed some chords and chanted “Goldfarb’s a dickfarb,” over a riff stolen from “Exit.” The room roared. Aron turned red, threw down his gorgeous sunburst Vox Teardrop — an absurdly expensive guitar his parents bought him before he could even play — and stormed upstairs.
Things began to snowball. Kids at the school drinking fountain hummed my guitar riffs. Laura Bloomenthal finally noticed me. And then: incredible news. Mrs. Perhofsky called my house to ask if our band would perform for residents of the Saint Paul Cerebral Palsy Center. $25 plus unlimited orange pop and Fritos. I was ecstatic — and terrified. I had a problem with inappropriate laughter. Not cruelty — just a tendency to laugh when I wasn’t supposed to. A waitress once spilled pancakes at Uncle John’s Pancake House, and I burst out laughing for no good reason. I worried this gig might trigger the same response.
We practiced nonstop: our originals, Creedence’s “Who’ll Stop The Rain,” a few Beatles songs. My nerves tightened with every rehearsal.
The center’s cafeteria was huge. We set up our amps and waited. Then the audience poured in — dozens of people reaching toward us, smiling, stomping, yelling with unbounded eagerness. One guy’s head was long and cylindrical, strapped to the back of a metal wheelchair. A pretty teenage girl with no hands drew a beautiful picture with a crayon held between her toes. An older woman with skin so thin I could see every vein greeted us warmly and made us feel at ease. When we started to play, the place exploded. People pounded on tables, shouted, danced and laughed. Andy played better than I’d ever heard him. We all did.
I felt something then I couldn’t name, a sense of having stepped into the world, of finally being part of something important. I was so overwhelmed I almost cried then and there. I probably would have, if I hadn’t been afraid the guys would laugh at me. After our originals and the Creedence numbers, they demanded more. So we played everything again. We cracked open my Beatles songbook and sight-read our way through half its pages.
I didn’t laugh. I didn’t feel the need. Not even close.
Without question, it was the best day of my life so far.
Freedom is like that.
The post How I found freedom in a Passover Seder, an amp and a red Fender Duo-Sonic guitar appeared first on The Forward.
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In a first, President Donald Trump to receive Israel Prize, the country’s top civilian honor
Israeli Prime Minister Benjamin Netanyahu announced on Monday that President Donald Trump will receive the Israel Prize in 2026, marking the first time the award will be bestowed to a foreign leader.
Trump was informed he had won the prize during a meeting with Netanyahu at his Mar-a–Lago estate as the pair discussed plans to push the ceasefire in Gaza into its second phase, a process that has stalled in recent months.
“For the first time in the history of the State of Israel: The Israel Prize will be awarded to President Trump!,” wrote Israeli Education Minister Yoav Kisch in a post on X. “This is a historic decision that expresses recognition of President Trump’s extraordinary contribution and lasting impact on the Jewish people in Israel and around the world.”
On a call with Kisch during the meeting, Trump said the award was a “great honor,” adding that to be the “first one outside of Israel is really something.”
While the prize has infrequently been awarded to non-Israeli citizens in its history, including to Indian conductor Zubin Mehta in 1991, Monday’s announcement marked the first time that a foreign leader has received the accolade.
According to the Jerusalem Post, the guidelines for the prize mandate that candidates must be Israeli citizens, with the exception of “candidates for the Israel Prize for Diaspora Jewry and/or for a special contribution to the Jewish people.” Mehta, for example, was music director of the Israel Philharmonic Orchestra.
Speaking beside Trump on Monday at a press conference in Florida amid negotiations for the second phase of the Gaza ceasefire deal, Netanyahu said that Trump would receive the award for his “tremendous contributions to Israel and the Jewish people.”
“President Trump has broken so many conventions to the surprise of people, and then they figure out, oh, well, maybe you know, he was right after all,” said Netanyahu. “So we decided to break a convention to or create a new one, and that is to award the Israel Prize, which, in almost our 80 years, we’ve never awarded it to a non-Israeli, and we’re going to award it this year to President Trump.”
Netanyahu added that the award “reflects the overwhelming sentiment of Israelis across the spectrum.”
“They appreciate what you’ve done to help Israel and to help our common battle against the terrorists and those who would destroy our civilization,” continued Netanyahu.
Trump has made no secret of coveting and appreciating prizes, having frequently said that he deserves the Nobel Peace Prize. Netanyahu was among the world leaders, including officials from Pakistan and Cambodia, who nominated Trump for the Nobel. Earlier this month, the international soccer federation FIFA awarded Trump its inaugural “FIFA Peace Prize.”
This article originally appeared on JTA.org.
The post In a first, President Donald Trump to receive Israel Prize, the country’s top civilian honor appeared first on The Forward.
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Iran Faces Nationwide Protests Amid Economic Collapse as Israel Voices Support for Demonstrators
Protesters demonstrate against poor economic conditions in Tehran, Iran, with some shopkeepers closing their stores on Dec. 29, 2025, in response to ongoing hardships and fluctuations in the national currency. Photo: ZUMA Press Wire via Reuters Connect
Iran on Monday experienced a second straight day of expanding nationwide anti-government protests, with violent clashes between demonstrators and security forces escalating as the country grapples with unprecedented domestic crises amid Israel’s open support for the protesters.
On Sunday, thousands of people joined protests across Tehran as shopkeepers closed their stores and went on strike over the country’s deepening economic crisis and the rial — the nation’s currency — plummeting to record lows, Iranian media reported.
Demonstrators are now calling to extend strikes into a third day on Tuesday, with closures reported across key markets and protests spreading nationwide amid mounting economic pressure and growing calls for regime change.
With public unrest sweeping the nation and disrupting commercial districts, security forces have escalated their crackdown, clashing violently with protesters while firing tear gas at shopkeepers.
In widely circulated social media videos, protesters can be heard chanting slogans such as “Death to the dictator” and “[Iranian Supreme Leader Ayatollah Ali Khamenei] will be toppled this year,” while also calling for Iranian President Masoud Pezeshkian to step down.
Videos sent to Iran International show security forces confronting protesting shopkeepers in central Tehran on Monday, with riot police deployed around the Grand Bazaar and tear gas used on Jomhouri Street near the Hafez underpass. pic.twitter.com/OyhQlyUJaN
— Iran International English (@IranIntl_En) December 29, 2025
On Monday, Pezeshkian made his first official response to the protests, announcing that government officials had been instructed to engage in talks with community leaders.
“I have instructed the interior minister to hear the legitimate demands of the protesters by engaging in dialogue with their representatives, so the government can fully address the issues and respond responsibly,” the Iranian leader said in a televised speech.
According to Iranian media, Pezeshkian also appointed former economy minister Abdolnaser Hemmati as the new head of the central bank, announcing a leadership change amid growing criticism over the rial’s historic decline and accelerating inflation.
Meanwhile, Israel has openly expressed support for the protests, denouncing the Islamist regime’s ongoing oppression and pointing to the country’s dire economic and social conditions.
“People in Iran are exhausted with the regime and the collapsed economy,” Israel’s Foreign Ministry wrote in a post on its Persian-language X account.
چون اسرائیل همیشه در کنار مردم ایران ایستاده است. https://t.co/KTC6j44Cpr
— اسرائیل به فارسی (@IsraelPersian) December 29, 2025
Former Israeli Prime Minister Naftali Bennett also voiced his support for the protesters, saying they deserve a better future and affirming that the international community stands with them.
”The Iranian people have a glorious past, and they can have an even more glorious future. That future depends on every one of you,” Bennett said in a video posted on X.
“So, to all the brave men and women now rising up across your country, all the nations of the free world stand with you in your just struggle. Change is possible, there will be a better Middle East,” he continued.
Meanwhile, the Mossad — Israel’s national intelligence agency — used its X account in Farsi to urge the Iranian people to stand up to the regime, indicating agents would join them in support.
“Let’s come out to the streets together,” the Mossad wrote. “The time has come. We are with you. Not just from afar and verbally. We are with you in the field as well.”
با هم به خیابان ها بیایید. وقتش رسیده.
ما همراه شما هستیم. نه تنها از راه دور و شفاهی. در میدان نیز همراهتان هستیم.— Mossad Farsi (@MossadSpokesman) December 29, 2025
Iranian authorities warned that anyone accused of disrupting the country’s economic system would face punishment, calling such acts part of a “foreign-backed effort to destabilize the country.”
The Iranian Interior Ministry blamed the growing unrest on “hostile psychological operations,” claiming that foreign exchange fluctuations were driven by “enemy inducements” rather than economic factors, while urging the public to resist outside propaganda.
Iran has been facing a brutal economic and ecological crisis, with crippling pressure on its water and energy resources, forcing the government to take steps to relocate its capital amid mounting economic and foreign sanctions.
#BREAKING A video obtained by Iran International shows security forces shooting directly at protesters in Hamadan on Monday. pic.twitter.com/MiSXcdyrnp
— Iran International English (@IranIntl_En) December 29, 2025
As the country’s domestic crises deepen, the government has also intensified its internal crackdown.
According to Iran Human Rights Monitor (IHR), a Norway-based NGO that tracks the death penalty in the country, at least 1,791 people have been executed this year, marking a staggering rise from the 993 executions recorded in 2024.
Most of those executed were accused of collaborating with Mossad and aiding covert operations in Iran, such as assassinations and sabotage targeting the country’s nuclear program.
With at least 61 women among those executed, Iran remains the world’s leading executioner on a per capita basis, using capital punishment as a tool of repression, fear, and ideological control.