Rules for Using Pen Names

Nom de Plume: A User’s Guide

TUESDAY, APRIL 16, 2013

When I was in my early twenties, I approached Rav Shimon Schwab zt”l, and told him I aspired to be a writer but worried over the possibility of being attacked for any controversial opinion I might have. His response was simple: Use a pen name. He told me that he had done so himself early in his career.

The recent controversy embroiling a certain respected rav and posek is saddening, but also instructive to anyone who has—as I have—used a pen name. Like many areas of life, there’s good anonymity and bad anonymity. Good anonymity includes the desire to be left alone in shul, to avoid having your employer question your commitment to politically correct social beliefs, to keep your children from being thrown out of your yeshiva of choice. Bad anonymity is a tree to hide behind, so that no one can trace the mud you’re slinging.

The following is a guide to writing under a name that (so far) no one knows is you. These simple rules should help you stay out of trouble.

1. The views expressed herein are your own. The anonymous author can remain anonymous as long as his views are a true reflection of his thinking and beliefs. Never write anything that you wouldn’t own up to if (or, more likely, when) it catches up with you. There are many valid reasons for expressing views anonymously. Not truly holding those views is not one of them.

2. Nothing personal. The anonymous author cannot attack others. Ad hominem attacks must be sacrificed on the altar of the pen name. It’s only fair. A man (or woman) has a right to be confronted by his (or her) accuser. In fact, I would argue, even to simply comment on someone else’s behavior from behind the veil of anonymity is inappropriate. The best use of a pen name is to stick to issues and stay away from people. The only exceptions, perhaps, are public figures (the president, the prime minister, Donald Trump).

3. I.D., please. It should be made clear, as much as possible, that you are using a pen name. I originally began commenting and blogging under the name ClooJew. When I started publishing articles—some of which made their way into print—a request was made for my handle to “grow up.” So I abbreviated ClooJew to CJ and added a last name. I have never hidden the fact that I use a pen name. Only once has it been the subject of controversy—when I had a piece published on Cross-Currents, whose policy it is to not accept pieces from anonymous authors (which I didn’t know at the time). I emailed the editor to “remind” him that I use a pen name, and he was—how to put it delicately—not happy. The piece was already set to run, and so it did. I apologized, but was still banned from further publishing on that site (though only as an author; I have commented many times on that site since then).

4. Historical accuracy. If you don’t want to share details of your life, don’t. But if you do, then they ought to be details of your life—not the “life” of your fictitious alter ego. For example, I am an actual Phillies fan; that’s not simply my blog’s favorite team while the “real me” roots for the Mets. Or, Heaven forfend, the Yankees. The above story about Rav Schwab is true. It happened to me. When I was in my early twenties.

Again, the simple rule of thumb is this: If someone were to flip a switch and suddenly everything you published would appear under your true name, viewed by friends and family, neighbors and colleagues, would you stand by every word as truthful and representative of your opinion? If the answer is yes, you’re good to go.

If the answer is no, maybe you have a good novel in you. I’m sure the fiction section at your local library would love to have you.

The Case AGAINST the State of Israel Introducing a Pedophile Registry

https://www.youtube.com/watch?v=mijf9KHQ32g
Published on Jul 26, 2018

Emily Horowitz, a professor at St. Francis College in Brooklyn, was the overwhelming winner (measured objectively by audience opinions before and after) of a debate earlier this year at the Soho Forum on this very topic. Most people assumed no case could be made for her side, but by the time she was done, nearly three quarters of the room agreed with her. We discuss the subject in today’s episode.

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From YouTube, here.

איזה סוג נאמנות צריכים כדי לוודא שאין תקרובת עבודה זרה בפאה נכרית

ביאור הלכה בענין תקרובת עבודה זרה בפאות מהודו

ביאור הלכה בדיני תקרובת עבודה זרה, ובפרט בפאות מהודו, ומקורות הפאות ● בתוספת בירור איזה סוג נאמנות צריכים כדי לקנות פאה נכרית בלי חשש תקרובת עבודה זרה – מאת מח”ס פאת קדמה

22:28 (22/01/20) מכון בריתי יצחק ● הרב יצחק ברנד

המשך לקרוא…

מאתר בריתי יצחק – הרב ברנד שליט”אכאן.

Ishay Ribo: ‘From a Young Age, I Resolved to Write Only Songs Connected to God and Judaism’

Ishay Ribo: The Great Harmonizer

Ishay Ribo’s star is rising, and with it comes a message of hope, faith, and unity.


Last week, on the first downpour of the winter, Ishay Ribo was sitting with his band around a wobbly wooden table in a far corner of the Jerusalem International Convention Center.

Cigarette smoke hung in the air, water bottles were scattered about, and one of his producers was playing backgammon with a balding schlepper. Ribo’s guitarist, long sidelocks reaching his shoulders, slouched in a wooden chair, texting on his phone. His bass player, a small cap atop his head, wore a weathered jacket and a blank expression. Ribo, his beard trimmed close, his short hair slightly graying, tzitzis hanging out of a gray hoodie, sat in the middle of his crew, his eyes at attention.

The linoleum on the floor is cracked, the yellow paint on the walls is peeling, and the fluorescent light above casts a dim glow, but here sits perhaps Israel’s hottest act, preparing for a show.

The scene is right out of a clubhouse – kids seated in a circle playing marbles, friends gathered around a table for a friendly game of cards. There is camaraderie in the air, but also a hint of tension, as if something big is about to happen but no one is exactly sure what.

Ribo is 30 years old, and until a few years ago he was a minor act on the Israeli music scene. Then came his big break, in 2014, when Idan Raichel, a pop star regarded as one of Israel’s most creative and popular musicians, as well as a taste maven with the ability to launch careers, invited Ribo on stage to play a song.

That song, “Tocho Ratzuf Ahavah,” remains Ribo’s calling card, his classic, the sound that other Israeli artists now try to imitate and the melody that has endeared him to the full spectrum of Israeli music lovers, from the proudly secular to the starkly religious.

The song embodies Ribo as an artist. It is both delicate and energetic, full of longing yet exploding into hope. It is also a deeply religious song, with sources in Prophets, Psalms, and Proverbs, and yet its lyrics are easily accessible. It is a foot-tapping pop song with lyrics worthy of poetry.

The song is Ishay Ribo and Ishay Ribo represents the Israeli moment. He is Sephardi but appeals to the entire mishmash of Israeli society – Ashkenazim, chassidim, unidentified. He is a yeshivah graduate who wears a big black kippah and long tzitzis, yet secular Tel Avivans sing along to his songs with the same gusto that chareidim from Beit Shemesh do. He is a former singer in the army band who was invited to perform at both Israel’s nationally televised Independence Day celebration and its Memorial Day commemoration.

To date, he has released four albums – one of which went platinum, two of which went gold – and has recorded duets with a gamut of Israeli pop stars, from legend Shlomo Artzi to chassidic star Motti Steinmetz to pop king Omer Adam. Next year he plans a worldwide tour with stops in the United States, Canada, Mexico, France, and South Africa (he plays Queens College on June 4 and Saban Theater in Los Angeles on June 7), an impressive schedule of international concerts for an Israeli musician who sings in Hebrew and speaks little English.

It’s easy to pinpoint Ribo’s appeal. His voice is smooth and melodic, with a note of truth and urgency. Many of his songs are centered around acoustic guitar, which he plays, or piano, manned by his longtime collaborator, David Ichelovitch. It’s hard to identify his style, but it’s probably best described as soul-spiritual or folk-rock.

Menachem Toker, Israel’s most popular chareidi broadcaster, describes Ribo as a musician who has accomplished the rare feat of cutting across Israel’s sharply defined societal lines.

“Ishay Ribo is totally observant, every yeshivah student can listen to his music,” says Toker. “But he’s also the bridge between the chareidi and chassidic and the dati-leumi. He is the only singer in Israel today loved by the religious and the secular. Some like [Yaakov] Shewkey and some like Omer Adam, but there’s no consensus like Ishay Ribo.”

Continue reading…

From Aish, here.