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Hereditary cancers aren’t just a women’s problem. Jewish men need to take precautions too.
Bill Harris, a veteran Los Angeles photojournalist, didn’t think much of it when one morning in 2012 he woke up and found a tiny blood spot on the T-shirt he’d slept in. The next morning, he found blood in the same place on his chest — and went straight to his computer.
“Online, I could find only three things that would cause a man’s nipple to discharge blood: being an avid runner, which I wasn’t; having a subtropical fungus, which I didn’t; and breast cancer,” he said. “That was a pretty big shock.”
Harris, then just a few weeks shy of his 61st birthday, immediately called his doctor, who ordered a mammogram and ultrasound. They confirmed a cancerous growth in his right breast. Ten days later, a biopsy came back positive. The next month Harris got a right mastectomy, followed by the removal of his left breast half a year later.
“I walked into a woman’s imaging center and had to get into a pink paper robe,” he recalled. “All the women in the waiting room were staring at me.”
Like many other Ashkenazi men, Harris never had considered that he might have been born with a harmful mutation of the BRCA gene, which elevates the risk not only of breast cancer, but also of melanoma and prostate, ovarian and pancreatic cancer.
“Hundreds of other mutations in the BRCA gene are just as dangerous, but they’re not specific to Ashkenazim,” said Dr. Robert Sidlow, director of the Male BRCA Genetic Risk Program at New York’s Memorial Sloan Kettering Cancer Center. About 1 in 40 Ashkenazi Jews (those of Eastern European descent) carries the harmful mutation, compared to about 1 in 400 in the general population.
“The vast majority of patients I see are relatives of women who have breast or ovarian cancer and then get tested,” he said. Of BRCA mutation carriers, Sidlow added, “Most men are pretty happy to enroll in some kind of surveillance program once they get over the initial shock.”
Sidlow is on the Men’s Leadership Council at Sharsheret, the national Jewish nonprofit organization that educates the community about cancer risks and supports those with breast cancer and ovarian cancer.
Elana Silber, CEO of Sharsheret (Hebrew for “chain”), says it’s crucial that men with a family history of cancer undergo genetic counseling screening for BRCA and other hereditary cancer mutations.
Genetic testing is possible via a standard blood or saliva sample.
While Sharsheret is primarily considered a women’s organization, it has been using November — nicknamed Movember for its focus on men’s health — for an awareness campaign focused on Jewish men’s cancer risks.
“This is not only a women’s issue,” Silber said. “Family history is so important. When a man shares his family history with his doctor, he may not realize that he should mention that his mother had breast cancer or that his sister had ovarian cancer, as these are not generally ‘men’s diseases.’ They are not aware that these cancers could mean that they themselves are at increased risk for cancer and that they can pass on these mutations to the next generation – their daughters and their sons.”
If someone discovers he (or she) is a carrier of one of the genetic mutations with elevated cancer risks — not just BRCA but also such mutations as ATM, TP53, CHEK2, and PALB2 — there are various precautions they can take for themselves and their children. They can monitor their own health more closely, they can get encourage their children to test to see if they are carriers and, for any future children, take steps to prevent the mutated genes from being passed down.
For example, couples can conceive via in vitro fertilization, or IVF, and then test the embryos before implantation to ensure that only those unaffected by the genetic mutation are implanted.
While most women are aware of the risks of breast cancer, men generally are not — even though the disease strikes 2,500 men in the U.S. every year and kills about 500 of them, according to Sidlow. About 1-2% of men with the BRCA1 mutation and 6-7% of men with the BRCA2 mutation will develop cancer by age 80.
“This is why we recommend periodic mammograms starting at about age 50 for men who carry a BRCA2 mutation,” Sidlow said. “We like to educate these men on how to check their chests once a month and have a clinician do a breast checkup on them once a year.”
Since the BRCA1 and BRCA2 mutations also make prostate cancer more likely, men with either mutation should get PSA (prostate-specific antigen) levels in their blood tested annually beginning at age 40, rather than 50, the age at which screening generally begins, Sidlow said.
Sharsheret has been promoting the importance of learning one’s family history, genetic counseling and screening among both men and women. The 20-year-old organization also runs various peer support networks, offers financial assistance to cancer patients, provides mental health counseling and guidance to patients, caregivers, and their friends, and seeks to educate the broader Jewish community about cancer risks and support.
Peggy Cottrell, a certified genetic counselor at Sharsheret, said men in general are more reluctant to get regular checkups than women.
Ashkenazi Jewish men are at elevated risk not just of breast and prostate cancer but also of pancreatic cancer. Pancreatic cancer is particularly difficult because it’s tough to detect early enough and hard to treat. The five-year survival rate is only 11%. About 2% of BRCA1 carriers and 4% of BRCA2 carriers will develop pancreatic cancer, Sidlow estimated.
“Usually by the time pancreas cancer is clinically detected it has already spread microscopically to the liver,” Sidlow said. “But pancreas cancer is potentially curable if caught when the tumor is extremely small.”
Even among those with elevated risks, certain behaviors can improve one’s odds, such as avoiding obesity, smoking and excessive alcohol consumption.
Harris, the California photojournalist, is still fighting at age 71. While he overcame breast cancer 10 years ago, last year he was diagnosed with ampullary cancer, a rare disease related to his BRCA2 status that was discovered thanks to his participation in a UCLA study. Surgeons have removed his gall bladder, half his pancreas and part of his small intestine, and he has had to endure eight rounds of chemotherapy.
“I’m still working through the aftereffects of the chemo. I have to eat smaller quantities than before and take enzymes to supplement my digestive processes,” Harris said.
Meanwhile, his 37-year-old son discovered that he, too, carries the BRCA2 mutation, and he had a double prophylactic mastectomy and reconstruction at age 30 — just to be on the safe side.
“If there’s any history of breast, ovarian or prostate cancer in your family, get tested genetically so that you’re informed,” Harris advised. “Diagnoses happen way too late for men, and the danger is too big.”
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VIDEO: Memories of the Workmen’s Circle in Montreal
מער ווי הונדערט יאָר לאַנג האָט דער אַרבעטער־רינג געשפּילט אַ וויכטיקע ראָלע אין דעם ייִדישן לעבן פֿון מאָנטרעאָל. די אָרגאַניזאַציע איז געווען איינע פֿון די וויכטיקסטע וועלטלעכע ייִדישע כּוחות אין דער שטאָט און האָט אין משך פֿון לאַנגע יאָרן אַנטוויקלט אַ רײַך קולטור־ און געזעלשאַפֿטלעך לעבן.
אין דער רעקאָרדירונג וועט איר זיך באַקענען מיט שלום (סאָל) עדלשטיין, וואָס האָט אָנגעפֿירט דעם אַרבעטער־רינג אין מאָנטרעאָל אין אירע לעצטע יאָרן. מיטן שמועס פֿירט אָן אלי בענעדיקט פֿון דער ייִדיש־ליגע.
אין די ערשטע יאָרן פֿונעם 20סטן יאָרהונדערט זענען געווען אַ ריי אַרבעטער־רינג-„ברענטשעס“ איבער קאַנאַדע, וואָס האָבן געפֿירט אַ רײַכע קולטור־אַרבעט, אַרײַנגערעכנט שולן, טעאַטער־טרופּעס און כאָרן. במשך פֿון די יאָרן האָבן זיך די „ברענטשעס“ צו ביסלעך פֿאַרמאַכט, און די פֿאַרבליבענע אַקטיוויטעטן האָבן זיך צונויפֿגעקליבן אין איין הויז אין מאָנטרעאָל. אין דעם לעצטן יאָר האָט זיך אויך דאָס הויז פֿאַרמאַכט. אין דעם שמועס וועט שלום עדלשטיין דערציילן וועגן די „ברענטשעס“, וועגן דעם לעבן און די אויפֿטוען אין דעם הויז, און וועגן זײַנע אייגענע איבערלעבונגען דאָרט.
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Facebook suspends radio broadcaster’s account over video of Holocaust survivor
Facebook has abruptly banned a Jewish broadcasting executive in Minnesota after he posted a link to a video of a 104 year-old Holocaust survivor in Texas sharing his story, prompting the Minnesota Attorney General to intervene.
Joel Glaser, CEO of AMPERS, a group of community radio stations across Minnesota, received an email from Facebook last month informing him that his personal account had been suspended because it violated the platform’s “child sexual exploitation” policies.
Because Glaser also administers the account for an AMPERS radio series titled MN90: Minnesota History in 90 Seconds, Facebook also took down that account, which has more than 10,000 followers.
The video produced by an NBC affiliate in Dallas and shared by an ABC affiliate in the Twin Cities, featured a talk by Walter Levy, a survivor who fled Germany in the late 1930s and still tells his story about how his family survived Kristallnacht and struggled with whether to flee to then-British mandated Palestine or America. His family eventually joined relatives in Arkansas.
“How it got flagged as being child sexual exploitation is absolutely beyond me,” said Glaser, who unsuccessfully appealed.. “It did not give me the opportunity to explain anything, ask any questions, provide any screenshots, do anything at all.”
Facebook has said the case has been “flagged for the team” and is “looking into this.”
Glaser initially speculated that an antisemite, Holocaust-denier, or a bot operating on their behalf had flagged his post. But then he started leaning toward the notion that it was probably just artificial intelligence run amok.
“I guess Meta’s AI isn’t smart enough to differentiate between child sexual exploitation and a legitimate news story,” he said.
Because Glaser also oversees AMPERS’ news coverage, losing access to Facebook has made his job more difficult.
“I’m being hindered from doing that,” Glaser said. “They need to fix it.”
Experts say Glaser’s experience is not unusual, underscoring a need for significant work on content moderation systems, as well as transparent correction mechanisms. Without seeing Meta’s internal enforcement signals, it’s impossible to know why the system acted to suspend Glaser’s accounts.
On the morning of June 25 Glaser received an email from Facebook saying that his personal account was being suspended and he had 180 days to appeal. While the platform attributed the suspension to a violation of child sexual exploitation standards, it did not specify what content of Glaser’s had violated those standards. The video of Levy just happened to be his most recent post.
Glaser appealed right away, taking the required nine photographs of his face to prove it was him. Facebook denied the appeal that afternoon and permanently banned him with no opportunity for additional appeals.
Glaser contacted Minnesota’s Attorney General, a standard recourse for Facebook subscribers in a number of states who have
unfairly had their accounts suspended. Brian Evans, press secretary for Minnesota Attorney General Keith Ellison, told Glaser that the office has interceded with Meta previously regarding their “heavy-handed approach to account deactivation.”
The Attorney General’s Consumer Action team will work to get Glaser’s two accounts reactivated, he wrote.
“The Minnesota Attorney General’s Office has received numerous complaints from consumers about moderation decisions that appear to have been made in error by Facebook,” Evans said.
Minnesota State Rep. Ginny Klevorn, a Democrat who represents the suburbs northwest of Minneapolis, has also asked that the state party’s liaison to Meta look into the matter, noting that AMPERS is partially funded by the state of Minnesota.
“Why is a public service network that deals with factual historic events being banned?” she said. “I think they owe Joel some sort of explanation.”
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Artists are boycotting a show about Israel. The run’s already sold out
In the third act of Jonathan Spector’s Birthright, the character Izzy delivers the closest thing the play has to a thesis.
“I can go up on the bimah at my parents’ shul and I can say I am married to a woman, I can say I don’t keep kosher, I can say I don’t believe in God,” the character, a former J Street employee played by Molly Bernard, says. “The one thing that would get me kicked off the bimah, kicked out of the shul, kicked out of my family is if I say I am an anti-Zionist.”
There is an unspoken flipside to this equation: Just as Jewish communal life has instituted litmus tests, the pro-Palestine movement also has its dogma.
Jewish organizations once accepted all comers — gay, bacon-eating, atheist — Spector told me in an interview the day the show, tracking six members of a Birthright group over 18 years, opened at MCC Theatre. Recently, though, when it comes to the Jewish state, “there’s been a similar kind of shift away from tolerance from people on both sides of that divide.”
As if one needed more proof of Spector’s assertion, the group Theater Workers for a Ceasefire announced on Tuesday a call to boycott the production for “normalization,” even though the show is, at press time, sold out.
In an open letter, the organization outlines its concerns. “Normalization includes any plays, festivals, and other kinds of cultural activities that are based on the false premise of symmetry between oppressors and oppressed or which assume colonizers and colonized are equally responsible for the ‘Israel/Palestine conflict.’”
Birthright, they argue, meets this definition in its third act, when Izzy and Chaya (Zoë Winters), a former Obama staffer, debate the Gaza War in the aftermath of Oct. 7. “Chaya and Izzy perpetuate the fallacy that genocide has two equally legitimate sides,” the Theater Workers wrote. “The play does not challenge Chaya’s beliefs — it privileges them.”
But does it? We learn Chaya resigns from her job at the domestic nonprofit she founded over a pressure campaign by her staffers, who share an offensive text she sent via Instagram. The text: “Maybe they should spend a week in Gaza, and then come back and tell us if the rapes are real or not.”
In an Instagram carousel, Artists For Ceasefire describes this as “a text accusing Palestinians of being rapists.” This is a distortion, but reveals a familiar taboo in certain pro-Palestinian activism: the acknowledgment that Hamas and Palestinian Islamic Jihad committed sexual violence.
“Birthright emphasizes Chaya’s victimhood, whereby her own personal and professional losses in the wake of October 7th are greater than that of any Palestinian,” the letter continues. “Izzy is depicted as immoral for caring more about Palestinian strangers than her friend.”
This smacks of a bad faith reading. Once again we are in the realm of depiction not equalling endorsement. Cherries are being picked. That the play doesn’t “challenge” every argument, or “encourag[es] audiences to empathize with” an Israeli character’s “subjectivity” is seen as morally deleterious, rather than what it is: a play, with characters, not a debate, op-ed or struggle session.
As Spector told me, “plays contain ideas, but plays are about people.”
We needn’t wonder what Theater Workers for a Ceasefire would recommend as counter-programming: on Instagram they argued for an example in Seven Jewish Children by Caryl Churchill, a non-Jewish playwright. That play is more polemic than drama and runs on an engine of Holocaust inversion, which makes sense when you look at their Instagram post.
“Conventional drama demands we present contrasting viewpoints in the name of conflict,” the group concedes, “But how we write the conflict is not an ideological [sic] benign matter.”
The overriding interest is not art, but ideology. Not the mirror up to life, but of the funhouse variety that warps reality to an endless, echo chamber tunnel.
Eli Gelb, an actor in the show, acknowledged the boycott in an Instagram story, wrote “I’ve been outspoken as an antizionist Jew and I remain so. I believe in the show and will be continuing to perform in the production.” Molly Bernard’s Instagram stories Wednesday are of devastation in Gaza.
The letter makes clear “this would not be a boycott of MCC, nor of Jonathan Spector, but of this specific cultural product.” How can you boycott a run that, at press time, has no seats left to buy? Yield your tickets while ye may, someone will gladly snap them up.
In the play, a character, whose identity I won’t reveal due to spoilers, discusses an episode recounted in the Talmud, where a Super Bowl-sized crowd witnesses one priest stab another for the privilege of cleaning up ashes from a ritual sacrifice.
Rabbi Tzadok says all present were responsible for creating the conditions for the attack. But then the father of the stabbed priest retrieves the knife from his son’s back, and tells the crowd that, as he is not yet dead, the knife is still ritually pure. The onlookers cheer.
In the show, the story is cryptic, but speaks to Israel, where the ideal of the state has given way — perhaps irreversibly — to a culture of violence.
“This is how far they had fallen in this period,” the character says, “how far they had strayed, that they valued the laws of ritual purity over human life.” It’s an argument that would seem to align with Artists for Ceasefire, for whom the suffering in Gaza supersedes any gestures at complexity.
In their demands for a purity test, they may have missed it.
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