Connect with us

Uncategorized

Does anime have a Nazi problem? Some Jewish fans think so.

TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw. 

In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way. 

In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans. 

The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”

Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”

“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few. 

Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities. 

“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”

These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war

“​​Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”

But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices. 

“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”

hi

anime and manga have an antisemitism problem

good day

— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022

East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.

But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.

“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.

“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.

As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.” 

“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said. 

Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.

“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”

In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences. 

Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.

“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”

“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)

Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.

I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”

Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.

Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.

“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”

Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating.  Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.

“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.

“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels. 

In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.


The post Does anime have a Nazi problem? Some Jewish fans think so. appeared first on Jewish Telegraphic Agency.

Continue Reading

Uncategorized

Iran’s Rulers Seek to Die for God as Jews Aspire to Live for Him

Emergency personnel work at the site of an Iranian strike, after Iran launched missile barrages following attacks by the US and Israel on Saturday, in Beit Shemesh, Israel, March 1, 2026. Photo: REUTERS/Ammar Awad

Iran’s increasingly reckless attacks across the Middle East have reached a new level. This week, debris from an Iranian missile struck the Church of the Holy Sepulchre in Jerusalem’s Old City, just yards from the Al-Aqsa Mosque — Islam’s third holiest site.

The assumption was that this proximity would protect Christianity’s holiest site. Instead, the incident highlights a disturbing shift: Iran’s hostility toward Israel now seems to include a disregard for the holy sites of other faiths, and even Islamic holy sites.

The same disregard is evident elsewhere. In the Arab town of Beit Awwa near Hebron, a makeshift beauty parlor — a converted caravan — was filled with women preparing to celebrate the end of Ramadan. It was reduced to rubble by an Iranian missile, and three women were killed. So much for solidarity with the Palestinians.

Meanwhile, missiles continue to streak across the Gulf, slamming into energy infrastructure in Qatar, Kuwait, and Saudi Arabia. Gas fields are burning, refineries are ablaze, and the Strait of Hormuz is effectively impassable.

Oil prices are surging, sending shockwaves through the global economy. And behind it all, the Iranian regime — now increasingly opaque, guided by shadowy figures claiming to act in the name of both nation and God — promises “zero restraint.”

This, despite the fact that Iran itself is already teetering on the brink. Its economy is shattered, its infrastructure is battered, and its leadership has been irreparably weakened by targeted assassinations and sustained military pressure from the United States and Israel.

And yet, they fight on. At a certain point, this all stops looking like strategy and looks like something else entirely. Wars are usually fought for territory, security, economic gains, or – pointedly – for survival.

Even brutal wars tend to follow a basic logic: Preserve what you have, weaken your enemy, and live to fight another day. Even when nations act ruthlessly, they are still, at some level, trying to ensure that there is a tomorrow. But what we are witnessing now feels different.

When a government targets global energy infrastructure, knowing it could cripple entire economies — including its own — when it risks sacred sites and civilian lives while claiming religious legitimacy, you have to ask: What is the endgame? What if survival is no longer the primary goal? What if the objective is something else entirely — something closer to sacrifice than strategy?

Not all Iranians share this trajectory. Voices like Crown Prince Reza Pahlavi — along with many Iranians inside and outside the country — have long argued for a future defined by stability and openness, the very opposite of the path the current regime seems determined to pursue.

There is a dangerous idea that surfaces from time to time in human history — often cloaked in religious language — that elevates destruction, even self-destruction, into an act of devotion. Not everywhere, and not in every interpretation.

But in certain ideological strands, including within the worldview of Iran’s ruling elite, conflict and chaos are more than political tools. They are seen as redemptive — even apocalyptic. And once you start thinking that way, the line between serving God and sacrificing everything — your people, your future — begins to blur.

We’ve seen this before. Such movements stop trying to build anything lasting; instead, they become intoxicated by their own vision: an idealized world that must either be realized in full or swept away entirely. The present moment becomes everything. The aftermath is an afterthought.

All this makes the third book of the Torah, Sefer Vayikra, all the more striking. On the surface, Vayikra reads like a manual of ritual sacrifice. Animals and birds are brought to the altar, slaughtered, their blood sprinkled, their lives offered back to God.

It is easy — almost instinctive — to see it as a theology of death. But that is a profound misunderstanding. The sacrificial system was never meant to glorify death. Quite the opposite. As Maimonides explains, its purpose was to transform the living.

A sacrifice is not about annihilation — it is about encounter. The Torah’s word for it is korban, from the root meaning to “draw close.” It is about proximity — kirvah — about narrowing the distance between human beings and God.

The ritual sacrifice experience was meant to be unsettling — to shake a person out of complacency and force a confrontation with the fragility of life and the weight of existence. After that, a person would walk away changed. The animal remains behind, but the human being surges ahead.

Yes, there are moments in Jewish history when one is called to give up life for Kiddush Hashem. Those moments are real and sacred. But Judaism never built its identity around dying for God — or destroying in His name. Instead, the Jewish people built a civilization around living for Him.

Dying for God is a single, dramatic act. Living for God is relentless. It means waking up every day and choosing discipline over impulse, responsibility over instinct, and purpose over comfort. It means biting your tongue instead of lashing out, acting with integrity when no one is watching, and showing up — again and again — long after inspiration fades.

It means sustaining a relationship not through intensity but through the quiet consistency of daily life. And that, as anyone who has tried it knows, is far harder. Grand gestures are easy. Consistency is exhausting.

That is why Vayikra is not just a book about sacrifices. It is the Torah’s handbook for sustained holiness. As it tells us, clearly (Lev. 19:2): “You shall be holy.” Not just once, for show, or to make a point. Not only in a moment of crisis. And certainly not in a surge of religious passion.

Holiness, in the Torah’s vision, is continuous. Like the Shema, recited quietly every morning and every night, it is about keeping the connection alive. Like acts of charity, given not as a one-off gesture but whenever they are needed.

Relationships — real ones — are not built on intensity or bursts of devotion that fade quickly. They are built on constancy. Anyone can make a grand gesture. Maintaining a relationship — with another person or with God — demands something far more difficult: presence, patience, and persistence.

That is what makes the current moment so unsettling. When a regime that claims to represent God’s will begins to romanticize destruction — even self-destruction — and escalation becomes an end in itself, chaos is embraced rather than avoided. It reveals a worldview in which dying for God has eclipsed living for Him.

Judaism rejects that idea at its core. God does not ask us to destroy the world in His name. He asks us to build it, and to build within it. In particular, He asks us to build in a way that will endure beyond us. To create families and nurture them. To form communities and care for them. To pursue justice, even for those with whom we disagree. Above all, He asks us to take a flawed, imperfect world and elevate it — not to burn it down, but to engage with it.

The altar in Vayikra was never meant to be a destination. It is a starting point. It is a place where a person confronts what could be lost — and then recommits to what must be lived. It reminds us that what God truly wants is not the life that ends in sacrifice, but the life that continues — day after day — in relationship, in responsibility, and in quiet, stubborn faithfulness.

The real test of faith is not whether you are willing to die for God. It is whether you are willing to live for Him.

The author is a rabbi in Beverly Hills, California.

Continue Reading

Uncategorized

Joe Kent’s Resignation Isn’t Actually About the War

Then-National Counterterrorism Center Director Joseph Kent attends a House Homeland Security hearing entitled “Worldwide Threats to the Homeland,” on Capitol Hill in Washington, DC, US, Dec. 11, 2025. Photo: REUTERS/Elizabeth Frantz

“Iran posed no imminent threat to our nation.”

That’s what Joe Kent, now the former director of the US National Counterterrorism Center, wrote in his resignation letter this week.

“I cannot in good conscience support the ongoing war in Iran. Iran posed no imminent threat to our nation, and it is clear that we started this war due to pressure from Israel and its powerful American lobby.”

Read that without context — exactly how much of the media prefers to present it — and you might start to think that perhaps the United States is inserting itself into a conflict it has no business being part of. And frankly, I wouldn’t blame you. The clickbait headlines of the past week have incited and invited these conclusions.

But look just beneath the surface, and it becomes clear: This resignation has very little to do with the US military campaign and everything to do with a conspiratorial, antisemitic narrative dressed up as dissent. One that might resonate with figures like Nick Fuentes or Tucker Carlson but has no grounding in reality.

Let’s start with facts.

Iran has spent over four decades funding, training, and directing terrorist organizations responsible for the deaths of thousands of civilians — including Americans — worldwide. Hezbollah, Hamas, the Houthis, and militias across Iraq and Syria are all backed by Iran’s Islamic Revolutionary Guard Corps, collectively receiving at least (and likely more than) hundreds of millions of dollars annually.

At the same time, Iran has aggressively pursued nuclear capabilities while openly signaling how it intends to use them. In Tehran’s Palestine Square, a literal “doomsday clock” counts down to 2040, marking the regime’s stated goal of Israel’s destruction, an outcome it fully intends to be responsible for.

Given that reality, it is hardly irrational for a country, or its allies, to act before those capabilities are fully realized, or before Iran further entrenches itself as the world’s leading state sponsor of terrorism.

Which is why Kent’s framing matters.

When the director of counterterrorism resigns, claims opposition to military intervention, and then blames that intervention on the Jewish state, it begins to look less like principle and more like narrative-building. A deliberate contribution to the growing wave of anti-Israel sentiment in the United States.

Because the idea that Israel “forced” the United States into war is not just wrong; it’s absurd.

It requires believing that a small Middle Eastern country somehow coerced the world’s most powerful military superpower into spending billions of dollars, mobilizing naval fleets, deploying troops, risking strategic alliances with countries like Saudi Arabia and Qatar, and disrupting global energy markets, all against its will.

It also requires believing that US President Donald Trump, known for being both unpredictable and strategic, was somehow pressured into a war he did not want to fight.

That simply does not pass the most basic test of logic.

Kent’s resignation letter is his ticket to fame. His introductory essay into conspiracy college, where his classmates and apparent mentors include none other than the likes of Nick Fuentes, Tucker Carlson, Candace Owens, and Megyn Kelly.

It also could be his ticket out of legal trouble — at least in his mind. Multiple media outlets reported that before Kent’s departure, the FBI opened an investigation into the counterterrorism chief for allegedly leaking classified information. Many observers have speculated his resignation could have been an effort to get ahead of the story and obscure the situation with as much conspiratorial nonsense as possible.

It’s worth noting that, according to a former Trump administration official, Kent frequently clashed with senior leadership, including White House Chief of Staff Susie Wiles and FBI Director Kash Patel. Former White House staffer Taylor Budowich went even further, taking to social media to call him “a crazed egomaniac who was often at the center of national security leaks, while rarely (never?) producing any actual work.”

At its core, Kent’s argument falls into something quite familiar, a narrative as old as it is dangerous: Just blame the Jews. Even if they have absolutely nothing to do with it.

Alma Bengio is Chief Growth Officer at The Algemeiner and founder and writer for @lets.talk.conflict.

Continue Reading

Uncategorized

Are American Universities the Next Front in a Gulf Rivalry?

Pro-Hamas demonstrators at Columbia University in New York City, US, April 29, 2024. Photo: REUTERS/Caitlin Ochs

A recent report by the US House Committee on Education and the Workforce on antisemitism in higher education delivers a stark conclusion: In the wake of the Hamas-led Oct. 7, 2023, attack on Israel, many US campuses have shifted from being sites of debate to environments where hostility toward Jewish students is increasingly normalized. The report documents rising harassment, rhetoric that blurs into justification of violence, and a growing reluctance by university leaders to enforce their own rules when speech is framed as political activism.

That warning points to a broader institutional problem. Universities are not only struggling to respond to ideological extremism; they are also increasingly embedded in global networks of funding, influence, and political engagement. In this environment, they risk becoming more than passive hosts of debate, emerging as spaces where external conflicts are projected inward, including the strategic rivalry between Gulf states now playing out on Western campuses.

Earlier this year, the United Arab Emirates suspended government scholarships for students planning to attend British universities, citing concerns about Islamist radicalization on UK campuses. For decades, Western institutions were viewed across the Arab world as gateways to modernity — exporters of science and pluralism. Now an Arab state is signaling that those campuses may no longer be ideologically neutral.

Britain’s situation reflects long-standing policy choices. The United Kingdom does not formally designate the Muslim Brotherhood as a terrorist organization and has long served as a hub for Brotherhood-linked activism. British academia enrolls significant numbers of Qatari students and maintains financial and institutional ties with Doha, placing campuses within a broader ecosystem of Qatari engagement and soft power. That matters because Qatar and the UAE sit on opposing sides of a wider Gulf competition over political Islam.

Since the signing of the Abraham Accords in 2020, the UAE has positioned itself as a regional actor seeking stability, economic integration, and the containment of Islamist influence. Qatar, by contrast, continues to host Muslim Brotherhood figures and Hamas political leaders while expanding its global reach through media and partnerships with research institutions and universities.

The United Kingdom may have presented the most immediate concern for Emirati policymakers. But the broader question of ideological influence within Western institutions extends beyond Britain. Nowhere is that dynamic more consequential than in the United States.

Disclosures filed with the US Department of Education show that American universities have reported receiving more than $4 billion from Qatar over the past two decades, placing the Gulf state among the largest foreign funders of US higher education. Institutions such as Cornell University, Georgetown University, Northwestern University, and Texas A&M University have reported substantial Qatari funding supporting research programs, faculty, and academic centers.

Foreign partnerships and international funding are common in global higher education and do not automatically translate into political influence. The concern arises not from these relationships themselves, but from the political environment in which they operate — particularly when ideological movements tied to geopolitical actors become increasingly visible in campus activism.

Recent events on American campuses help explain why this matters. After the Oct. 7, 2023, attacks, universities including Harvard, Columbia, UCLA, and NYU witnessed demonstrations that in some cases moved beyond criticism of Israeli policy into justification of violence, calls for a “global intifada,” and rhetoric widely understood by Jewish students as eliminationist. Congressional hearings later exposed how difficult it had become for some university leaders to state clearly that calls for genocide violate campus rules when framed as political expression.

The issue is not protest itself, which is intrinsic to academic life, but ideological activism that normalizes movements rejecting liberal democratic principles. In such an environment, Gulf rivalry intersects with Western institutional hesitation, and campuses risk becoming arenas not merely of debate but of strategic signaling.

If Abu Dhabi concludes that British universities are incubating ideologies it considers destabilizing, the same logic could extend to the United States. American universities are even more globally influential than their British counterparts, educating future ministers, financiers, and opinion leaders from across the Middle East — making them higher-value terrain in any competition over ideas.

Whether the UAE would take similar measures regarding US institutions remains uncertain. The strategic partnership between Washington and Abu Dhabi is deeper than the UAE’s educational ties with Britain. And while the United States does not designate the entire Muslim Brotherhood as a Foreign Terrorist Organization, it does designate Hamas — which originated as a Palestinian branch of the Brotherhood — as a terrorist group.

The UAE’s decision regarding British scholarships should therefore be seen as part of a broader regional struggle over political Islam and the future direction of the Middle East. If that struggle is increasingly playing out on Western campuses, Americans should ask a sober question: Are their universities merely observers of this rivalry — or are they becoming its next front?

Nira Broner Worcman is a Brazilian journalist, CEO of Art Presse Communications, and author of A Sisyphean Task (translated from the Brazilian edition, Enxugando Gelo), on media coverage of the war between Israel and terrorist groups. She was a Knight Science Fellow at MIT and earned her master’s degree at NYU’s Science, Health, and Environmental Reporting Program.

Continue Reading

Copyright © 2017 - 2023 Jewish Post & News