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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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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”