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‘Death to America’: Campus Student Groups Express Solidarity With Iran, Call for Uprising Against US
A pro-Hamas activist wears a keffiyeh while marching from the City University of New York to Columbia University. Photo: Eduardo Munoz via Reuters Connect
Anti-Zionist student groups across the US proclaimed solidarity with the aims of Islamism and jihad following a joint military operation between the US and Israel which killed Iranian Supreme Leader Ayatollah Ali Khamenei and dozens of other high-level regime officials on Saturday.
“Death to America,” posted a group which calls itself Columbia University Apartheid Divest (CUAD), a Students for Justice in Palestine (SJP) spinoff which serves as an umbrella group for a consortium of revolutionary organizations, some of which are formally recognized by the university. “We yearn for the end of the US settler colonial project. This should not be a controversial position.”
In other posts, the group shared an April 24 tweet in which Khamenei told pro-Hamas college students, who were in the middle of convulsing higher education institutions with illegal building occupations and antisemitic hate crimes, that they are “on the right side of history” and another which said “Iran has every right to defend itself against zionist [sic] warfare.”
A torrent of criticism followed the comments, leading Columbia University to denounce CUAD for falsely claiming to be a university entity.
“The group that calls itself ‘CUAD’ is not a recognized student group, or affiliated in any way with the university,” the institution said on the X social media platform, pointing to a July 2025 statement by former interim president Claire Shipman which formally proscribed any official correspondence or communication with CUAD. “There is no evidence that anyone currently in control of their account is a current Columbia student, staff, or faculty member. They are illegally using the Columbia name.”
Dr. Asaf Romirowsky, executive director of Scholars for Peace in the Middle East, said American officials should take CUAD’s rhetoric seriously.
“Cheering on Hamas and supporting Iran, a state sponsor of terrorism that has scores of American blood on their hands, surely warrants consequences,” he said. “We already have a great and sensible law on the books which says that while we welcome anyone who wishes to come here, attend university, and get an education, we do not permit people who openly support and advocate for terrorism. Actively supporting terrorism while calling for death to America and chanting ditties that advocate the annihilation of the world’s sole Jewish state should be a red line that warrants expulsion and deportation for those on student visas.”
CUAD is not the only group which denounced what the US dubbed “Operation Epic Fury.” On Sunday, New York University’s SJP chapter announced an anti-US demonstration to “demand an end to this criminal war that benefits no one other than US corporate interests.”
Meanwhile, DMVSJP, a network of SJP groups operating in Washington DC, Maryland, and Virginia, implored socialists and other revolutionary groups to attend a demonstration outside the White House on Monday, charging that “another US-backed war would mean death and displacement abroad and repression at home.”
The University of Chicago’s SJP chapter cheered Iran’s retaliatory strikes against US assets in Bahrain.
Some protests have kicked off already, according to social media reports, and have seen members of Yale’s SJP chapter brandishing “Death to America” signs. Prior to the demonstration, the group parroted propaganda confected by what remained of Iran’s political leadership following this weekend’s strikes, accusing the US of “killing children, including civilians.”
In the United Kingdom, the Ahlul-Bayt Islamic Society of University College London said, “This is not the end to resistance. The Shia in the west [sic] must remain aware and ready.”
Writing to The Algemeiner on Sunday, Sabrina Soffer, research fellow at the Jerusalem Center for Security and Foreign Affairs, said SJP’s statements are indicative of an ideology which contradicts itself.
“Even after the death of one of the Middle East’s most brutal butchers, they cannot offer even a scintilla of credit to Israel or the United States for confronting a regime that has terrorized its own people for decades,” Soffer said. “They brand themselves ‘anti-war’ yet refuse to recognize that the only genuinely anti-war force in this equation is the one dismantling the infrastructure of terror and repression. Israeli and American actions aimed at weakening a violent theocracy are not acts of aggression against the Iranian people — they are part of a rescue operation on behalf of a population held hostage by its rulers.”
She added, “What is truly un-progressive is the arrogance of presuming to speak for Iranians while ignoring those who have risked imprisonment and death resisting the regime from within. It is entitlement masquerading as solidarity.”
Students for Justice in Palestine’s national office has previously discussed its strategy of using the anti-Zionist student movement as a weapon for destroying the US in a now-deleted tweet that was posted to X in September 2024.
“Divestment is not an incrementalist goal. True divestment necessitates nothing short of the total collapse of the university structure and American empire itself,” the organization said. “It is not possible for imperial spoils to remain so heavily concentrated in the metropole and its high-cultural repositories without the continuous suppression of populations that resist the empire’s expansion; to divest from this is to undermine and eradicate America as we know it.”
The tweet was at the time the latest in a series of progressive revelations of SJP’s revolutionary goals and its apparent plans to amass armies of students and young people for a long campaign of subversion against US institutions, including the economy, military, and higher education. Like past anti-American movements, SJP has also been fixated on the presence and prominence of Jews in American life and the US’s alliance with Israel, the world’s only Jewish state.
On the same day the tweet was posted, CUAD distributed literature calling on students to enlist in a holy war against Israel and the US.
“This booklet is part of a coordinated and intentional effort to uphold the principles of the thawabit and the Palestinian resistance movement overall by transmitting the words of the resistance directly,” it said. “This material aims to build popular support for the Palestinian war of national liberation, a war which is waged through armed struggle.”
Other sections of the literature were explicitly Islamist, invoking the name of “Allah, the most gracious” and referring to Hamas as the “Islamic Resistance Movement.” Proclaiming, “Glory to Gaza that gave hope to the oppressed, that humiliated the ‘invincible’ Zionist army,” it said its purpose was to build an army of Muslims worldwide.
“We call upon the masses of our Arab and Islamic nations, its scholars, men, institutions, and active forces to come out in roaring crowds tomorrow,” it added, referring to an event which took place in December. “We also renew our invitation to the free people and those with living consciences around the world to continue and escalate their global public movement, rejecting the occupation’s crimes, in solidarity with our people and their just cause and legitimate struggle.”
Follow Dion J. Pierre @DionJPierre.
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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.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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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.”