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How a Kentucky lawmaker’s friendship with a Jewish woman helped inspire her viral speech decrying anti-trans legislation
(JTA) — Pamela Stevenson, a Democratic state representative in Kentucky, was chatting recently with her friend Zahava Kurland about one of Kurland’s duties at her Orthodox synagogue: preparing the dead for burial.
“She was trying to explain to me certain things that had to be done,” Stevenson, who is also a Black Baptist minister, told the Jewish Telegraphic Agency last week. The seemingly esoteric topic was one of many the two women have discussed over more than a decade of weekly Friday-morning conversations — which cover anything from politics and friendship to faith and being one’s true self.
Stevenson said her conversations with Kurland have made her attuned to Jewish sensibilities. “She’s always listening for and giving me information” about Judaism and Jewish experiences, said Stevenson, who was first elected to the Kentucky legislature in 2020.
So Kurland was not surprised when, in a viral speech on Wednesday decrying her fellow lawmakers for signing off on a law that bans gender-affirming care for trans youth, Stevenson also centered antisemitism.
“First, you hated Black people,” Stevenson said, addressing the Republican lawmakers who voted for the legislation. “Then, you hated Jews. Now, you’re hating everybody. So the question is, when the only people left are you, will you hate yourself?”
Kurland said her friend is a listener and naturally empathetic, so she would be sensitive to how hatreds intersect.
“She’s truly well balanced,” said Kurland. “She truly cares about people.”
Stevenson says she looks forward to her Friday morning talks with Kurland. She said the conversations have helped give her a more expansive perspective on life, which drives her to fight bigotry.
“I really believe that I will never know as much as she knows,” Stevenson said. “But I can develop an appreciation for what it’s like and not use my view of the world as the only view of the world.”
What prompted Stevenson’s floor speech was the overwhelmingly Republican legislature’s override of Democratic Gov. Andy Beshear’s veto of a law that bans a range of medical treatments and practices for trans youth. It outlaws doctors from providing gender-affirming treatment to youth; requires them to cease care if it has already begun; bans conversations in schools about gender identity or sexual orientation; bans school districts from allowing transgender students to use the bathroom aligned with their gender identity; and allows teachers to refuse to use a child’s preferred pronouns.
The bill was introduced weeks after state Sen. Karen Berg’s trans son, Henry Berg-Brousseau, died by suicide. Berg, who is Jewish, said that referring to the anti-trans bill as a parents’ rights bill is an “absolutely despicable affront to me personally,” according to The Washington Post. Stevenson, who has appeared alongside Berg at rallies, called her “phenomenal” and said, “This is infinitely more personal for her.”
Stevenson said that she mentioned anti-Jewish hatred in her speech because she believes hatreds are mutually reinforcing, and she connects the anti-trans sentiment she sees with rising racism and antisemitism.
“If you have a model where you have to hate somebody to win, then you always have to have somebody to hate,” she said. “People say it was out of nowhere, but it’s really out of somewhere. We’ve gone through the cycles of the Native Americans, the Black folks have been hated for a long time, the disabled. Everybody is always on the bottom of that model. And in just recent years, it was the Muslims, then it was the immigrants, and then it was back around the Blacks again. And so because of this overflow of hate, there’s been an uptick in antisemitic actions.”
Stevenson said her mission is to make people cognizant of the roots of hatred. “People want to say that all the attacks against the Jewish temples and the Jewish people in recent times came out of nowhere,” she said, referring to reports of a spike in antisemitic attacks. “No, it did not. We just have chosen not to pay attention to what’s been said.”
Kurland, who is a member of Congregation Beth Jacob in Atlanta, and Stevenson, a retired Air Force Colonel and an attorney who is running to be Kentucky’s attorney general, met in 2006 when Stevenson was serving in the Air Force and Kurland was working as an accountant in Atlanta. They attended a three-day course with Landmark, the personal development program that presses participants to face uncomfortable truths about themselves.
“When we were closer-in logistically she came over very often for Shabbos meals,” Kurland said. “I often invite people for Shabbos meals and the holidays and I love explaining, you know, how Judaism gave more to the world than anything, anybody, any person. Torah, Judaism has given the world its whole structure for society.”
The Air Force started moving Stevenson around. “That’s when we started talking on the phone all the time, because we couldn’t get together,” Kurland said.
Stevenson is “a committed listener, someone who’s going to hear you and call you out on your stuff,” Kurland said. “It’s not a friendship where you massage each other’s egos. It’s a friendship where you hold each other to account for who you say you are.”
They each speak with outrage at the lawmakers who, they feel, would breach the relationship between a parent and a child.
“As a mother, how dare you interfere with one of the most intimate relationships?” Stevenson said two weeks ago during debate on the bill, addressing Rep. Jennifer Decker, a Republican who was its lead sponsor. “We have no right to interfere in the parental rights.”
Kurland agrees. “These are all decisions to be made between a child and his parents or her parents and their doctor,” she said. “It has no place for the government to have anything to do with anything.”
And both Kurland and Stevenson say religion is a key part of their identities.
“Judaism is the center part of my life,” said Kurland. “It’s what I am, it’s who I am, it’s what I’m about. And as a Jew, you cannot sit by and let another one of God’s human beings [be excluded]. I mean, when we honor other people, we are doing God’s work. We are honoring God. When we cut people out, then we’re not “
Stevenson likewise calls herself “a woman of faith.”
“I believe what is required, in almost every faith that I know of, is to love one another and take care of the people around us,” she said.
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The post How a Kentucky lawmaker’s friendship with a Jewish woman helped inspire her viral speech decrying anti-trans legislation appeared first on Jewish Telegraphic Agency.
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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.”