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Jewish Council for Public Affairs names Amy Spitalnick, who sued Charlottesville rally organizers, as its CEO
WASHINGTON (JTA) — The Jewish Council for Public Affairs has tapped Amy Spitalnick, who spearheaded a successful multimillion-dollar lawsuit against neo-Nazis, as its next CEO.
The decision is a sign that the group, called the JCPA, is pursuing a more assertively liberal approach. For nearly 80 years, it was an umbrella for local Jewish community relations groups, and was affiliated with the Jewish Federations of North America, which has historically been driven by consensus across local Jewish communities. But in December, it split from the federation system and rebranded as a more explicitly progressive group.
The statement Monday announcing Spitalnick’s hire highlighted her work at the helm of Integrity First for America, the nonprofit that underwrote a successful lawsuit against the organizers of the deadly neo-Nazi march in Charlottesville, Virginia in 2017. The statement emphasized fighting for democracy against hate as priorities, and called Spitalnick “a powerful national voice on issues of democracy, antisemitism, extremism, and hate.”
Spitalnick, 37, told the Jewish Telegraphic Agency that she would focus on building relationships with other communities that are vulnerable to hatred and erosions in democracy.
“There needs to be an organization that wholeheartedly recognizes how deeply intertwined Jewish safety is with other communities’ safety and how bound up that all is in a broader fight for democracy at this moment, and builds the sorts of coalitions within and across communities that are essential to moving the needle,” she said.
The organization will remain nonpartisan, Spitalnick said, but she made no secret that she especially opposed many of the tropes peddled by Republicans including former President Donald Trump, who is a leading contender for the 2024 Republican nomination.
“We are grappling with a wave of anti democratic extremism that is deeply tied to rising bigotry and hate,” Spitalnick said. “And we see this in many forms — we see this with the attacks on immigrants and how so many of the conspiracy theories that underpin, for example, election lies, happen to utilize anti-immigrant and antisemitic conspiracy theories. We see this with the attacks on the trans community and on drag shows, where for example, neo-Nazis are using those attacks and those flashpoints to actively recruit for their violent antisemitic hate.”
Spitalnick was a communications official at J Street, the liberal Israel lobby, before transitioning into the rough-and-tumble of New York politics as the communications director for Mayor Bill DeBlasio and then in the state attorney general’s office. Last year, she was named director of another progressive Jewish group, Bend the Arc, but ultimately declined the position.
She earned a reputation for giving as good as she would get from her bosses’ critics and rivals. An email exchange she had with Tucker Carlson in 2015 made headlines when Carlson and his colleagues lambasted her with misogynist and vulgar language.
She was characteristically blunt last week after Carlson’s firing from Fox News after a history of using racially charged language. “When reporters write the story of Tucker Carlson, do not gloss over who he is,” she wrote on Twitter . “He is a raging white supremacist, misogynist, and bigot who has done more to normalize violent extremism and hate over the last few years than nearly anyone else.”
Spitalnick’s style is a sharp departure from the tone that the 79-year old organization had taken until December, when it announced an amicable divorce from the Jewish federations structure and its emphasis on consensus. It also means the group will be led by a millennial woman, a rarity among large national Jewish organizations.
“This now makes two millennial women at the helm of legacy Jewish organizations,” said Sheila Katz, CEO of the National Council of Jewish Women. “I’m looking forward to getting in good trouble together as we push Jewish organizations and leaders toward justice.”
Founded in 1944 as the National Jewish Community Relations Advisory Council — it changed its name in 1997 — the storied group was at the forefront of Jewish community advocacy for decades, from rescuing Europe’s Jews and opening up immigration to allow refugees to enter the United States to the Black-Jewish civil rights coalition, pro-Israel advocacy and advocacy for Jews in the Soviet Union. It received funding from dues paid by scores of local Jewish Community Relations Councils and from 16 national Jewish groups.
In recent years, as the American — and American Jewish — populations became more politically polarized, JCPA’s consensus-driven structure made it increasingly difficult for the group to take noteworthy stands on the issues of the day.
A turning point was the group’s decision in 2020 to sign a statement recognizing Black Lives Matter as a leading civil rights body. Officials in the Jewish federations system, which underwrote much of JCPA’s funding at the time, thought it was reckless to endorse a movement despised by most Republicans, and which has been accused of vehement opposition to Israel.
That spurred an effort to roll the JCPA directly into the Jewish Federations of North America, a shift that JCPA defenders said would place Jewish community relations under the purview of major donors, who tend to be more conservative than the grassroots.
Instead, the current chairman, David Bohm, led a split from the Jewish federations that would guarantee JCPA’s independence. Bohm and one of his predecessors, Lois Frank, joined UJA-Federation of New York in providing a substantial cash influx that would allow JCPA to function for three years.
That led to the divorce from the Jewish federations, and the end of dues that had come into the organization from the local and national groups. A JCPA official said Spitalnick would be expected to diversify the funding base, and did not count out a return to the dues-paying format.
Freed of the fear of alienating a multitude of stakeholders, the announcement in December laid out two prongs that located JCPA robustly in the liberal camp: One would focus on “voting rights, election integrity, disinformation, extremism as a threat to democracy, and civics education.” The other would focus on “racial justice, criminal justice reform and gun violence, LGBTQ rights, immigration rights, reproductive rights, and fighting hate violence.”
Bohm, in restructuring JCPA, brought in the heads of two local community relations councils — Jeremy Burton of Boston and Maharat Rori Picker Neiss of St. Louis, who had previously said the old structure — and its inhibitions — made it increasingly irrelevant. The JCPA announcement this week came with quotes from Neiss and Burton lavishing praise on Spitalnick.
“Through her unwavering commitment to social justice and her demonstrated leadership in public policy advocacy, Amy is poised to usher in a new era of progress and impact for the Jewish Council for Public Affairs,” Neiss said.
The release said JCPA would continue “to support a democratic, Jewish, and secure state of Israel” but otherwise did not address the divisions over democracy and the judiciary currently roiling the country and its supporters abroad. It also didn’t address the erosion of support for Israel on the American left in an era when Israel’s governments have trended increasingly to the right.
Asked about differences between the Jewish community and other communities over Israel, Spitalnick said it was important not to cut out other communities. “It means working across those differences where possible, and building those relationships, and sometimes that means staying at the table even if we have fundamental disagreements,” she said.
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The post Jewish Council for Public Affairs names Amy Spitalnick, who sued Charlottesville rally organizers, as its CEO 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.”