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Jewish institutions have a tool for fighting climate change: their bank accounts
(JTA) — The last eight years have been the hottest in recorded history, causing untold damage across the world — and that destruction is not something that we can reverse with the flick of a switch. We can’t instantly turn back the floods in California nor solve its decade-long drought. We can’t immediately end the wildfires in Colorado, hurricanes in Florida or flash floods in the Northeast and California.
But the American Jewish community has an important role to play in addressing the underlying cause of these devastating events and avoiding an ever-increasing cascade of destruction and harm.
Many of us are members of Jewish organizations or congregations that, often unknowingly, support fossil fuel companies. Even as we work to cut our carbon footprints, our investments are financing Exxon’s and Chevron’s expansion in fossil fuels. A recent report by the organization I lead, Dayenu, found that a sample of major Jewish organizations had over $3 billion invested in fossil fuel companies. According to Fossil Free Funds and the EPA, that’s $3 billion invested in coal, oil and gas companies that extract and burn carbon responsible for the equivalent of running 561,276 cars on the road for a year.
By reallocating that money from the extraction and burning of fossil fuels to investing in clean energy, we can turn our communal assets from a net cost to the earth to a net gain for our future.
The way forward is clear. The world’s leading scientists tell us that to avoid the worst impacts of the climate crisis, we must halve global greenhouse gas emissions by 2030 and end all climate pollution no later than 2050. Fossil fuels — coal, oil, and gas — are the leading contributors to climate change, responsible for 75% of all greenhouse gas emissions. Renewable energy sources like solar, wind, and hydropower are already cheaper, more reliable, and more lucrative for investors — while creating millions of jobs.
The vast majority of American Jews support bold climate action. A 2014 study found that 8 out of 10 American Jews were concerned or alarmed about the climate crisis. Since then, climate has become a top concern for American Jews, consistently ranking as a priority issue for American Jewish voters, especially young people. Initiatives like the Jewish Climate Leadership Coalition are helping institutions cut their emissions, and there is growing interest in socially responsible and impact investing.
These steps show a commitment to taking action — but much more is needed to reach the scale necessary to confront climate change. Over the past few years, Brandeis, a university “animated by Jewish values, rooted in Jewish history and experience,” decided to turn concern into action.
Joining Harvard, Yale and other universities, Brandeis divested some $997 million from fossil fuel companies in 2018. But University President Ronald Liebowitz said a recent decision to further reduce exposure to fossil fuels and expand investments in clean energy helps move the university to further align with its Jewish values and become “a Brandeis that strives to reflect one of its highest values: using one’s talents to repair the world — in word and deed.”
It’s not just institutions of higher education. Thousands of other organizations have already moved their money from fossil fuels to clean energy investments. Sovereign states like Norway, major retirement plans like New York City’s pension funds, and numerous faith organizations have all moved their resources in ways designed to make them agents of a sustainable future.
Now Jewish organizations, institutions and communities can join them. As part of the report “With All Our Might: Bechol M’odecha: How the Jewish Community Can Invest in a Just, Livable Future,” Dayenu lays out a six-step Roadmap for Change to help the Jewish community better align its investments with its values. Beginning with Jewish learning, or reishit chochma (grounding), the steps guide institutional leaders through cheshbon (research investments), limmud (education), sicha (engagement), kavanah (making a plan) and kadima (moving your money).
Larger institutions will focus on their asset managers, while congregations and smaller organizations will focus on their banks. By advocating publicly and privately with both banks and asset managers — the two primary financiers of fossil fuel extraction — to reinvest their money, Jewish organizations can educate their communities about sustainability and finance. Vocally aligning their finances with their values, the Jewish community can help speed a movement away from fossil fuels and toward clean energy at the pace that we, and future generations, need to survive.
And, make no mistake, it’s a race against time. The International Energy Agency — the world’s most respected energy analysis group — says that to reach zero emissions by 2050, we need to invest $4 in clean energy for every $1 in fossil fuels every year for the next few decades. However, since the Paris Agreement was signed, asset managers and banks have put trillions of dollars into the fossil fuel industry. To win this race, we need to use the lever of private finance. Faced with pressure from whole sections of the public — including the Jewish community — companies like BlackRock, Citigroup, JPMorganChase and Vanguard could be persuaded to hasten the transition to clean energy.
The American Jewish community is well-positioned to take meaningful climate action. Like other faith traditions, we are well-organized, and our institutions have an estimated $100 billion of investment assets. Following Dayenu’s six-point roadmap, we can withhold the Jewish community’s financial support for dirty energy and instead invest in renewables. By raising our voices alongside the many investors who are calling for change, we can accelerate the transition to a clean energy future. As floods, fires, and heat waves come with alarmingly greater frequency and severity, we know we have no time to waste.
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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.”