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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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The post A history of Mel Brooks as a ‘disobedient Jew’ appeared first on Jewish Telegraphic Agency.
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Former Edmonton journalist admits to vandalizing monuments of Ukrainian Nazi collaborators
(JTA) —
EDMONTON, Canada – Duncan Kinney, a former journalist with the left-wing website Progress Report, pleaded guilty to criminal mischief on Monday, four years after he was arrested for vandalizing monuments to Ukrainian Nazi collaborators in Edmonton, Alberta.
Monday’s guilty plea was an anticlimactic not-quite-end to a case that appeared to be run-of-the-mill vandalism but was so culturally charged that it drew the attention of everyone from the Premier of Alberta to Friends of the Simon Wiesenthal Center in Toronto.
In 2021, Kinney broke the news story that someone had spray-painted “Actual Nazi” on a bust erected to honor WWII military commander and Nazi collaborator Roman Shukhevych and then painted “Nazi Monument” and “14th Waffen SS” on a memorial to the SS Galizien, a Ukrainian military unit that was part of the Nazi Party’s military wing.
According to court documents, Kinney was caught on a security camera spray-painting the Shukhevych monument shortly after midnight on Aug. 10, 2021, and caught again eight hours later photographing his handiwork. He then sent an email to the staff of the Ukrainian Youth Unity Complex, where the monument was located, explaining that Progress Report had received photos of the defaced monument. The brief email concluded with “Do you have any statement or information on this matter? Was Roman Shukhevych a Nazi or Nazi collaborator? Our deadline is 3:15 pm. Thank you.”
Kinney initially pleaded not guilty to one count each of criminal mischief and mischief relating to a war memorial. He suggested he’d been targeted because he was critical of the Edmonton Police Service and alleged that they were trying to silence him.
He is due to be sentenced Jan. 25, 2027, at which time the crown prosecutor is expected to drop the more serious charge of defacing a war memorial, which carries a sentence of up to 10 years in prison.
Neither Kinney nor his defense attorney, Tom Engel, would comment after the court appearance. However, the board of Progress Report issued a statement decrying its former employee’s actions, calling committing a crime and reporting that somebody else did it “a cardinal breach of journalistic ethics and not acceptable behavior within any media organization. Mr. Kinney has always maintained his innocence in this matter and we trusted him; today’s news was an unpleasant surprise for us.”
Ultimately, the case exposed deep divisions in the Ukrainian diaspora about the role that Ukraine played in the Holocaust.
Shukhevych was a leader in both the Organization of Ukrainian Nationalists (OUN) and its armed force, the Ukrainian Insurgent Army (UPA). He was also an officer in a Third Reich auxiliary battalion. During World War II, he commanded troops that murdered Jews, Polish civilians, other national minorities, communists and his countrymen from Ukraine. And he helped marshal the fight for Ukrainian independence from the Soviets.
The monument to the SS Galizien is located at St. Michael’s Cemetery, less than two miles from the complex housing the Shukhevych bust. Among the unit’s members was Yaroslav Hunka, who, at age 98, received two standing ovations for his service in WWII and fighting for Ukrainian independence when he appeared in the House of Commons alongside visiting Ukrainian President Volodymyr Zelensky in September 2023.
Nobody in Parliament, it seemed, was aware of Hunka’s Nazi past. When the news became public, the incident became a national embarrassment. At least temporarily, the country was forced to examine how it dealt with WWII war criminals.
In Edmonton, however, the blunder appeared to have no impact on Kinney’s case. For his alleged vandalism to the SS Galizien monument, he had been charged not with simple mischief, but with vandalizing a war monument.
“We do not consider a statue honoring a Nazi to be a war monument,” says Jaime Kirzner-Roberts, senior director of policy and advocacy at the Friends of Simon Wiesenthal Center in Toronto. “When we talk about veterans’ monuments, we are talking about Canada’s veterans. We are not talking about Nazi veterans.”
Kirzner-Roberts’ organization, B’nai Brith Canada and the Jewish Federation of Edmonton, as well as local politicians and academics, have been asking for years for the monuments to be removed.
“I think that in the case of the Shukhevych monument, you shouldn’t put up monuments to people responsible for mass murder,” says John-Paul Himka, a University of Alberta professor emeritus of history, whose 2021 book “Ukrainian Nationalists and the Holocaust” examines the role that the OUN and UPA had in destroying Ukraine’s Jewish population during WWII.
“As for the Waffen-SS memorial, Austria has also been trying to get rid of their Waffen-SS memorials and it’s an issue around the world, really, how much you want to put up memorials to SS men or to people who collaborated with the Nazi state.”
Less than six months after the Hunka debacle in Parliament, the monument to the SS Galizien at the St. Volodymyr Ukrainian Cemetery in Oakville, Ontario, was permanently removed. Himka doesn’t see anything like that happening in Edmonton, a city with the largest population of people with Ukrainian descent in a country with one of the largest populations of people with Ukrainian descent outside of Ukraine.
“The diaspora community doesn’t want to hear about this,” he says. “They don’t want to confront the history, and nobody is telling them otherwise really.”
The courtroom, though, did host one such confrontation. At the conclusion of Kinney’s appearance, two women who appeared to be in their 40s and who had spent the half-hour proceedings knitting, engaged in a conversation with two men who appeared to be at least twice their age and were sitting across the aisle.
The discussion started innocently enough, with inquiries as to what brought each of them to the courtroom. When the women said that Shukhevych was a Nazi who had killed thousands of innocent people, the temperature heated up.
When the women insisted, the men all but rolled their eyes. “That’s Russian propaganda,” they scoffed, then got up and marched together out of the courtroom.
The post Former Edmonton journalist admits to vandalizing monuments of Ukrainian Nazi collaborators appeared first on The Forward.
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Mike Rogers says his opponent is ‘anti-Jew.’ Do Michigan’s Jews believe him?
(JTA) —
WHITE LAKE, Mich. – Former U.S. Rep. Mike Rogers did not have to go very far back in time to find a new example of how, in his view, his opponent is a danger to the Jewish community. Twelve hours would do.
Rogers recalled an interview that had aired the previous night on ABC. “He basically said that Israel now is just not an ally — matter of fact may be the enemy — of the United States of America,” the Republican nominee for U.S. Senate in Michigan told the Jewish Telegraphic Agency on Tuesday morning.
The “he” in question was, of course, Abdul El-Sayed, the former county health director and polarizing Democratic nominee for the state’s open Senate seat. The night before, El-Sayed had told ABC that Israel was “not actually our friend.” He also recently told MS NOW that “the government of Israel has done nothing but use us.”
Rogers, by contrast, told JTA that Israel is “the best ally we have in the Middle East. They have Western values baked into their political system.” He proudly noted that far-right commentator Tucker Carlson has attacked him for his pro-Israel views.
Remarks like the ones El-Sayed recently made, Rogers continued, clarify his view of his opponent: “There’s so much evidence. It’s pretty hard to say that this guy is anything but anti-Jew.”
For Rogers and the Republican Party writ large, El-Sayed’s hardline criticism of Israel has thrown them an unexpected gift in a tough race that could help determine who controls the Senate after the November midterms.
That opportunity runs through Michigan’s Jewish community. At a recent rally in the state, Vice President JD Vance echoed that criticism, accusing El-Sayed of being “obsessed” with Israel.
“He’s 10 times more interested in what’s happening in Palestine than in Port Huron,” Vance, whose own views on Israel have concerned many conservative Jews, told the crowd. “He’s way more interested in what’s happening in Gaza than he is in what’s happening in Grand Rapids.”
Another recent Trump administration event, held at a Michigan synagogue, mostly discussed antisemitism. Neither Senate candidate’s name was mentioned from the stage. But Jews who attended the event told JTA they were scared of the prospect of a Senator El-Sayed. “I pray he does not get in,” one attendee, Sharon Matlen, said.
Rogers, a former congressman who lost the 2024 Senate race to Elissa Slotkin, a Jewish Democrat, by fewer than 20,000 votes, hopes to convince enough of the state’s estimated 100,000 Jewish adults and other traditionally Democratic blocs to vote for him in the election in two weeks’ time. He’s confident of his chances.
“I think the alternative is so bad, and they looked at us and said, ‘He’s not that bad,’” the candidate said. “And trust me, I think that’s a good place for us to be.”
Rogers positions himself as a common-sense Republican, one whose chief concerns are improving child literacy, rebuilding manufacturing jobs and lowering utility rates. Drawing on his military background, he insists he doesn’t have a problem with the fact that El-Sayed is Muslim: “I wore the uniform of the United States so you can pray any way you want.”
Local rabbi Asher Lopatin, who briefly went on leave from his role directing Jewish communal relations in Ann Arbor to stump for Rogers, has called him “a caring, sensitive man.”
Rogers is also trying to make inroads with Black communities, as well as other ethnic and faith-based groups. At a Tim Hortons in this tony Detroit suburb, an Iraqi Christian couple came out from behind the counter to take selfies and profess their support.
But among his potential new voters, it’s the Jewish community Rogers has made the most overt appeals to. His outreach has included meeting with various Jewish clergy and community leaders and hosting a meet-and-greet Sunday night in a heavily Orthodox Jewish neighborhood, catered by a kosher BBQ joint. And he and Texas Sen. Ted Cruz will be appearing together in Detroit next week for an event spearheaded by the Republican Jewish Coalition titled, “Who Will Keep Us Safe?”
Hundreds of Jews, including several prominent community leaders and lifelong Democrats, have already signed a pledge to vote for Rogers. El-Sayed’s association with left-wing streamer Hasan Piker and linking of the spring attack on Temple Israel to Israel’s war in Lebanon have troubled some Jewish voters.
(L-r) Michigan Jewish Democratic activist Alicia Chandler, Illinois congressional candidate Daniel Biss and former Michigan Rep. Andy Levin make a progressive Jewish case for Senate candidate Abdul El-Sayed to a small audience of conflicted Jews in Detroit, Michigan, Oct. 19, 2026. (Andrew Lapin/JTA)
But others, even those deeply worried about El-Sayed and his movement, still can’t bring themselves to support the current Republican platform. A new progressive canvassing campaign is targeting Jews in the Detroit suburbs to persuade them not to vote for the GOP candidate.
“We’ve been doing a lot of listening to people’s concerns and anxieties,” said Amanda Berger, a progressive Jewish activist from California who is leading Seed the Vote’s Jewish canvassing efforts for El-Sayed in Michigan.
But the volunteers’ goals, Berger told JTA, are then “to pivot to the question of, what will it mean to you, or what will it mean to the Jewish community, or what will it mean to your neighbors, if Mike Rogers is elected and Trump is unchecked for another two years.”
Elaine Driker, a prominent Detroit Jewish community leader, was no fan of El-Sayed. Yet after seeing so many of her peers sign the pro-Rogers letter, Driker signed a Jewish letter pledging to vote for El-Sayed.
She then went a step further, hosting Daniel Biss, a progressive Jewish congressional candidate from Illinois, and 50 Jews at her house Monday night for a dialogue about El-Sayed. One in attendance, Susan Ruttenberg, admitted that though she had already cast her vote for the Democrat, “I’m uncomfortable with him.”
Biss holds Israeli citizenship and told the group he believes “that the Jewish people have a legitimate claim to the land where the state of Israel has been established.” He conceded, “Some of the ways that Abdul has spoken about antisemitism have landed imperfectly with some people.”
Yet Biss insisted, “I think he’s shown a willingness to learn and grow.” He also warned the crowd against what he called “the political narrowness of the organized Jewish community.”
It was one of several such small-room Jewish conversations about the race that have taken place in recent weeks. Others have featured New York congressional candidate Brad Lander and Vermont U.S. Rep. Becca Balint. Michigan state Sen. Mallory McMorrow, who dropped out of the Senate primary that El-Sayed eventually won, will speak at another.
The events are intended “to breathe some air into the possibility that Abdul is not scary, that he is not antisemitic,” said Stacie Chaiken, an organizer with Michigan Jews for Democracy, which is also putting on the meet-and-greets. The coalition’s open letter of Jews pledging to vote for El-Sayed has topped 950 signatures to date.
To win over more Jews, Rogers will make his case by acknowledging what other Jews have told him is a deep fear for where the country is headed.
“They’re afraid for what kind of America their children will live in,” Rogers told JTA of the Jews he’s spoken to on the campaign trail. El-Sayed is building a “movement,” the Republican said, arguing that such a movement bodes poorly for Jews: “You have to remember, if elected to the Senate, this is just the beginning for them.”
Democrat US Senate candidate for Michigan Abdul El-Sayed speaks during a midterm campaign rally in Flint, Michigan on October 18, 2026. El-Sayed is competing against Republican candidate Mike Rodgers for Michigan’s US Senate seat in the upcoming midterm elections. (Jeff Kowalsky / AFP via Getty Images)
Rogers repeatedly brought up his opponent’s “ideology” and “extremism.” He sought to link El-Sayed to the Muslim Brotherhood, echoing a growing GOP line of attack. Republicans have cited resurfaced tweets by El-Sayed’s half-sister describing their mother’s activism in the movement in the early 1970s.
El-Sayed has disavowed the group and accused questioners of invoking Islamophobic tropes.
Rogers also said he doubted the sincerity of El-Sayed’s August apology to the Jewish community for his “hurt people hurt people” remarks regarding the March attack on Temple Israel — a similar sentiment other Michigan Jews have shared with JTA.
“That’s not an apology,” he said. “That says, ‘I’m sorry I said it then. Maybe I should have said it later.’ I don’t buy that.”
The Rogers campaign is additionally arguing that El-Sayed’s rhetoric has activated a deeper antisemitic contingent on the left. A Rogers campaign staffer, who is Jewish, posted to X Tuesday morning that El-Sayed is “a raging antisemite who is responsible for the hate and vitriol Michigan Jews face daily,” with a link to his ABC interview. That staffer, Abby Ronson, told JTA that she received death threats because of the tweet after progressive commentator Mehdi Hasan went after her.
El-Sayed has strongly rejected any allegation that he is antisemitic, saying he loves Judaism and that “AIPAC and Israel are not the same as Judaism and the Jewish people.” Some of the state’s top Jewish Democrats, including Slotkin and state Attorney General Dana Nessel, have endorsed him; others, including congressional candidate Jeremy Moss, have not.
But Rogers also hopes to tell more of Michigan’s Jews who he is — beyond simply not being El-Sayed. There’s someone else, he said, who he’s not: the deeply unpopular Republican president.
“I’m not Trump. And I don’t plan to be Trump when I get to Washington,” Rogers said. He listed issues he has broken with Trump on, including the joint U.S.-Israeli war in Iran, which Rogers formerly supported but now wants wrapped up: “I argue we met our objectives. Don’t hang out there very long.”
If such a view puts him at odds with Israeli leadership, he said, they will politely hash it out. “Every once in a while, we’re going to disagree with our allies. I don’t see this as a problem.”
Still, when it comes to issues of concern to Jewish voters, Rogers said he’s more aligned with Trump than not. He “absolutely” approves of the president’s campaign against campus antisemitism, which has drawn criticism and legal action for pulling billions of dollars in funding from various universities in order to pressure them to sign settlements.
If the government wanted to do the same to the University of Michigan, the state’s top research school that has been embroiled in a stream of antisemitism controversies of its own, Rogers — who donned Michigan gear for a TV ad running in the state — would support it.
“I wish there were a better way, but nothing else is working,” he told JTA. “Hell, their professors are talking in ways that would be shocking about an ally to the United States, and they’re buying into this ‘oppressor versus oppressed.’ It’s the craziest thing I’ve ever seen. The whole thing is anti-American. We’re going to get it fixed.”
Rogers dismissed as “a made-up story” reports that his allies had asked the pro-Israel lobbying group AIPAC not to advertise publicly on his behalf, reportedly because they fearedfearing its involvement could hurt his campaign.
“What I’ve always said is, if anybody wants to help defeat the most extreme candidate from his Democratic Socialists of America ties to his very, I think, hateful, angry, riddled contempt for Israel and Jews, welcome,” Rogers said. “I’ll take anybody that wants to help.” El-Sayed is not a DSA member, but he has spoken at the organization’s events and received campaign support from its members.
Recently, an AIPAC-linked super PAC, the United Democracy Project, spent about $95,000 against El-Sayed, according to federal elections filings. That expenditure took the form of mailers targeting the Jewish community.
Rogers insists his fight against El-Sayed is bigger than the candidates. Voters, he said, are concerned with what the Democratic Party’s treatment of Jews says about the coalition’s direction in general.
“I can’t tell you how many people tell me that they’re so disappointed in their party,” he said. “And if you can bring yourself to diminish one set of people or one ethnic group of people in Michigan, what stops you there? I argue, nothing.”
Yet many of the Michigan Jews trying to convince their neighbors to vote for El-Sayed are making the same argument — in a different order — about Republicans. The GOP’s demonizing of certain immigrant groups and LGBTQ people, progressive Jews argue, could lead back to antisemitism.
“A society that abandons pluralism in an effort to attack someone other than the Jews is surely going to be coming for the Jews pretty soon,” Biss told the assembled crowd on Monday.
Rogers rejected the premise that Republicans are doing the same thing. “I don’t equate them at all,” he said. “It may be a legitimate concern. But if you have somebody that wants to eliminate, you know, ‘from the river to the sea,’ last I checked, that’s just about every Jew that lives in Israel. There’s no more clear, brighter line than that.”
On his way out the door to speak at the Detroit Economic Club, Rogers was asked if he had any last message for American Jews.
“Keep the faith,” he said, before driving away.
The post Mike Rogers says his opponent is ‘anti-Jew.’ Do Michigan’s Jews believe him? appeared first on The Forward.
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Germany reprimands Iran over plot to kill Jewish leader and Israel advocate
(JTA) — Germany’s foreign ministry summoned Iran’s ambassador after a German court convicted two men of spying for Tehran and plotting attacks on a leader of the country’s Jewish community and a prominent non-Jewish supporter of Israel.
A slap on the wrist is not enough, said Volker Beck, president of the interfaith German-Israeli Society, who had been one of the spies’ targets.
Iranian Ambassador Majid Nili Ahmadabadi and most of the embassy’s personnel should be personae non grata in Germany, Beck said. He added he would be satisfied if the embassy was emptied except for a lone guard “to look after the building and this is it.”
Hamburg’s Higher Regional Court last week sentenced 54-year-old defendant S. to eight-and-a-half years in prison and 43-year-old defendant M. to four and a half years for plotting assassinations and an arson attack. The convicts’ full names have not been publicized.
The court found that the two men, living in Denmark, had in early 2025 carried out orders from Iranian intelligence oepratives to spy on Josef Schuster, head of the Central Council of Jews in Germany, and Beck, a Green Party politician and longtime Israel advocate, with the aim of planning an assassination.
In a statement issued Oct. 15, the court said that defendant S. was allegedly tasked “with conducting surveillance on Jewish or Israeli targets — including both locations and individuals — within Germany and preparing to carry out murders and arson attacks against them.”
S. was also convicted of conducting surveillance on a Jewish grocery store in Berlin. “To execute these orders, the defendant S. reportedly enlisted the assistance of the defendant M,” the court said.
The convicted men have until Oct. 22 to appeal the verdict. Further details about the case and the court’s reasoning will be released with the final report, in about three months, a spokesperson for the court told JTA in an email.
In a statement sent to JTA, Schuster praised the verdict but called the case “the tip of the iceberg.”
“With the now proven commissioning of these two spies, the regime in Tehran has once again shown its true face. The masterminds are in Iran, and the danger they pose to our open society remains great as long as the mullahs’ regime exists,” he said.
At the trial, Germany’s federal security agency, the Federal Office for the Protection of the Constitution, testified that it got wind of the plot in 2024, Beck told JTA. “Last year I had six weeks of the highest level of personal protection,” said Beck, who is not Jewish. He couldn’t take out the trash or walk his dog without police protection.
After German Foreign Minister Johann Wadephul’s summoned Iran’s ambassador, Iran called in Germany’s ambassador to the country, Axel Wilhelm Dittmann, for a meeting in Tehran to complain about accusations it considers “baseless.”
In a post Oct. 19 on X, the German Foreign Ministry said Germany “will not allow Iran to threaten our free society. We will not tolerate attacks on Jewish life and those who defend it—anywhere, least of all in Germany. The malicious attempted attacks against” Schuster and Beck “will have legal consequences.”
The post Germany reprimands Iran over plot to kill Jewish leader and Israel advocate appeared first on The Forward.
