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Broadway’s Jews gather in response to neo-Nazi protest
(New York Jewish Week) – Twenty-four hours after neo-Nazi agitators heckled ticket-holders outside the first preview of “Parade,” a musical about a notorious antisemitic incident, Jewish members of New York’s theater community came together to share their emotions and reactions and look to the future.
The gathering, organized by producer and actor Ari Axelrod, was held on a rainy Wednesday afternoon in a rehearsal space at Open Jar Studios in Times Square. It was just three blocks north of the Bernard B. Jacobs Theatre, where “Parade” is currently in previews. About 50 people from all ranks of the theater industry — from Broadway producers and marquee stars to undergraduate students in college shows — joined the conversation.
Starring Jewish actor Ben Platt, “Parade” tells the story of Leo Frank, a Jewish factory manager accused and found guilty of murdering a girl who worked for him, despite little evidence. In 1915, Frank was kidnapped from jail and lynched by a mob, and the case led to the creation of the Anti-Defamation League and a resurgence of interest in the Ku Klux Klan.
At the show’s first preview on Feb. 21, protestors who identified with the National Socialist Movement, a neo-Nazi group headquartered in Florida, accused Frank of being a pedophile and condemned audience members for paying to support pedophiles and Jews.
“The story about Leo Frank is not a new one. They could be protesting anywhere. But there is a reason they knew that that play was happening and where it was happening,” said Axelrod, who told the New York Jewish Week that he has been thinking about holding a gathering in response to antisemitism for nearly two years. “It feels like they came into our home, not just our home as Jews, but our home as theater artists.”
Axelrod, 28, opened by leading the Shehechiyanu, a prayer of gratitude, and a round of deep breaths.
“The intention for today is not to find a solution to the rise in antisemitism or even the solution to what happened yesterday,” Axelrod told the crowd. “The intention is to be in a space and find community and gather as Jews, which is what we’ve been doing for thousands of years. To commiserate and talk and bear witness to how we’re feeling and how other people are feeling, to be seen and heard and held and valued and validated as an individual and as a member of a community.”
The room was full of Jewish and some non-Jewish people in the theater industry of all ages who wanted to express their thoughts and ideas about the protests. (Julia Gergely)
Many in the room felt fear, sadness, frustration and anger at the events. For an assistant on the production team of “Parade” — who asked to remain anonymous because he came to process his own feelings and not as a representative of the show — “it was emotional, especially because not everyone on the team is Jewish. So just being there as a Jewish person, hearing them say that to people going into the show was hard.”
However, he noted the importance of committing to see and work on the show. “Just being at the show last night was its own protest to what they were saying,” he said, adding that the team behind “Parade” is committed to ensuring a safe environment for everyone involved and that they don’t want to let the protests deter people from seeing the show, which is scheduled to run through Aug. 6.
Elliott Masie, a Broadway producer who was on the line with his wife when the threats and jeers began, said his initial reaction was surprise. “I couldn’t discern what they were about at first. They tried to pretend that they were against pedophiles, but then their rhetoric escalated and they started to go up to people in the line and say ‘You paid so much for this, to advocate for a Jew.’ The moment I heard them say the word ‘Jew,’ I realized what they were,” he told the New York Jewish Week.
“The hardest part was that it seemed like most people coming into the theater didn’t understand who they were,” Masie, 72, added.
Still, he said, the show was wonderful. “I’ve never been at a first preview that had as prolonged an ovation. In some ways, they stole the moment. We have to give the moment back and give the moment to all of us. The ultimate love and support we need to do is show the cast and the company that we’re here,” he said.
Over the last year, Jewish stories have been having a moment on Broadway and off, with “Funny Girl,” “Leopoldstadt” and “Fiddler on the Roof in Yiddish” all coming to the stage in 2022. Surrounding each show has been discussions of their relevance at time when watchdog groups have been reporting a rise in antisemitic incidents.
“The entire cast of our show and company was scared last night that we were going to walk out to something similar,” said David Krumhotlz, who is in the final weeks of his role as patriarch Hermann Merz in “Leopoldstadt,” Tom Stoppard’s play about the Holocaust. “Thank God it didn’t. We stand in solidarity not only with ‘Parade,’ but with the entire Jewish Broadway community.”
Yael Chanukov, a cast member of “Fiddler on the Roof in Yiddish,” spoke about the safety and security discussions the cast and crew had during the show’s run and the fear and anxiety she felt at times doing such a proudly Jewish show that otherwise was one of the most fulfilling experiences of her life.
The Bernard B. Jacobs Theatre, where “Parade” is in previews, Feb. 22, 2023. (Julia Gergely)
For many, it was an exhalation of years of frustration and confusion over minor and major antisemitism they said they experienced in the theater industry and beyond.
While Axelrod said the goal of Wednesday’s gathering wasn’t to find solutions, by the end of the evening, he had cemented an idea for a Jewish advocacy coalition within the theater industry. He said it might offer resources and tools for how to speak up and show up to support the Jewish theater community.
Representatives from the Anti-Defamation League and Jews for Racial & Economic Justice who were at the meeting offered to help get contacts and funding if the idea were to get off the ground.
“The general tenor that I’m getting is that no one is asking the theater community to make the fight against antisemitism the top priority. Just make it a priority,” Axelrod said.
Actor and writer Mike Haber, 31, had tickets for Wednesday night’s performance of “Parade.”
“Last night, I literally couldn’t even sleep because of what happened,” he said. “This is so beautiful to see so many theater people and we’re all coping with the same emotions and feelings.”
Ninety minutes before the Wednesday evening performance began, the rain had stopped and all was calm in front of the theater. Haber took pictures and burst out singing the show’s tunes. “I love this,” he said. “I can’t wait to see it.”
—
The post Broadway’s Jews gather in response to neo-Nazi protest appeared first on Jewish Telegraphic Agency.
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Nearly forbidden: Street signs in an ‘unwanted’ language
דער קינסטלער שעבעשטיען פֿיומײ איז, אײן זוניקן טאָג אין פֿרילינג 2021, געשטיגן אױף אַ לײטער און אױפֿגעהאָנגען אַ װײַסן גאַסנשילד מיט ייִדישע אותיות׃ „גרענאַדיערשטראַסע“. װען נישט דעם אַלף־בית װאָלט פֿיומײס קונסטװערק געװען אַ צװילינג מיטן אָפֿיציעלן שילד דעריבער, װאָס װײַזט אין גלחות דעם הײַנטיקן נאָמען פֿון דער גאַס אין צענטער בערלין׃ „Almstadtstraße“.
גרענאַדירשטראַסע איז ביז 1938 געװען די באַרימטסטע „ייִדישע גאַס“ אין דער שטאָט, ספּעציעל בײַ ייִדיש־רעדערס. דער דײַטשמערישער אױסלײג מיטן שטומען „ע“ שטאַמט פֿון אַ ייִדישן שילד װאָס מ׳האָט אַ מאָל אַרױסגעהאָנגען אױף נומער 31, פֿאַרן „האָטעל אָדלער“.
אין אָט דעם איבערגעפּאַקטן בנין האָט מען נישט נאָר געקענט אײַנשטײן אין אַ פּיצל האָטעל, נאָר אױך קױפֿן גרינסן אין אַ שפּײַזקראָם, עסן אין אַ כּשרן רעסטאָראַן, לערנען חומש אין אַ תּלמוד־תּורה, לערנען גמרא אין אַ בית־מדרש – און דאַװענען אין אַזש פֿיר שטיבלעך!
פֿיומײס אומלעגאַלן גאַסנשילד האָט די נאַטשאַלסטװע גיך אַראָפּגענומען. אַ פֿונקציאָנאַר פֿון קװאַרטאַל־אַמט, נתּן פֿרידנבערג, איז אָבער מסכּים געװען מיט פֿיומיין אַז מע דאַרף סוף־כּל־סוף אָנערקענען די קולטורעל ייִדישע „אָסטיודן“ (די אַמאָליקע מיזרח־אייראָפּעיִשע ייִדן), נישט נאָר די אַסימילירטע „יעקעס“. און מע דאַרף געדענקען ווי ייִדן האָבן געלעבט, נישט בלויז ווי זיי זענען אומגעקומען. צוזאַמען מיט אַ היסטאָריקער פֿון „צענטרום יודאַיִקום“, דזשעס ערל, האָט פֿרידנבערג געפּרוּװט אָרגאַניזירן אַן ענלעכן זכּרון־שילד. נײן, צען אַזעלכע – אױף צען שכנותדיקע „ייִדישע גאַסן“.
ס׳איז נישט געװען פּשוט. דער װײַסער קאָליר, װי בײַ די „װאָרע“ גאַסנשילדן? פֿאַרבאָטן. דאָס װאָרט „שילד“? פֿאַרבאָטן. דאָס װאָרט „קונסט“? פֿאַרבאָטן אָן אַ קונסט־פֿאַרמעסט. ייִדיש גופֿא איז שיִער נישט פֿאַרבאָטן, װײַל אין דײַטשלאַנד איז דאָס נישט קײן אָנערקענטע מינאָריטעט־שפּראַך.
נאָך פֿינף יאָר מיט אַפּליקאַציעס און קאָמפּראָמיסן האָבן ערל און פֿרידנבערג אין מאַרץ אָרגאַניזירט אַ „פּרעסע־טערמין“ אױפֿן ראָג. די שלײער איז כאָטש אײן מאָל אַראָפּגעפֿאַלן אין װינט אײדער מע האָט אָפֿיציעל אױפֿגעדעקט דעם ערשטן „גאַסנצײכן“, װאָס מע טאָר נישט אָנרופֿן קײן גאַסנשילד׃ „גרענאַדיערשטראַסע“ אין אַ נײַער שריפֿט מיט פֿיומײס אױסלײג אױף אַ בלאָען הינטערגרונט. אַ צװײטער „צײכן“ דערקלערט דעם װיץ אױף דײַטש און ענגליש; אַ קו־אַר־קאָד פֿאַרלינקט אַ נײַ באַלערנדיק װעבזײַטל מיטן קעפּל „נעלם געװאָרן אָן אַ שפּור?“
צװישן די בערך 30 צוקוקערס – אַרײַנגערעכנט פּאָליטיקערס און רבנים – זענען כאָטש פֿיר ייִדישיסטן געװען אין עולם׃ אַ ייִדיש־פּאָעטעסע, אַ ייִדיש־קינסטלער, אַ ייִדיש־פֿאָרשערין און אַ געװעזענע ייִדיש־פּראָפֿעסאָרשע. אַלע האָבן זיך געפֿרייט צו זען די ייִדישע אותיות אױף דער אַלטער ייִדישער גאַס. בײַ דער טריבונע האָט מען אָבער נישט געהערט קײן וואָרט ייִדיש.
„אַװדאי נישט“, האָט מיר דזשעס ערל געזאָגט אָן חרטה. „די שפּראַך איז נישט דער עיקר. מע דערמאָנט זי בלױז װען ס׳איז טאַקע נײטיק.“ אױפֿן ענגלישן װעבזײַטל געפֿינט מען דאָס װאָרט Yiddish ערשט האַרט בײַם סוף פֿון אַלפֿאַבעטישן גלאָסאַר. נתּן פֿרידנבערג, להיפּוך, האָט געבעטן מחילה און צוגעזאָגט צו באַטײליקן ייִדיש־רעדערס אין צוקונפֿטיקע אונטערנעמונגען.
װער אָדער װאָס איז נעלם געװאָרן? רובֿ ייִדן אין הײַנטיקן דײַטשלאַנד זענען אימיגראַנטן פֿון מיזרח־אײראָפּע אָדער זײערע קינדער. די ייִדיש־זינגערין סאַשע לוריא, למשל, אַ געבױרענע פֿון לעטלאַנד, האָט זיך באַזעצט אין נױקעלן, אַ בערלינער אימיגראַנטן־קװאַרטאַל אַזױ װי די ייִדישע גאַס פֿון אַ מאָל. דאָרט האָט זי מיט די חבֿרים אױפֿגעבױט אַ באַלעבטע ייִדיש־מוזיק־סבֿיבֿה. „איך פֿיל זיך פֿאַרבונדן מיט די אַמאָליקע ייִדן פֿון אָט די גאַסן“, זאָגט לוריא. „זײ דערמאָנען מיך אין מײַנע קרובֿים.“
די סבֿיבֿה אין נױקעלן האָט דערפֿירט צום גרינדן אַ קולטור־אָרגאַניזאַציע, „שטעטל בערלין“, מיט כּסדרדיקע פּראָגראַמען און אַ יערלעכן פֿעסטיװאַל. אױך די פּאָעזיע־ און קונסט־סבֿיבֿה אַרום „ייִדיש.בערלין“ איז פֿיבעריש־פֿלײַסיק. (איך אַרבעט צוזאַמען מיט בײדע גרופּעס.) אין מאַרץ למשל זענען אין דער שטאָט פֿאָרגעקומען אַ כּליזמר־דזשעם־סעסיע; אַ שבת־טיש מיט פֿריש פּובליקירטע ייִדישע לידער; אַ ייִדיש־זינגערײַ; קאָנצערטן פֿון כאָטש דרײַ קאַפּעליעס; אַן אָװנט פֿון „שמועס און װײַן“ — אַ ייִדישער שמועסקרײַז אין אַ שענק; אַ רובריק װוּ ייִדיש־פּאָעטעסעס לײענען די ווערק פון אַנדערע ייִדיש־פּאָעטעסעס; װײַטערע לײען־ און שרײַבקרײַזן…
„אונדזער סבֿיבֿה האַלט אין װאַקסן“, זאָגט לוריא. „אַלץ עפֿטער הערט מען בײַ אונדזערע אונטערנעמונגען אויך שמועסן אויף ייִדיש.“
נישט אַלע „װאָרע“ גאַסנשילדן אין דײַטשלאַנד זענען בלױז אויף דײַטש. סוף מאַרץ בין איך מיט אַ געדונגענעם אױטאָ געפֿאָרן אָנדערטהאַלבן שעה קײן לאַוזיץ/לוזשיסקאַ, אַ ראַיאָן פֿון דײַטשלאַנד װוּ מע רעדט צװײ אָנערקענטע סלאַװישע מינאָריטעט־שפּראַכן׃ אונטער־סאָרביש (װענדיש) און אױבער־סאָרביש. אַרױספֿאָרנדיק פֿון שאָסײ האָב איך דערזען אַ שילד פֿאַר אַ דאָרף מיט צװײ נעמען, אַ דײַטשן און אַ סאָרבישן. אױך אַלע גאַסן האָבן צװײ נעמען. אָבער הערן האָב איך דעם גאַנצן סוף־װאָך אין ערגעץ נישט געהערט קײן סאָרביש װאָרט – ביז מיר זענען אַרײַן אין װענדישן מוזיי אין קאָטבוס/כעשעבוס.
במשך פֿון דער געשיכטע האָט דײַטשלאַנד אונטערגעדריקט די סאָרבישע שפּראַכן. פּרײַסן האָט אַרױפֿגעצװוּנגען אױף די סאָרבן דײַטשע נעמען. די נאַציס י״ש האָבן פֿאַרבאָטן פּובליקאַציעס און פֿאַרטריבן די גלחים כּדי צו פֿאַרדײַטשן די קלױסטערס. מיזרח־דײַטשלאַנד האָט באַזעצט דײַטש־רעדנדיקע פּליטים אין סאָרבישע דערפֿער און צונױפֿגעמישט די אַרבעטערס אין קאָלװירטן. עד־היום האָט מען חרובֿ געמאַכט 130 סאָרבישע דערפֿער לטובֿת די קױלנגריבער.
די ראָלע פֿון דײַטשלאַנד אין דער געשיכטע פֿון ייִדיש – דאָס מאַמע־לשון פֿון 85% פֿון די קדושים – קענען מיר שױן.
אונטער־סאָרביש האָבן סאָרבן אױפֿגעהערט איבערצוגעבן בירושה; אױבער־סאָרביש הערט מען נאָך בײַ געצײלטע קאַטױלישע משפּחות. פֿאַר בײדע שװעסטער־שפּראַכן האָט מען שוין אָבער דורכגעפֿירט ממשותדיקע צילן אויפֿצולעבן דאָס לשון׃ ביזן יאָר 2100 האָפֿט מען, אַז עס וועלן זײַן אַזש 100,000 סאָרביש־רעדערס!
הײַנט האָט דאָס סאָרבישע פֿאָלק מיט זײַנע צװײ לשונות געוויסע רעכט און דעריבער — געלט און אינסטיטוציעס. פֿאַראַן אַ מין סאָרבישער ייִװאָ (װאָס בײַט גערן דעם אױסלײג פֿון סאָרביש); צװײ קינסטלער־קאָלעקטיװן („קאָלעקטיװ.װאַקוּום“ און „נײַע סאָרבישע קונסט“), קאַפּעליעס, קינדער־גערטנער, אײַנטונק־פּראָגראַמען, אַ פֿאַרלאַג, צװײ מיטלשולן, און באַצאָלטע אַרבעט…
דער סאָרבישער ייִװאָ האָט אָנגעשטעלט צװײ לינגװיסטן, שימאָן בלום און עװאַן בליקלי, צו דאָקומענטירן די „לינגװיסטישע לאַנדשאַפֿט“. אױף זײערע ביציקלען האָבן זײ פֿאָטאָגראַפֿירט יעדן סאָרבישן גאַסנשילד אין 70 דערפֿער. „װען איך האָב צום ערשטן מאָל דערהערט קינדער רעדנדיק אױפֿן לשון“, דערצײלט בליקלי, „האָב איך זיך כּמעט צעװײנט.“
דער סאָרבישער קינסטלער בערנהאַרד שיפּער האָט מיר געזאָגט אַז די שילדן זענען אים „גאָר װיכטיק“. אַזױ װײס מען אַז ס׳איז דאָס סאָרבישע געביט. „דאָס פֿאַרשטײט זיך אַלײן.“
די סאָרבישע שילדן האָבן אױך אינספּירירט מיעטאָ נאָאַק, דעם אַמאָליקן פֿאָרזיץ פֿונעם מינאָריטעטן־סעקרעטאַריאַט װאָס פֿאַרטײדיקט אַלע זיבן דײַטשע מינאָריטעט־שפּראַכן. קינדװײַז האָט ער אַ מאָל באַמערקט אַזאַ שילד, און שפּעטער זיך אױסגעלערנט אונטער־סאָרביש און געװאָרן אַ שפּראַך־אַקטיװיסט.
אין זײַן ענטפֿער אױף מײַן בקשה האָט נאָאַק געשריבן׃ „כ׳האָב זיך שױן אָפֿט געפֿרעגט פֿאַרװאָס ייִדיש איז נישט קײן מינאָריטעט־שפּראַך אין דײַטשלאַנד. אין אַכט אײראָפּעיִשע לענדער איז עס יאָ אַזוי.“
אױף אַ שפּאַציר לענג־אױס גרענאַדירשטראַסע האָב איך דערצײלט נאָאַקן מעשׂיות פֿונעם ייִדישן אַמאָל און דעם ייִדישיסטישן הײַנט. האָבן מיר זיך אַװעקגעזעצט בײַ אַ קאַפֿע לעבן דעם שילד. קוקנדיק אױף די פֿאַרבײַגײערס האָט ער פֿאַר מיר אַנטפּלעקט די סודות פֿון מינאָריטעט־שפּראַכן און באַשלאָסן צו שרײַבן אַן אײגענעם אַרטיקל װעגן די ייִדיש־שילדן – אױף אונטער־סאָרביש.
אַגבֿ, אין פֿרילינג 2021 האָט פֿיומײ נישט נאָר אונטערגענומען זײַן קינסטלערישע אינטערװענציע. ער האָט אױך מיט זײַן מיטװױנערין עליאַנאַ דזשײקאָבס לאַנסירט אַ פּאָליטישע קאַמפּאַניע לטובֿת ייִדיש װי די אַכטע מינאָריטעט־שפּראַך פֿון דײַטשלאַנד. די לעצטע מעלדונג אויפֿן אינפֿאָרמאַטיװן פֿייסבוק־זײַטל לכּבֿוד דעם דאָזיקן אויפֿרוף שטאַמט פֿון יענעם אָקטאָבער, נאָר די צען נײַע שילדן האָבן באַנײַט די דיסקוסיע.
„לאָמיר פֿאָרט אויפֿלעבן די קאַמפאַניע!“ האָט מיר דזשייקאָבס געזאָגט.
„ס׳איז אַ גאַנץ רעאַליסטישער געדאַנק“, האָט סאַשע לוריא מסכּים געווען.
הייסט עס, אין לעצטן סך־הכּל, איז ייִדיש אין בערלין טאַקע נישט נעלם געװאָרן.
The post Nearly forbidden: Street signs in an ‘unwanted’ language appeared first on The Forward.
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The ‘godfather of denim’ was an Italian designer whose Jewish father was murdered at Auschwitz
(JTA) — Adriano Goldschmied became known as the “godfather of denim” for elevating jeans from casual wear to a luxury staple. His own father’s story was equally riveting.
Goldschmied, who died April 5 at 82, following a battle with cancer in a hospital in Castelfranco Veneto, Italy, credited himself with founding or developing at least 50 brands, including Diesel, AG, Replay, Gap 1969, A Golde and Goldsign.
He was just an infant in 1944 when his Italian Jewish father was arrested by the Nazis.
Goldschmied’s mother, Sofia, was in hiding with his sister at the time of his birth on Nov. 29, 1943, in Vico Canavese, Italy. The Nazis had invaded Italy just months earlier.
His father, Livio, had joined the Italian resistance after the Nazis took over. When he tried to visit his wife, daughter and newborn son, he was apprehended en route. One of six people with his last name deported by the Nazis via Milan’s central station, he was ultimately sent to Auschwitz, where he was killed several months later.
According to a testimony made by a survivor to Yad Vashem, Israel’s Holocaust center, Livio was denounced by a midwife and received permission to visit his son briefly after his arrest. The testimony, which cannot be independently verified, said he had rejected an offer to move to the United States to work with the physicist Enrico Fermi because he would not have been able to bring his family, and had also declined an opportunity to escape from the train that took him to Auschwitz.
Following the war, Goldschmied moved with his mother to Trieste. He later spent a stint pursuing skiing in the 1960s in Cortina, the ski resort in the Southern Alps.
He did not speak readily about his family’s Holocaust history, and unlike his sister, he did not connect with his Jewish heritage. Diana was responsible for installing Stolpersteine, small memorials embedded in sidewalks documenting the Jews who lived at that address before the Holocaust, to commemorate their family members who were murdered.
“Like my father, my brother was a man of great intelligence and extraordinary intuition,” Diana told the Italian-Jewish news outlet Moked. “However, he did not want to talk about our family history. I think memory was working inside him, though.”
Goldschmied got his start in fashion in the 1970s, when he launched his shop, King’s Shop, in Cortina d’Ampezzo, and started a denim line, Daily Blue.
“That first production was going to a fabric store in my hometown, buying crazy fabrics for a very high price and going through manufacturing with my tailor,” Goldschmied told Women’s Wear Daily in 2023. “The product was extremely expensive, and in some way, I created a premium denim by accident.”
In 1981, Goldschmied went on to found the Genius Group, a collective that backed emerging labels like Diesel, Replay and Goldie.
Among Goldschmied’s innovations throughout his career were the development of the stonewash technique, experimenting with Tencel fibers, creating super-stretch denim and pioneering sustainable production methods as early as the 1990s.
“He was the architect of a global staple,” Mariette Hoitink, the co-founder of House of Denim, told Women’s Wear Daily. “Adriano didn’t just design jeans; he orchestrated the greatest transformation in the history of apparel. He was the singular force who elevated denim from rugged workwear into a global fashion staple.”
Goldschmied is survived by his wife, Michela; his daughters Sara, Marta and Glenda; two grandchildren; and his sister.
“Adriano and I led very separate lives,” Diana told Moked. “I rediscovered my Jewish identity. He took a different path, but everyone carries the past within them.”
This article originally appeared on JTA.org.
The post The ‘godfather of denim’ was an Italian designer whose Jewish father was murdered at Auschwitz appeared first on The Forward.
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Not Stupidity — Something Worse: Why the ‘Israel Controls America’ Myth Keeps Spreading
US President Joe Biden and Democratic presidential candidate and US Vice President Kamala Harris react onstage at the Democratic National Convention (DNC) in Chicago, Illinois, US, Aug. 19, 2024. Photo: REUTERS/Kevin Lamarque
In a recent post, Donald Trump took aim at Tucker Carlson, Megyn Kelly, Candace Owens, and Joe Kent, calling them “low IQ” and “losers,” and asking — between Carlson and Kent — “who is dumber?”
It was vintage Trump: blunt, theatrical, and calibrated to dominate a news cycle with a single line. He has long relied on that instinct — to compress a dispute into something sharp enough to stick. But beneath the spectacle sits a more serious issue.
The problem is not intelligence. Many of these figures are clearly relatively smart. The problem is that they — along with a growing chorus of voices on the political left such as Ana Kasparian, Cenk Uygur, and Mehdi Hasan — continue to advance a claim that collapses under minimal scrutiny. Strip away the stylistic differences, the accents, and the partisan framing, and the argument is identical: “Israel controls the United States,” or in its updated form, “Benjamin Netanyahu controls Donald Trump.”
That claim has resurfaced repeatedly over the years, sometimes dressed in more sophisticated language, sometimes stated outright. What makes its latest iteration notable is not merely its persistence, but where it is now being voiced.
This weekend, Kamala Harris, speaking at a Democratic fundraiser in Detroit, said that Donald Trump had been “pulled into this war” by Benjamin Netanyahu. That phrasing carries a clear implication: that the president of the United States — the commander-in-chief of the most powerful military in the world — is not acting independently but is being maneuvered into conflict by a foreign (Jewish) leader.
When this idea circulates on the fringes, it is dismissed. When amplified by pundits chasing attention, it’s often ignored. But when it’s echoed, even cautiously, by a former vice president and major presidential candidate, it crosses a different threshold. At that point, the claim can no longer be dismissed as noise. It has been normalized.
This is not a new idea. It is one of the oldest political accusations in circulation, and it is remarkably easy to test against reality. Only last week, Trump effectively dictated that Israel must accept a temporary ceasefire with Hezbollah — an outcome widely opposed within Israel, where many believe the campaign should be completed and remain skeptical that the Lebanese state will ever disarm Hezbollah. If Israel were directing American policy, that outcome would not occur.
Historically, the “Israel controls America” claim has appeared in different ideological forms but with identical substance. On the far-right, figures such as David Duke have advanced it explicitly. On the far-left, figures like Cynthia McKinney have repackaged it in political language. The wording changes, but the core allegation remains the same: that American power is not sovereign, but subject to external — specifically Jewish — control, echoing Henry Ford and his “International Jew” conspiracy theories of the 1920s and 1930s.
The argument collapses as soon as one examines scale and structure. The United States is a $27 trillion economy with unmatched global reach across military, financial, technological, and diplomatic domains. It maintains a permanent seat on the UN Security Council and leads a network of alliances that spans continents. Israel’s economy, by contrast, is approximately $700 billion. Its military is highly capable, but it is not a global force. It does not control sea lanes, command multinational coalitions, or set the terms of global finance. The disparity is not marginal; it is foundational.
This asymmetry is not unique. The United States maintains deep strategic relationships with many smaller allies such as South Korea, Qatar, Saudi Arabia, and Kuwait. In fact, the United States fought a war to liberate Kuwait in 1991, sustaining approximately 150 American combat fatalities in the process. Yet, almost no one claims Kuwait controls Washington, or that Saudi Arabia dictates US foreign policy. Only one small ally is routinely described in those terms.
The historical record reinforces the absurdity of this Israel “controls” America trope.
In 1956, despite repeated attacks on Israel from the Sinai and Egypt-controlled Gaza, Dwight D. Eisenhower forced Israel to withdraw from Sinai following the Suez Crisis; Israel complied. In 1982, Ronald Reagan pressured Israel to halt operations in Beirut, facilitating the evacuation of Yasser Arafat and the PLO leadership to Tunisia. In 1991, George H. W. Bush asked Israel not to respond to Iraqi Scud missile attacks to help preserve the US-led coalition; Israel absorbed 39 Scud strikes, 13 deaths, and stood down.
In 2015, Barack Obama advanced the Iran nuclear deal despite sustained Israeli opposition. Under Joe Biden, Israeli operations in Rafah were delayed for months under US pressure despite Israeli hostages being held there and its centrality to Hamas’ military infrastructure.
More recently, on June 24, 2025, as a Trump-negotiated ceasefire was taking effect, Iran launched multiple ballistic missiles at Beersheba, killing four Israelis. Israel prepared a large retaliatory strike. Trump intervened and effectively ordered Israel to turn its planes around.
This is what an unequal alliance looks like: coordination, pressure, and at times outright constraint. It is not a relationship where the far smaller country exercises “control.”
So why does the claim persist? Not because it is analytically persuasive — but because it is emotionally effective. Political narratives built on grievance often prefer simple explanations to complex realities.
It is easier to attribute outcomes to hidden manipulation than to acknowledge the interplay of strategic interests, risks, and constraints that define foreign policy decision-making.
There is also a deeper historical layer. For centuries, European political culture absorbed and transmitted variations of the same vile accusation: that Jews operate behind the scenes, exercising covert and pernicious influence over institutions and leaders.
So, when modern commentators repackage that idea — whether in the language of “influence,” “lobbying,” or outright “control” — it does not enter a neutral environment. It lands on fertile soil, reinforcing a long-established and familiar narrative.
Since World War II, the claim hasn’t changed — only its migration from the margins into the mainstream. And once it crosses that threshold, it stops being rhetoric and starts shaping behavior.
As it did in Germany after World War I, if a significant number of people come to believe that their government has been captured, that their leaders are not acting independently but are controlled by a nefarious external force, the range of conclusions and actions they will justify or rationalize expands dramatically. History offers no shortage of examples of where that logic can lead.
Trump attempted to reduce this to a punchline. But this is not a matter of tone. It is a warning sign. And this time, it is coming from closer to the political center than it has in a very long time.
Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.