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Comedians are just as capable of antisemitic incitement as political figures. So let’s take Dave Chappelle seriously.
(JTA) — Last week saw Dave Chappelle deliver a brilliant monologue on “Saturday Night Live” addressing the antisemitism controversies surrounding Kanye West and Kyrie Irving.
Unfortunately, “brilliant” doesn’t inherently mean “moral” or “good.” Chappelle’s monologue was a masterclass in how to normalize and embolden antisemitic discourse, delivered in plain sight and with just enough “wink wink, nudge nudge” plausible deniability — mixed in with a sprinkle of real commentary — that one would easily almost not realize that … wait, did Chappelle denounce anything exactly?
He opened the monologue by pretending to read from the kind of apology being demanded of Kanye West, the rapper who in recent weeks had exposed various antisemitic tropes. “I denounce antisemitism in all its forms, and I stand with my friends in the Jewish community,” Chappelle “read,” mocking the boilerplate apologies that often arise in these moments. At face value, it’s a great piece of satire. But then he follows up with the punchline: “And that, Kanye, is how you buy yourself some time.”
He isn’t holding West to account. He’s clearing the way and setting the stage for the finest bout of antisemitic dogwhistling probably ever featured on “SNL.”
There is legitimate commentary to be made about the often disproportionate and racialized vitriol directed at Black Americans who engage in antisemitism, coming from a society that revels in Black pain and punishment. Jews of color, and especially Black Jews like me, have been addressing this reality across social media for decades, noting the lack of intensity and accountability when the shoe is on the other foot — when Jewish figures espouse anti-blackness.
But this monologue by a Black comedian is making no such argument. And it comes as more bold and brazen bad-faith actors are acting out in more and more violent ways. Comedians are just as capable of incitement as political figures.
Chappelle is wildly adept at structuring complex jokes. For years he deftly delivered biting, raw and real socio-racial commentary, from his standup routines to “The Chappelle Show,” and since the 2000s has positioned himself as an astute teller of hard truths. If you doubt the man’s intelligence, watch what he does late in the “SNL” routine when he talks about Donald Trump.
With backhanded praise, Chappelle attributes Trump’s popularity and appeal to his skill at being an “honest liar.” Never before, said Chappelle, had voters seen a billionaire “come from inside the house and tell the commoners, ‘Inside that house we’re doing everything you think we’re doing.’ And then he went right back inside the house and started playing the game again.”
Chappelle took notes on Trump’s knack for saying exactly what he means and telling people exactly what he planned to do.
When Chappelle says there are two words you should never say together — “the” and “Jews” — he’s not speaking against antisemitic conspiracy theories that treat Jews as a scheming monolith. He’s insinuating instead that there is a “The Jews” that should never be challenged. (Chappelle goes on to repeatedly use the phrase “The Jews” in his monologue.) The one time he uses “the Jewish community” is to introduce the straw man argument that Black Americans should not be blamed for the terrible things that have happened to “the Jewish community” all over the world — a declaration so baffling that only one person in the audience responds. After all, no one was blaming West or Irving, the NBA star who shared on Twitter a link to a wildly antisemitic film, for the terrible things that happened to Jews. They were just being asked not to promote the ideas of people who had done those terrible things.
Also on full display is Chappelle’s deft, almost “1984”-esque doublespeak. Chappelle notes that when he first saw the controversy building around West’s antisemitism, he thought “Let me see what’s going to happen first” — a strange and telling equivocation. Chappelle diminishes the significance of the film shared by Irving, “Hebrews to Negroes: Wake Up Black America,” by describing it as “apparently having some antisemitic tropes or something,” but then jokes that Irving probably doesn’t think the Holocaust happened — a trope presented in said movie.
Chappelle is reluctant to call Kanye “crazy” but acknowledges he is “possibly not well,” but has no problem referring to Georgia Senate candidate Herschel Walker as “observably stupid.”
Ultimately and persistently, Chappelle suggests that Kanye erred not in being antisemitic, but in being antisemitic out loud.
Most insidious in this regard was his seeming rejection of the notion, promoted by West, that Jews control Hollywood. Said Chappelle: “It’s a lot of Jews [in Hollywood]. Like a lot. But that doesn’t mean anything, you know what I mean? There’s a lot of Black people in Ferguson, Missouri. It doesn’t mean we run the place.” He refers to the idea that Jews control Hollywood as a “delusion.”
And then, rather than let this necessary distinction set in, he undercuts it, saying, “It’s not a crazy thing to think. But it’s a crazy thing to say out loud in a climate like this.” The problem, Chappelle is suggesting, is not harboring dangerous delusions, but saying them in public and risking being called on it. The “climate” is not one of dangerous antisemitism, but the danger of speaking one’s mind.
Chappelle telegraphed this sentiment with an earlier quip: West, he said “had broken the show business rules. You know, the rules of perception. If they’re Black, then it’s a gang. If they’re Italian, it’s a mob, but if they’re Jewish, it’s a coincidence and you should never speak about it.”
The “perception” is that only Jews can’t be spoken of in derogatory terms. Kanye wasn’t wrong for thinking antisemitic thoughts, Chappelle suggests, but, again, speaking about them.
There are lots of jokes made in Hollywood at the expense of Jews. This, however, was not a case of Jews being unable to laugh at ourselves. There’s a difference between laughing at ourselves and having someone who isn’t Jewish use “wink wink” antisemitic tropes. It’s not that Chappelle’s monologue wasn’t funny on its face, it’s that it was harmful. This isn’t happening in a vacuum: It’s happening in a specific context, particularly one in which antisemitism has already been riled up and emboldened by Kanye and Irving. (“Hebrews to Negroes” became a bestseller on Amazon after Irving tweeted about it.)
It just takes the wrong kind of person to hear this monologue for us to experience, God forbid, another Tree of Life shooting. I didn’t particularly relish the wake of the first shooting when, as the rabbi of a congregation in Rockland County, New York, I met with county officials and negotiated police presences, and discussed mass-shooter evasion tactics to ensure the safety of my congregants.
For anyone who thinks Chappelle’s monologue was “just jokes” or that I am reading too much into it, consider his last line — a bravura complaint about cancel culture and the unspoken forces behind it: “I’ll be honest with you. I’m getting sick of talking to a crowd like this. I love you to death and I thank you for your support. And I hope they don’t take anything away from me. [ominous voice] Whoever ‘they’ are.”
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The post Comedians are just as capable of antisemitic incitement as political figures. So let’s take Dave Chappelle seriously. appeared first on Jewish Telegraphic Agency.
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Feds charge man with organizing synagogue attacks in Europe and NYC on behalf of Iran
(JTA) — An Iraqi man who was recently arrested in Turkey has been charged with plotting an array of attacks against Jewish targets, including on a synagogue in New York City, in response to the U.S.-Israel war with Iran.
A criminal complaint that was unsealed on Friday claims that Mohammad Baqer Saad Dawood al-Saadi, 32, is a commander in the Iraq-based Kataib Hezbollah that functions as a proxy for Iran. The complaint was unsealed when al-Saadi appeared in federal court in Manhattan.
The complaint alleges that al-Saadi is responsible in part for organizing the attacks in Europe that have been claimed by a new group, Harakat Ashab al-Yamin al-Islamiya. It marks the first major disclosure of intelligence information tying the group directly to the Quds Force, the overseas arm of the Iranian regime’s Islamic Revolutionary Guard Corps, and includes multiple photographs of al-Saadi meeting in person with IRGC leaders.
Attacks that al-Saadi organized include 18 in Europe that Harakat Ashab al-Yamin al-Islamiya publicly claimed, as well as the stabbing of two Jews in London last month, the complaint alleges. He also organized multiple attacks in Canada that were carried out and plotted others that did not take place, the complaint alleged.
Al-Saadi is charged with six crimes, including conspiracy to provide support for acts of terror and conspiracy to provide support for a foreign terrorist organization. (The Trump administration declared the IRGC a terrorist organization in 2019.) He did not speak during his first court appearance on Friday, according to The New York Times, which reported that his attorney called him “a political prisoner and prisoner of war.”
“As alleged in the complaint, Al-Saadi directed and urged others to attack U.S. and Israeli interests and to kill Americans and Jews in the U.S. and abroad, and in doing so advance the terrorist goals of Kata’ib Hizballah and Iran’s Islamic Revolutionary Guard Corps,” Acting Attorney General Todd Blanche said in a statement on Friday. “These charges show American law enforcement will never let such evil go unchecked and will use all tools to disrupt and dismantle foreign terrorist organizations and their leaders.”
The incidents targeting Jews came amid warnings that Iran, which has a long record of organizing terror attacks abroad, would retaliate against the United States, Israel and Jews around the world.
The complaint, reflecting a sworn affidavit from Kathryn McDonald, an FBI special agent, says al-Saadi offered to pay online contacts $10,000 to stage attacks on U.S. Jewish targets.
According to the criminal complaint, al-Saadi sent a $3,000 down payment in cryptocurrency to an agent who was posing as someone willing to stage attacks on Jewish targets in New York, Los Angeles and Scottsdale, Arizona, in April.
Al-Saadi allegedly told the agent that “things are working for us here” in Europe but that he was looking for more assistance in the United States and Canada. He shared a picture of what the complaint says is a “prominent Jewish synagogue” in New York and said he had selected it as a target because it supported “the right for Israel to exist.” The agent initially agreed to stage an attack but stopped communicating with al-Saadi after sending a picture showing that the synagogue was guarded by police officers.
The Community Security Initiative, a group coordinating security for Jews in New York, sent a “community security bulletin” on Friday after al-Saadi appeared in federal court in Manhattan, saying that the arrest did not come as a surprise.
“CSI has been in contact with FBI’s Joint Terrorism Task Force in New York since April 2026 regarding this plot, and they have been keeping us apprised as events have evolved,” CEO Mitchell Silber said in the bulletin. He added, “At this time, we are not at liberty to disclose the targeted location.”
Kataib Hezbollah is the group that abducted and held a Russian-Israeli Princeton University researcher, Elizabeth Tsurkov, for more than two years until September. Following the revelation of al-Saadi’s arrest, she praised the FBI agents who worked the case, including one who also investigated her kidnapping.
“This ginger angel kept doggedly working my case because she knew I needed her and she knew that solving the case would help US national security interests. Indeed, owing to the incredible stupidity of my torturers, they provided me with a plethora of information about their operations, which I happily provided to the FBI after my release,” Tsurkov tweeted. “The American people are lucky to have such dedicated agents helping to keep them safe.”
This article originally appeared on JTA.org.
The post Feds charge man with organizing synagogue attacks in Europe and NYC on behalf of Iran appeared first on The Forward.
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A floating wooden synagogue at the 2026 Venice Biennale
דאָס איז איינער פֿון אַ סעריע קורצע אַרטיקלען אָנגעשריבן אױף אַ רעלאַטיװ גרינגן ייִדיש און געצילעװעט אױף סטודענטן. די מחברטע איז אַלײן אַ ייִדיש־סטודענטקע. דאָ קען מען לײענען די פֿריִערדיקע אַרטיקלען אין דער סעריע.
הײַיאָר צום דריטן מאָל לאָזט זיך ייִדיש באַמערקן בײַ דער באַרימטער אױסשטעלונג אין ווענעציע, איטאַליע — „װענעציער ביענאַלײ“, װאָס האָט זיך אָנגעהויבן דעם 9סטן מײַ און װעט זיך ענדיקן דעם 22סטן נאָװעמבער. ייִדיש שפּילט נישט קײן אָפֿיציעלע ראָלע אין דער אױסשטעלונג, און דאָס איז טאַקע דער עיקר. די אױסשטעלונג ווערט אָרגאַניזירט לויט לענדער, און אַװדאי איז ייִדיש קײן מאָל נישט געװען די הויפּטשפּראַך פֿון קײן לאַנד.
ייִדיש מאַכט אַ רושם בײַם ביענאַלײ אַ דאַנק דעם „ייִדישלאַנד פּאַװיליאָן“, װאָס איז אױסגעטראַכט געװאָרן אין 2022 פֿון דער קוראַטאָרשע מאַריע װײַץ און דעם קינסטלער יעװגעני פֿיקס. דער „פּאַװיליאָן“ איז אַ סעריע אױסשטעלונגען און אױפֿטריטן װאָס קומען פֿאָר אין עטלעכע ערטער איבער װענעציע, אַרום די ראַנדן פֿון דער אָפֿיציעלער ביענאַלײ.
דאָס װאָרט „פּאַװיליאָן“ אין „ייִדישלאַנד פּאַװיליאָן“ איז אַן איראָנישער קאָמענטאַר אױף די פֿיזישע פּאַװיליאָנען װאָס דער ביענאַלײ גיט צו 100 לענדער אין 2026, כּדי אױסצושטעלן אַ גאַמע קונסטװערק. אין קאָנטראַסט איז דער ייִדישלאַנד פּאַװיליאָן „געבױט“ אין גאַנצן פֿון אידעען.
אין זומער 2025 האָב איך אינטערװיויִרט װײַץ און פֿיקס װעגן דעם ייִדישלאַנד פּאַװיליאָן, װאָס איז דעמאָלט בײַגעװען בײַם ביענאַלײ. אין אונדזער אינטערװיו האָבן װײַץ און פֿיקס דערקלערט די צילן פֿונעם פּאַװיליאָן: בקיצור װילן זײ זײַן אין סתּירה מיטן ביענאַלײס טראָפּ אױף לענדער און נאַציאָנאַליזם, װאָס שליסט אױס די ייִדישע קולטור און אַנדערע מינאָריטעט־קולטורן װאָס זענען באַזירט אױף שפּראַכן.
װײַץ און פֿיקס, און די קינסטלער װאָס אַרבעטן מיט זײ, זאָגן אױך אָפּ די באַגריפֿן װאָס באַגלײטן אַ פֿאָקוס אױף לענדער. אַנשטאָט גרענעצן, פֿאַראינטערעסירן זײ זיך מיטן קולטורעלן קאָנטאַקט און צונױפֿשמעלץ. דערמיט שפּיגלען זײ אָפּ די דערפֿאַרונגען פֿון דורות ייִדיש־רעדערס, װאָס האָבן אָפֿט געװױנט װי דרױסנדיקע אין דער גלאָבאַלער סיסטעם פֿון לענדער. די קולטור װאָס די דאָזיקע ייִדיש־רעדערס האָבן געשאַפֿן, ספּעציעל אינעם ערשטן העלפֿט פֿונעם 20סטן יאָרהונדערט, איז געװען טיף פֿאַרװאָרצלט אין ייִדישע טראַדיציעס — אָבער אױך היבריד און צופּאַסיק. זי האָט בכּיוון אַרײַנגעמישט השפּעות פֿון פֿאַרשײדענע שפּראַכן, אידענטיטעטן און קולטורעלע באַװעגונגען.
אָט דער דאָזיקער גײַסט פֿון אָפֿנקײט און צופּאַסיקײט — פֿון די מעגלעכקײטן פֿון פֿליסיקע גרענעצן — האָט אינספּירירט די ייִדישלאַנד־פּאַװיליאָנען פֿון 2022 און 2025, און נאָך אַ מאָל אין 2026.
פֿון איצט ביזן 16טן סעפּטעמבער װעט דער ייִדיש־פּאַװיליאָן אױסשטעלן „די װערטער װאָס פּאַסן זיך צו מײַן מױל“. ער געפֿינט זיך אין דרײַ ערטער אַרום װענעציע, אַרײַננעמדיק אין דער אַלטער ייִדישער געטאָ. זי באַשטײט פֿון פֿיר טײלן, װאָס פֿאַרנעמען זיך אַלע מיט דער „איבערזעצונג“, סײַ צװישן שפּראַכן סײַ צװישן קולטורן און קאָנטעקסטן:
- „איך בין נישט מסכּים“, פֿון אַרנדט בעק. דער פּראָיעקט פֿאָרשט אױס, דורך צײכענונגען און קאָלאַזש־פּאָסטקאַרטלעך, דאָס לעבן פֿון דער ייִדיש־רעדנדיקער אַנאַרכיסטקע מילי װיטקאָפּ (1877־1955), װאָס איז געבױרן געװאָרן אין אוקראַיִנע און האָט געאַרבעט מערסטנס אין לאָנדאָן. בעק באַזינגט אױף ייִדיש און אַנדערע שפּראַכן װיטקאָפּס איבערגעגעבנקײט צו אַרבעטער־ און מענטשנרעכט.
- „לידער פֿאַר טײַכן“, פֿון ליליאַנאַ פֿאַרבער. דאָס קונסטװערק איז באַזירט אױף ייִדישע לידער װעגן טײַכן, װאָס שטאַמען פֿון יזכּור־ביכער — די בענד געשאַפֿן נאָכן חורבן צו פֿאַראײביקן דעם אָנדענק פֿון די פֿאַרטיליקטע ייִדישע שטעט און שטעטלעך. אין אַ סעריע גראַפֿישע װערק האָט פֿאַרבער אַראַנזשירט די װערטער פֿון יעדן ליד כּדי נאָכצופֿאָלגן די קאָנטורן פֿונעם טײַך, װאָס דאָס ליד באַשרײַבט.
- ליולינקע, מײַן פֿײגעלע, פֿון מאַשאַ שפּרײַזער. דער פּראָיעקט באַשטײט פֿון פֿאַרשײדענע אַלטע שטוב־טעקסטילן אַזױ װי ציכלעך און טיכלעך, מיט װערטער פֿון ייִדישע לידער געמאָלט אױף זײ. די טעקסטילן האָט מען פֿריִער געצירעװעט. מסתּמא האָבן דאָס פֿרױען געטאָן. דער טיטל פֿונעם װערק פֿאַררופֿט זיך אױף אַ ייִדיש װיגליד. בײַנאַנד מיט די טעקסטילן געפֿינען זיך בײַשפּילן פֿון װענעציער שפּיצן (דאָס שאַפֿן פּרעכטיקע שפּיצן איז אַ שטאָט־טראַדיציע). צוזאַמען דערמאָנען די אָביעקטן אין װײַבערשער אַרבעט, און אין װײַבערשע לעבנס און מעשׂיות.
- „אַלטמאָדיש“, פֿון לײלאַ אַבדעלראַזאַק. די דאָזיקע װידעאָ־קונסט פֿאַרנעמט זיך מיט דער צוקונפֿט פֿון אַראַביש אין פּאַלעסטינע און ישׂראל. יעװגעני פֿיקס האָט דערקלערט׃ „פֿילשפּראַכיקײט איז געװען כאַראַקטעריסטיש פֿאַרן ייִדישן לעבן אין מיזרח־אײראָפּע, װוּ אַ סך געבױרענע ייִדיש־רעדערס האָבן פֿליסיק גערעדט אַנדערע שפּראַכן. אַבדעלראַזאַק װױנט אױך צװישן שפּראַכן — אַראַביש, העברעיִש און ענגליש — װאָס זענען אַלע אַ טײל פֿון איר פֿילזײַטיקער אידענטיטעט. איר קונסט פֿאָרשט אױס װי אַזױ די פּאָליטיק פֿון שפּראַך אין אַ פֿאַרשײדנאַרטיקער קולטור.“
דעם 16טן יולי װעט זיך עפֿענען „נבטעלע“ פֿון אַנאַ קאַמײַשאַן. בײַ דער דאָזיקער דרױסנדיקער אינסטאַלירונג (װאָס װערט פּרעזענטירט צוזאַמען מיטן ייִדישן מוזײ אין מאָנטרעאָל) װעט מען אױפֿהײבן אין דער לופֿט אַ גרױסן מאָדעל פֿון אַ הילצערנער שיל פֿון מיזרח־אײראָפּע. דער מאָדעל איז פֿול מיט העליום, און נאָר אַ דאַנק שטריק שװעבט ער נישט אַװעק. די שיל אינעם מאָדעל זיצט אױף אַ באַזע פֿון ריזיקע פֿעלדזן. אין דער שיל שײַנט אַ ליכט װאָס גײט קײן מאָל נישט אױס.
דער טיטל „נבטעלע“ שטאַמט פֿון אַ סלאַװיש װאָרט װאָס דערמאָנט אין סכּנה אָדער באַאומרויִקן זיך. ער פֿאַררופֿט זיך אױך אױף תּנכיש העברעיִש, װוּ „נבט“ מײנט „נאָענט אָנקוקן“. אַ „נבטעלע“, מיטן ייִדישן דימינוטיװ „-עלע“, איז עפּעס װײכער װי בײדע װערטער — אָבער אױך צװײטײַטשיק.
אין „נבטעלע“ זעט מען אַ סך סתּירות, אַזױ װי דעם קאָנטראַסט צװישן דעם װאָג פֿון אַ בנין װאָס זיצט אױף פֿעלדזן, און דער אָנװאָגיקײט פֿונעם מאָדעל אַלײן; און אױך צװישן דעם צער צוליב דער פֿאַרטיליקונג פֿון אַלע הילצערנע שילן פֿון די נאַציס, און דער האָפֿענונג סימבאָליזירט פֿונעם אײביקן ליכט אין דער שיל. צי איז די שיל אַרױסגעריסן געװאָרן פֿון דער אַלטער הײם, אָדער טראָגט זי די הײם מיט איר?
מען דאַרף אױך דערמאָנען אַ טײל פֿונעם ייִדישלאַנד־פּאַװיליאָן װאָס האָט זיך שױן געענדיקט. בעת די ערשטע טעג פֿונעם ביענאַלײ האָט עליאַנאַ פּליסקין דזשײקאָבס אױסגעפֿירט אין עפֿנטלעכע ערטער אַרום װענעציע איר „טאַנצן צװישן נאַ און נאַד“. זי האָט געאַנצט און געזונגען ייִדישע לידער װעגן װאָגלעניש און גלות — טײלװײַז אױפֿן אָריגינעל ייִדיש און טײלװײַז איבערגעזעצט אױף אַנדערע שפּראַכן.
דאָס פּרעזענטירן דעם ייִדישלאַנד פּאַװיליאָן בײַ דער װענעציער ביענאַלײ איז גאָר אַ כּדאַייִקע אונטערנעמונג, װאָס ציט דעם אױפֿמערק אױף ייִדיש און ייִדישער קולטור בעת זײער אַ װיכטיקער אינטערנאַציאָנאַלער אױסשטעלונג. דער ייִדישלאַנד פּאַװיליאָן איז אָבער אױך טײַער. אַלע צושטײַערס זענען קריטיש, סײַ הײַיאָר סײַ פֿאַר דער צוקונפֿט. אױב איר קענט העלפֿן מיט אַ צושטײַער קענט איר קװעטשן דאָ.
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Mamdani Nakba Day video prompts pushback from Jewish leaders amid rising tensions
New York City Mayor Zohran Mamdani once again angered many Jewish New Yorkers, already uneasy about his criticism of Israel, after posting a video on Friday made by his City Hall team marking Nakba Day, which remembers the displacement of thousands of Palestinians during the creation of Israel in 1948. “Nakba” means “catastrophe” in Arabic.
Mamdani, who rose to power aligned with pro-Palestinian activism, has been unapologetic about his anti-Zionist views and signaled they would shape his tenure. The Jewish community overwhelmingly did not support his election. Mamdani has supported efforts to divest from Israel Bonds and has refused to recognize Israel as a Jewish state — all this reversing years of steadfast support of Israel by mayors of New York City, which has about 1 million Jewish residents. While people who identify as Palestinians number just a few thousand in official records, about 150,000 New Yorkers told the last Census that they hailed from the Mideast, excluding Israel.
The post drew fierce backlash from Jewish leaders, who accused Mamdani of promoting a one-sided view of the Israeli-Palestinian conflict while ignoring Israel’s history and alienating the many New Yorkers who have connections to Israel.
The four-minute video featured New Yorker Inea Bushnaq, who recounted her experience as her family fled their home in East Jerusalem because “the Zionists were coming into Jerusalem,” and moved to Nablus. It had 10 million views on the social media platform X by Sunday evening, one of multiple platforms where it was posted on the official NYC Mayor’s Office accounts.
Today marks Nakba Day, an annual day of remembrance to commemorate the expulsion of more than 700,000 Palestinians between 1947 and 1949 during the creation of the State of Israel and the year that followed.
Inea is a New Yorker and a Nakba survivor. She shared her story with us… pic.twitter.com/z2PBOaJq5Z
— Mayor Zohran Kwame Mamdani (@NYCMayor) May 15, 2026
Olivia Becker, Mamdani’s video director, who filmed the interview, reposted supportive messages on X from allies of the mayor, highlighting the significance of his becoming the first New York City mayor to publicly commemorate Nakba Day.
Many Israelis argue that the displacement of Palestinians occurred in the context of the war launched by neighboring Arab states and Palestinian groups against the newly declared State of Israel, while some progressive Jewish groups and pro-Palestinian advocates say the Palestinian experience and the continued statelessness of millions of Palestinians should also be publicly acknowledged. Jewish leaders also noted that Mamdani’s video ignored the massacre of Jews pre-state and the displacement of hundreds of thousands of Jews from Middle Eastern countries. Many New Yorkers and Israelis are themselves descendants of Jews who were expelled or forced to flee Arab countries such as Egypt, Syria and Yemen.
Yaacov Behrman, a Chabad-Lubavitch activist in Brooklyn — who has appeared with Mamdani and attended a roundtable discussion with Orthodox leaders at City Hall — harshly criticized the mayor for platforming a “dishonest characterization” of history. “The tweet’s one sided narrative deepens division instead of advancing peace, coexistence, and understanding, and it should never have been posted by the mayor of New York City,” Behrman said.
Tony Award-winning actor Ari’el Stachel, whose father immigrated to Israel from Yemen, mocked Mamdani’s muddled response to rising antisemitism in an Instagram satire in which he struggles to say “I am outraged by antisemitism” — but eagerly looks forward to releasing the Nakba Day video.
A City Hall spokesperson did not respond to an inquiry asking what civic purpose was served by using city resources and the mayor’s official account to post the video.
The video prompted the latest clash between Mamdani and major Jewish and Zionist organizations over Israel-related issues. Last month, Mamdani vetoed a City Council bill requiring safety plans for protests near schools, while allowing a separate measure protecting houses of worship to become law without his signature. In January, Jewish leaders criticized his delayed response to a protest in which demonstrators chanted pro-Hamas slogans. Mamdani also faced backlash from Zionist Jewish organizations on his first day in office after revoking executive orders tied to antisemitism and campus protests.
Mamdani came under fire during the mayoral race last year for defending the slogan “globalize the intifada,” used by some at the pro-Palestinian protests and perceived by many as a call for violence against Jews.
Mamdani’s Jewish Heritage reception
Mamdani is set to host Jewish leaders and activists at Gracie Mansion, the mayor’s official residence, on Monday to mark Jewish American Heritage Month. The annual event has been programmed by Mamdani’s team as a celebration in honor of the Shavuot holiday, with a dairy menu.
Former Assemblyman Dov Hikind had urged Jewish leaders to boycott the event before Friday’s video was released. “You don’t have to go for cheese blintzes to Gracie Mansion,” Hikind said in an interview Sunday, arguing that attendance would legitimize Mamdani’s anti-Zionist posture. “I have no doubt that Mamdani is laughing all the way to the bank,” said Hikind, who now runs Americans Against Antisemitism. “I can tell these Jews that he would have greater respect for you if you started to believe in something.”
Hikind said he had been told that photographers from the New York Post planned to stage outside the mayoral residence on the East River to photograph attendees entering the event and that activists intend to circulate the images on social media to publicly shame participants.
For observers, the repeated episodes underscore the widening divide between a mayor who sees outspoken advocacy for Palestinians as part of his political identity and the largest Jewish community outside Israel, which increasingly views his approach to Israel and antisemitism as dismissive of its concerns despite his repeated promises to protect and engage with Jewish New Yorkers.
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