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From Mel Brooks to Elaine May to Ethan Coen: Producer Julian Schlossberg writes memoir about working with Jewish stars over 6 decades
(JTA) — On a couple of occasions in Julian Schlossberg’s early life, he found himself in parts of the United States where some people he talked to had never met a Jewish person. The first was a stint in the Army, the second was while selling movies to rural television stations.
But over the next six decades — once Schlossberg embarked on a long and successful career that included stops as a Hollywood studio executive with Paramount Pictures and later as a prolific distributor of movies and producer of off-Broadway and Broadway shows — he was rarely the only Jew in the room ever again.
Schlossberg tells those stories and many more in his new memoir “Try Not to Hold It Against Me: A Producer’s Life” (Beaufort Books). He writes about how he went from a child in the Bronx to an influential show business figure who mingled and worked with countless movie stars, having enjoyed a long career that shows no signs of being over at age 81.
Schlossberg was born in 1941, and grew up in what he describes as a middle class family, in a Bronx neighborhood that at the time was heavily Jewish and Irish. His father Louis played semi-pro baseball, but as Schlossberg writes in the book, turned down the chance to play for a team in Kansas City in part because “there were almost no Jews in baseball.” Instead, Louis spent most of his professional life working in Manhattan’s Garment District.
The family lived near the Kingsbridge Armory, then likely the largest of its kind in the world, which hosted conventions, car shows and rodeos that came through the city at the time. Those rodeos, in fact, were Schlossberg’s introduction to showbiz.
“I would go as a kid and just revel in the fact that I was meeting these incredible stars,” he said.
Schlossberg with Jewish star Michael Douglas. (Courtesy of Julian Schlossberg)
Meeting stars would eventually become commonplace. Before and after his time in the Army in the early 1960s, Schlossberg worked as a cab driver, a busboy, a waiter, a counselor, a typist and more while taking college classes at night. He got a job at the ABC in 1964 and worked his way up the company’s ranks.
“I had decided, as a very young man, that since I didn’t have a law degree or a dental degree or a medical degree, I was going to learn every aspect of show business that I could,” he said. “I didn’t know what it was going to do, but I knew that knowledge was power, and that if I had knowledge, maybe I’d get some power.”
He would live out that goal, working in just about every area of entertainment, from radio to movie distribution to theater producing. (He goes back and forth on which one he likes best.)
In the 1970s, he hosted an AM radio show called “Movie Talk,” for which he interviewed hundreds of movie stars. WMCA station executives wanted Schlossberg to use a different stage name, to sound less Jewish.
“They didn’t want it to be ‘a Jewish name,’ and I said ‘Wait a second — if I’m going to be on the air in New York City, I can’t be a Jew?’ So they gave in, and I kept my name,” he said. “You kind of want to remember the times you did stand up, I guess. Not that it was a giant standing up, but I would have not done the show if they had asked me to change my name, because it made no sense to me.”
Speaking of Jews, Schlossberg has worked with a virtual who’s-who of famous Jewish entertainers over the years, from Neil Simon to Lillian Hellman to Sid Caesar to Mike Nichols to Peter Falk to Ethan Coen. And the ones he didn’t work with, he hung out with socially. Barbra Streisand invited him to a famous birthday party (that ended up taking place at Liza Minnelli’s house), and Mel Brooks has always greeted him as “Schloss Berg,” as if his name were two words.
Schlossberg with Barbra Streisand, right, and Merryn Jose. (Courtesy of Julian Schlossberg)
Schlossberg’s film production credits range from the 1994 British mystery “Widows’ Peak,” starring Natasha Richardson and Mia Farrow; to the 1980 “No Nukes” documentary that filmed an anti-nuclear weapons concert with the likes of Bruce Springsteen and Jackson Browne; to a revival of the long-buried version of Orson Welles’ “Othello.”
In 1995, Schlossberg worked with three prominent Jews on one off-Broadway production: a set of one-act plays performed together each night, called “Death Defying Acts,” written by Woody Allen, David Mamet and Elaine May. Schlossberg later produced the Broadway adaptation of Allen’s movie “Bullets Over Broadway,” while May, whom Schlossberg likens to a sister, contributed the forward to his book.
“Elaine is, as I’ve written, the smartest person I’ve ever met, and probably one of the most talented if not the most talented, because there is nothing that she cannot do,” Schlossberg said of the now 90-year-old Oscar, Tony and Grammy winner. “She’s a great actress, she’s a great writer, and she’s a great director. And she’s a hell of a friend.”
At one point in his career, as he details in one chapter, Schlossberg crossed paths with another Jewish producer: Harvey Weinstein. When Weinstein was young, the now-disgraced serial sexual harasser approached Schlossberg and asked him to teach him the movie business. The two men worked together for a time, although eventually they fell out.
“I never in my wildest dreams thought he would hit the heights that he hit, or the depths that he sunk to. Never,” Schlossberg said.
Another of Schlossberg’s mentoring experiences ended on a more positive note. Mark S. Golub, a rabbi, came to Schlossberg for advice in the late 1990s on learning the theater business. Golub, who died late last month at 77, went on to become a prolific Broadway producer and the founding president of the Jewish Broadcasting Service channel.
It was a fruitful partnership: Golub learned about the industry, and Schlossberg absorbed lessons about Judaism.
“It was a very interesting combination, of somebody who certainly knew a great deal about Judaism, and myself, who was learning a lot by that time about [Judaism],” Schlossberg said. “It was interesting to me to be partners with a rabbi.”
Schlossberg had several projects set to go at the start of the coronavirus pandemic, but when the industry shut down, he wrote his memoir instead. Now he’s looking to rev up some of those projects. Next up on the docket is “Tales From the Guttenberg Bible,” an autobiographical, four-character play written by and starring the Jewish actor Steve Guttenberg. It is now set for its world premiere in April, at the George Street Playhouse in Rutherford, New Jersey.
“I think audiences will respond to it, because he’s so kind and personable and living… a nice Jewish boy,” Schlossberg said of Guttenberg.
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The post From Mel Brooks to Elaine May to Ethan Coen: Producer Julian Schlossberg writes memoir about working with Jewish stars over 6 decades appeared first on Jewish Telegraphic Agency.
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Netanyahu alleges that Israeli soldiers died because Biden-era arms ’embargo’ meant they ‘didn’t have enough ammunition’
(JTA) — Israeli Prime Minister Benjamin Netanyahu alleged in comments on Tuesday that Israeli soldiers died during the war in Gaza because of a Biden-era “embargo” on weaponry.
“We paid a very heavy price in the war,” Netanyahu said during an appearance in Jerusalem. “Part of it is that at a certain point, we simply didn’t have enough ammunition, and people fell, heroes fell. Part of the loss of ammunition was also a result of the embargo.”
The Biden administration held back some heavy arms from Israel in mid-2024 in an effort to pressure Netanyahu not to enter the southern Gaza city of Rafah. It pledged to continue supplying other weapons.
Both Netanyahu and President Donald Trump, who resumed sending the heavy weapons in March 2025, have said the Biden-era restrictions amounted to an “embargo” and have charged that the Biden administration held back more arms than it said.
Biden administration officials immediately decried the comments, saying that Netanyahu was lying and emphasizing Biden’s personal and political support for Israel.
“Netanyahu is both not telling the truth and ungrateful to a president that literally saved Israel at its most vulnerable moment,” Amos Hochstein, whom Biden appointed as a Middle East envoy during the Gaza war, told Axios, in one example. He reiterated the point on X, where he noted that the Biden administration sent $20 billion in military aid to Israel and also participated twice in deflecting Iranian missile attacks.
The comments come at a delicate time for Netanyahu. The retrieval earlier this week of Ran Gvili, the last Israeli hostage in Gaza, adds pressure for him to support a new phase in the Gaza ceasefire which has the potential to become a wedge between him and Trump.
At the same time, the prime minister is facing potential political turmoil at home, with elections required before the end of the year and a budget process getting underway Wednesday that could trigger earlier elections if lawmakers cannot reach a deal over haredi Orthodox army enlistment.
The comments also come as Netanyahu has recently said he wants to “taper” U.S. military aid to zero over the next decade and instead position Israel to fund its own defense. A top Republican lawmaker, Sen. Lindsey Graham, said he thought the shift should come sooner.
The post Netanyahu alleges that Israeli soldiers died because Biden-era arms ’embargo’ meant they ‘didn’t have enough ammunition’ appeared first on The Forward.
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Looking back on my 30 years as a Yiddish translator
איך בין געווען אַ מאָדערנער חסיד אַ בעל־תּשובֿה, וועלכער פֿילט זיך היימיש סײַ צווישן די חסידים, סײַ צווישן די וועלטלעכע ייִדישיסטן.
נישט לאַנג צוריק האָב איך געבלעטערט מײַן עלטסטע אָפּגעהיטע העפֿט מיט לידער אויף ייִדיש, אָנגעשריבן אין 1995 – 1996. האָב איך זיך פֿאַרטראַכט, אַז עס באַקומט זיך אַ יוביליי פֿון מײַן ייִדיש־שאַפֿן און אַן אײַנפֿאַל אַ ביסל אָנצושרײַבן וועגן דעם.
עפּעס האָב איך געגראַמט אויף ייִדיש נאָך פֿריִער, אָבער פֿון יענע „אורשאַפֿונגען‟ מײַנע איז נישט געבליבן קיין שפּור. אין יענער אַלטער העפֿט, וואָס האָט דורכגעמאַכט אַ לאַנגן וועג קיין אַמעריקע און מיט יאָרן שפּעטער צוריק קיין רוסלאַנד, געפֿינען זיך אויך דרײַ מײַנע איבערזעצונגען פֿון מײַן באַליבטן רוסישן דיכטער אָסיפּ מאַנדעלשטאַם.
אין 2002 זענען יענע איבערזעצונגען פּובליקירט געוואָרן אינעם אינטערנעץ־זשורנאַל „דער באַוועבטער ייִד‟, נאָר אין גאָר אַנדערע ווערסיעס. די היסטאָרישע העפֿט איז דעמאָלט געווען אין פּעטערבורג, און איך האָב געוווינט אין קווינס. אויף אויסווייניק האָב איך מײַנע טעקסטן נישט געדענקט און ממילא געמוזט זיי איבערשרײַבן. דער נײַערער נוסח האָט זיך באַקומען לאַוו־דווקא בעסער, פּשוט אַנדערש. פֿאַרגלײַכט:
געהיים איז שאָרכען אינעם וואַלד:
אַ פּרי פֿאַלט אַראָפּ אַנטשוויגן
אין אייביק הילכן פֿונעם ניגון,
וואָס וועלדער־שווײַגעניש אַנטהאַלט.
(1995-1996)
אַ טויבער, אַ געהיטער קלאַנג:
אַ פּרי איז אַראָפּגעפֿאַלן
אינמיטן טיף און אייביק שאַלן
אין שטילקייט פֿונעם וואַלד־געזאַנג.
(2002)
אינעם זעלבן יאָר, ווען אָט די שורות זענען דערשינען אינעם „באַוועבטן ייִד‟, האָב איך אָנגעהויבן אַרבעטן ווי אַ נײַעס־איבערזעצער אינעם פֿאָרווערטס. צוערשט האָב איך געאַרבעט צוויי טעג אַ וואָך; ביסלעכווײַז, מיט עטלעכע יאָר שפּעטער, האָב איך אָנגעהויבן אַרבעטן אין דער רעדאַקציע די גאַנצע וואָך. פֿאַרן באַקומען די שטעלע, זײַענדיק אַ יונגער ענטוזיאַסטישער יאַט, האָב איך געפֿירט ייִדיש־לימודים פֿרײַ פֿון אָפּצאָל אויף דער אינטערנעץ און פֿאַרשיידענע דיסקוסיעס אַרום דער ייִדישער שפּראַך. מײַן מיטבאַטייליקטער אין דעם איז געווען אַריה לאָנדאָן ז״ל (1946 – 2017) – דער זשורנאַליסט פֿון די ייִדיש־אוידיציעס אויף דער אינטערנאַציאָנאַלער ישׂראלדיקער ראַדיאָ „קול ישׂראל‟. מיר האָבן אָפֿט אַרומגערעדט מאַנדעלשטאַמס לידער.
ווי אַזוי האָב איך געפֿונען די אַרבעט אינעם פֿאָרווערטס? ערגעץ אין די ייִדישיסטישע אינטערנעץ־פֿאָרומס האָט זיך פֿאַרשפּרייט אַ קלאַנג, אַז דער פֿאָרווערטס זוכט אַ מיטאַרבעטער. האָב איך זיך פֿאַרבונדן מיט דער צײַטונג און זיך געיאַוועט אינעם ביוראָ. באַלד איז צו מיר צוגעקומען אַ סימפּאַטישע רויטהאָטיקע פֿרוי, וועלכע האָט זיך פֿאָרגעשטעלט: „איך בין שׂרה־רחל שעכטער‟. מיט אַזאַ באַשטעטיקנדיקן טאָן האָט זי זיך באַגריסט, אַז איך האָב פֿאַרשטאַנען אַז איך מוז זיך מאַכן, אַז איך ווייס, ווער זי איז!
דעם אמת געזאָגט, האָב איך קיין השׂגה נישט געהאַט. אין יענע יאָרן, צו וועלכע עס געהערט מײַן אַלטע לידער־העפֿט, האָב איך געטראָפֿן אַ קופּע נומערן פֿונעם פֿאָרווערטס אין דער פּעטערבורגער שיל, איבערגעלייענט אַ פּאָר צי אפֿשר אַ טוץ צײַטונגען. קיין שׂרה־רחל שעכטער האָב איך דאָרט נישט באַמערקט. פּונקט דעמאָלט, ווען איך האָב זיך געלאָזט קיין אַמעריקע, כּדי זיך אָנצושליסן אין אַ וויליאַמסבורגער ישיבֿה, האָט שׂרה־רחל באַקומען איר שטעלע אין דער צײַטונג.
רעדן האָב איך אין אַמעריקע גערעדט די ערשטע יאָרן רק אויף ייִדיש און כּמעט קיין ענגליש נישט געקענט, נאָר אינעם סאַטמאַרער וויליאַמסבורג האָב איך קיין פֿאָרווערטס אַוודאי בכלל נישט געזען.
אינעם ביוראָ האָט מיר יענע, נאָך אומבאַקאַנטע פֿרוי אײַנגעהענטיקט אַ שטיקל פּאַפּיר און געבעטן איבערצוזעצן אַ נײַעסל פֿון ענגליש אויף ייִדיש. האָב איך עס געטאָן, גלײַך באַקומען די שטעלע און זיך באַלד גוט באַקענט מיט דער רעדאַקציע: באָריס סאַנדלער, איציק גאָטעסמאַן, באָריס בודיאַנסקי און אַנדערע. אין גיכן האָב איך זיך אויך באַקענט מיט כּמעט אַלע באַוווּסטע ניו־יאָרקער ייִדישיסטן, און געוואָרן אַ יוצא־דופֿנדיקער פּאַרשוין: אַ מאָדערנער חסיד אַ בעל־תּשובֿה, וועלכער פֿילט זיך היימיש סײַ צווישן די חסידים, סײַ צווישן די וועלטלעכע ייִדישיסטן.
אַגבֿ, יענע איבערזעצונגען פֿון מאַנדעלשטאַמען האָב איך אַמאָל אויך פֿאָרגעלייענט אויף „קול ישׂראל‟. צו דער דאָזיקער ראַדיאָ־אוידיציע האָט דער פֿאָרווערטס האָט געהאַט אַן אומדיקערט צופֿעליק שײַכות. אַריה לאָנדאָן האָט מיר פּשוט אָנגעקלונגען אין דער רעדאַקציע און רעקאָרדירט דעם שמועס.
אינעם ביוראָ האָב איך נישט זעלטן געשמועסט וועגן מאַנדעלשטאַמען מיטן ייִדישן פּאָעט שלום בערגער וועלכער האָט דעמאָלט געפֿירט די וועבזײַט פֿון דער צײַטונג; שפּעטער האָב איך איבערגענומען אָט די מלאָכה.
אין מײַן היים־ביבליאָטעק שטייען נישט ווייניק ביכער, וואָס איך האָב זינט דעמאָלט רעדאַקטירט, איבערגעזעצט צי טיילווײַז אָנגעשריבן. דרײַסיק יאָר איז אַ לאַנגער וועג – אַ גאַנצע תּקופֿה, נאָר צו מאַנדעלשטאַמען קער איך זיך אום כּסדר. דעם פֿאַרגאַנגענעם דעצעמבער, בין איך אויפֿגעטראָטן אינעם פּעטערבורגער ייִדישן קהילה־צענטער מיט מײַנע נײַע איבערזעצונגען פֿונעם דאָזיקן פּאָעט אין פֿאַרגלײַך מיט מײַנע צען ייִדישע איבערזעצונגען פֿון רײַנער־מאַריאַ רילקעס לידער. מסתּמא צום ערשטן מאָל זענען רילקעס לידער איבערגעזעצט געוואָרן אויף ייִדיש; דער ליטעראַטור־פֿאָרשער וואַלערי דימשיץ האָט מיר געזאָגט, אַז קיין פֿריִערע ייִדישע איבערזעצונג פֿונעם דאָזיקן דיכטער אויף ייִדיש האָט ער נישט געזען.
וואָס שייך דעם פֿאָרווערטס, זענען בײַ מיר פֿונעם ייִנגערן דור מיטאַרבעטער פֿאַרבליבן באַזונדערס וואַרעמע זכרונות פֿון צוויי מיידלעך, דעמאָלט גאַנץ יונגע: אַנע (חנה) קוקאַ פֿון בערלין און ליודמילאַ שאָלאָכאָוואַ פֿון קיִעוו. נישט לאַנג האָבן זיי אָפּגעאַרבעט אינעם פֿאָרווערטס, נאָר מיט זיי האָט מען אַלעמאָל געקאָנט שמועסן אויף כּלערליי טשיקאַווע טעמעס (אַרײַנגערעכנט פּאָעזיע!) און זיך גוט אָנלאַכן. משה־יודאַ דײַטש, אַ סאַטמאַרער חסיד, וועלכער האָט דעמאָלט מיט אונדז געאַרבעט ווי אַ מיטדיזײַנער, איז געווען שטאַרק אומצופֿרידן דערמיט. סטײַטש, איך שרײַב טיפֿע אַרטיקלען וועגן חסידות און קבלה, און פּראַווע קלות־ראָש מיט אַ דײַטשקע און אַן אוקראַיִנקע! סאַראַ חוצפּה!
אויך זייער טשיקאַווע איז מיר געווען צו פֿירן די רובריק, דער עיקר, וועגן וויסנשאַפֿטלעכע ידיעות און נײַעס, וואָס האָט טאַקע געהייסן „טשיקאַוועס אַרום דער וועלט‟. כ׳האָף, אַז מע וועט דיגיטאַליזירן יענע נומערן און איך וועל קענען יענע אַרטיקעלעך אַליין איבערצולייענען.
להיפּוך צו אומאָנגענעמע קאָרפּאָראַטיווע צי סתּם העסלעכע אַרבעט־סבֿיבֿות, איז די פֿאָרווערטס־רעדאַקציע געבליבן אין מײַן זכּרון אַ פֿרײַנדלעכע חבֿרה, כּמעט אַ משפּחה, וווּ מע האָט געקאָנט שעפּן פֿון די מיטאַרבעטער און ביוראָ־באַזוכער אַ סך ידיעות וועגן די סאָוועטישע ייִדישע שרײַבער, דעם בונד, די אַמאָליקע ייִדישיסטישע אָרגאַניזאַציעס, און נאָך, און נאָך. און וואָס שייך מאַנדעלשטאַמען, וועל איך אים, אַוודאי, ווײַטער איבערזעצן.
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Should we be comparing ICE agents to Hitler’s ‘Brownshirts?’
In February of 1933, less than a month after Hitler became chancellor, Hermann Göring ordered the creation of a new 50,000-man “auxiliary police” force to combat what he called “organizations hostile to the state.” He built it by deputizing the Nazi Party’s most violent formation — the storm troopers, or Brownshirts — effectively turning a partisan militia into a state security arm.
Using similar framing, Donald Trump has declared that America’s greatest threat is “the enemy from within,” and he has found his own instrument to root them out: Immigration and Customs Enforcement, along with its partner agency, Customs and Border Protection.
In his second term, Trump has borrowed so many pages from the authoritarian playbook that it’s difficult to keep count. He has moved to purge civil servants who are not loyal to him, ban books, target political opponents, muzzle the press, rewrite history, and use extortion against institutions — universities, law firms, nonprofits — that he believes stand in his way.
Add to the list Trump’s transformation of ICE and CBP into something resembling an American version of the Brownshirts. The pattern is visible nationwide, but nowhere more starkly than in Minneapolis, where ICE operations have already produced a body count: two defenders of immigrants’ rights shot dead on the street.
Last fall, speaking to America’s top military brass, Trump warned that he might have to deploy the armed forces to Democratic-led cities to eliminate the so-called “enemy” by which he meant Americans protesting his immigration crackdown. That battle has already begun. It is not the military carrying it out, but federal immigration officers acting as soldiers, persecuting and attacking Americans who dare to stand against Trump’s authoritarian project.
To be sure, the Brownshirts and America’s immigration enforcement agencies have origins and histories that are completely dissimilar. ICE and CBP were created within a democratic system, staffed by career civil servants, and bound — at least in principle — by constitutional limits and judicial oversight. They were never conceived as a party militia, never designed to enforce ideological conformity, and never meant to serve as the armed wing of a political movement.
The Brownshirts, on the other hand, were explicitly created as a paramilitary arm of the Nazi Party — a street fighting militia whose purpose was to intimidate opponents, terrorize minorities, silence dissent, and make democratic life impossible through orchestrated violence. Hitler and the Brownshirts were linked from the beginning. When Hitler launched his failed Beer Hall Putsch in Munich on Nov. 8, 1923, he was supported by hundreds of armed storm troopers, who terrorized the city.
Starting with just 800 members in Munich, the SA expanded rapidly during the Great Depression and after Hitler’s rise to power — totaling nearly 3 million in early 1934. Their presence on the streets — marching, beating, threatening, killing — helped convince millions of Germans that the Weimar Republic was collapsing and that only the Nazis could restore order. Once Hitler took power, the SA’s role only intensified; they ran makeshift detention and torture centers, carried out mass arrests, and terrorized Jews, leftists, and anyone deemed “un-German,” all while enjoying political protection from the new regime.
Nine decades later, videos of violence on American streets posted each day on social media evoke the terror and intimidation carried out by the Brownshirts.
In Hitler’s Germany, storm troopers assaulted Jews, trade unionists, socialists, Communists, and others deemed by the Nazi leader to be enemies of the state. In Trump’s America, federal immigration agents have imprisoned innocent foreigners and attacked American citizens who have mobilized to defend immigrants’ constitutional rights.
The tipping point was the Minneapolis shooting of Alex Pretti, the ICU nurse who stepped in to help a protester confronted by federal immigration agents. Multiple bystander videos captured federal officers wrestling Pretti to the pavement, striking him, then firing several shots at him at close range. Federal authorities later claimed Pretti had approached them with a gun, but the videos — clear, close, and filmed from multiple angles — showed that assertion to be false.
Just a few days earlier, allegations arose that ICE had used a 5-year-old Minneapolis-area boy as bait to lure his Ecuador-born father out of the family home. Both the boy and the father were taken into detention.
As immigration officers have carried out Trump’s massive immigration crackdown, there have been many confrontations between federal officials and protesters, and with public officials who have gone to immigration courts to make sure immigrants’ rights aren’t violated. But Trump turned Minneapolis into something resembling a battle zone by unleashing a surge of federal immigration agents whose tactics blurred the line between policing and political repression.
Efforts to blame Alex Pretti and Renee Macklin Good — shot dead in her car by an ICE agent in Minneapolis 17 days before Pretti was gunned down — for their own deaths have backfired spectacularly. Statements made by Homeland Security Secretary Kristi Noem and Stephen Miller, Trump’s deputy chief of staff, were part of an effort to provide cover for the federal agents on the scene — as was the administration’s decision to shut out state and local law enforcement from any investigation. Covering up for the misdeeds of security forces was a hallmark of the Nazi state.
The outrage over what’s been happening in Minneapolis is so great that even some Republicans have said that ICE and CBP have gone too far. The Republican candidate for Minnesota governor, Chris Madel, pulled out of the race, calling ICE’s Operation Metro Surge “an unmitigated disaster” and denouncing the GOP’s “retribution on the citizens of our state.” Other Republicans have voiced similar dismay.
Trump is scrambling to contain the political damage. He has removed Gregory Bovino as commander of Operation Metro Surge and distanced himself from the derogatory and untrue statements made by Miller and Noem.
Trump told Fox News on Tuesday that he plans to “de-escalate a little bit” in Minneapolis, while at the same time asserting that the surge of immigration officers has been a success. Gov. Tim Walz said that in a phone conversation with Trump on Monday, the president “agreed to look into reducing the number of federal agents in Minnesota and working with the state in a more coordinated fashion on immigration enforcement regarding violent criminals.”
But who really knows what Trump will do next? Whatever it is, Trump being Trump, you can count on it being self-serving.
Authoritarian leaders often rein in their own enforcers when public backlash threatens their power. Hitler did it in 1934, when the Brownshirts’ zeal for mayhem and murder began to alienate the public and undermine his control. With the intense backlash over the deaths of Renee Good and Alex Pretti, Trump now faces a similar moment — a choice between escalating the violence or curbing it to preserve his political standing.
But remember this: The end of the Brownshirts’ street violence did not mean the end of the Hitler regime. In fact, it was just the beginning.
The post Should we be comparing ICE agents to Hitler’s ‘Brownshirts?’ appeared first on The Forward.