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How Jewish comedy found religion, from Philip Roth to ‘Broad City’
(JTA) — In the 2020 comedy “Shiva Baby,” a 20-something young woman shows up at a house of Jewish mourners and gently offers her condolences. When she finds her mother in the kitchen, they chat about the funeral and the rugelach before the daughter asks, “Mom, who died?”
While “Shiva Baby” explores themes of sexuality and gender, the comedy almost never comes at the expense of Jewish tradition, which is treated seriously by its millennial writer and director Emma Seligman (born in 1995) even as the shiva-goers collide. It’s far cry from the acerbic way an author raised during the Depression like Philip Roth lampooned a Jewish wedding or a baby boomer like Jerry Seinfeld mocked a bris.
These generational differences are explored in Jenny Caplan’s new book, “Funny, You Don’t Look Funny: Judaism and Humor from the Silent Generation to Millennials.” A religion scholar, Caplan writes about the way North American Jewish comedy has evolved since World War II, with a focus on how humorists treat Judaism as a religion. Her subjects range from writers and filmmakers who came of age shortly after the war (who viewed Judaism as “a joke at best and an actual danger at worst”) to Generation X and millennials, whose Jewish comedy often recognizes “the power of community, the value of family tradition, and the way that religion can serve as a port in an emotional storm.”
“I see great value in zeroing in on the ways in which Jewish humorists have engaged Jewish practices and their own Jewishness,” Caplan writes. “It tells us something (or perhaps it tells us many somethings) about the relationship between Jews and humor that goes deeper than the mere coincidence that a certain humorist was born into a certain family.”
Caplan is the chair in Judaic Studies at the University of Cincinnati. She has a master’s of theological studies degree from Harvard Divinity School and earned a Ph.D. in religion from Syracuse University.
In a conversation last week, we spoke about the Jewishness of Jerry Seinfeld, efforts by young women comics to reclaim the “Jewish American Princess” label, and why she no longer shows Woody Allen movies in her classrooms.
Our conversation was edited for length and clarity
[Note: For the purpose of her book and our conversation, this is how Caplan isolates the generations: the Silent Generation (b. 1925-45), the baby boom (1946-65), Generation X (1966-79) and millennials (1980–95).]
Jewish Telegraphic Agency: Let me ask how you got into this topic.
Jenny Caplan: I grew up in a family where I was just sort of surrounded by this kind of material. My dad is a comedic actor and director who went to [Ringling Bros. and Barnum & Bailey’s] Clown College. My degrees were more broadly in American religion, not Jewish studies, but I was really interested in the combination of American religion and popular culture. When I got to Syracuse and it came time to start thinking about my larger project and what I wanted to do, I proposed a dissertation on Jewish humor.
The key to your book is how Jewish humor reflects the Jewish identity and compulsions of four sequential generations. Let’s start with the Silent Generation, which is sandwiched between the generation whose men were old enough to fight in World War II and the baby boomers who were born just after the war.
The hallmark of the Silent Generation is that they were old enough to be aware of the war, but they were mostly too young to serve. Every time I told people what I was writing about, they would say Woody Allen or Philip Roth, two people of roughly the same generation.
In “Funny, You Don’t Look Funny: Judaism and Humor from the Silent Generation to Millennials,” Jenny Caplan explores how comics treated religion from the end of World War II to the 21st century. (Courtesy)
The Roth story you focus on is “Eli, the Fanatic” from 1959, about an assimilated Jewish suburb that is embarrassed and sort of freaks out when an Orthodox yeshiva, led by a Holocaust survivor, sets up in town.
Roth spent the first 20 to 30 years of his career dodging the claim of being a self-loathing Jew and bad for the Jews. But the actual social critique of “Eli, the Fanatic” is so sharp. It is about how American Jewish comfort comes at the expense of displaced persons from World War II and at the expense of those for whom Judaism is a real thriving, living religious practice.
That’s an example you offer when you write that the Silent Generation “may have found organized religion to be a dangerous force, but they nevertheless wanted to protect and preserve the Jewish people.” I think that would surprise people in regards to Roth, and maybe to some degree Woody Allen.
Yeah, it surprised me. They really did, I think, share that postwar Jewish sense of insecurity about ongoing Jewish continuity, and that there’s still an existential threat to the ongoing existence of Jews.
I hear that and I think of Woody Allen’s characters, atheists who are often on the lookout for antisemitism. But you don’t focus on Allen as the intellectual nebbish of the movies. You look at his satire of Jewish texts, like his very funny “Hassidic Tales, With a Guide to Their Interpretation by the Noted Scholar” from 1970, which appeared in The New Yorker. It’s a parody of Martin Buber’s “Tales of the Hasidim” and sentimental depictions of the shtetl, perhaps like “Fiddler on the Roof.” A reader might think he’s just mocking the tradition, but you think there’s something else going on.
He’s not mocking the tradition as much as he’s mocking a sort of consumerist approach to the tradition. There was this sort of very superficial attachment to Buber’s “Tales of the Hasidim.” Allen’s satire is not a critique of the traditions of Judaism, it’s a critique of the way that people latch onto things like the Kabbalah and these new English translations of Hasidic stories without any real depth of thought or intellect. Intellectual hypocrisy seems to be a common theme in his movies and in his writing. It’s really a critique of organized religion, and it’s a critique of institutions, and it’s a critique of the power of institutions. But it’s not a critique of the concept of religion.
The idea of making fun of the wise men and their gullible followers reminds me of the folk tales of Chelm, which feature rabbis and other Jewish leaders who use Jewish logic to come to illogical conclusions.
Yes.
You write that the baby boomers are sort of a transition between the Silent Generation and a later generation: They were the teenagers of the counterculture, and warned about the dangers of empty religion, but also came to consider religion and tradition as valuable. But before you get there, you have a 1977 “Saturday Night Live” skit in which a bris is performed in the back seat of a luxury car, and the rabbi who performs it is portrayed as what you call an absolute sellout.
Exactly. You know: Institutional religion is empty and it’s hollow, it’s dangerous and it’s seductive.
Jerry Seinfeld, born in 1954, is seen as an icon of Jewish humor, but to me is an example of someone who never depicts religion as a positive thing. (Not that there’s anything wrong with that.)
“Seinfeld” is more a show about New York than it is necessarily a show about anything Jewish. The New York of Seinfeld is very similar to the New York of Woody Allen, peopled almost entirely by white, middle-class, attractive folks. It’s a sort of Upper West Side myopia.
But there’s the bris episode, aired in 1993, and written by Larry Charles. Unless you are really interested in the medium, you may not know much about Larry Charles, because he stays behind the camera. But he also goes on to do things like direct Bill Maher’s anti-religion documentary “Religulous,” and there’s a real strong case for him as having very negative feelings about organized religion which feels like a holdover from the Silent Generation. And so in that episode you have Kramer as the Larry Charles stand-in, just opining about the barbaric nature of the circumcision and trying to save this poor baby from being mutilated.
The few references to actual Judaism in “Seinfeld” are squirmy. I am thinking of the 1995 episode in which a buffoon of a rabbi blurts out Elaine’s secrets on a TV show. That was written by Larry David, another boomer, whose follow-up series, “Curb Your Enthusiasm,” is similarly known for its irreverence toward Judaism. But you say David can also surprise you with a kind of empathy for religion.
For the most part, he’s classic, old school, anti-organized religion. There’s the Palestinian Chicken episode where the Jews are rabidly protesting the existence of a Palestinian-run chicken restaurant near a Jewish deli, and where his friend Funkhouser won’t play golf on Shabbos until Larry gets permission by bribing the rabbi with the Palestinian chicken. There, rabbis are ridiculous and can be bought and religion is hollow and this is all terrible.
But then there’s this bat mitzvah montage where for one moment in the entire run of this show, Larry seems happy and in a healthy relationship and fulfilled and enjoying life.
That’s where he falls in love with Loretta Black during a bat mitzvah and imagines a happy future with her.
It’s so startling: It is the most human we ever see Larry over the run of the show, and I believe that was the season finale for the 2007 season. It was much more in line with what we’ve been seeing from a lot of younger comedians at that point, which was religion as an anchor in a good way — not to pull you down but to keep you grounded.
So for Generation X, as you write, Judaism serves “real, emotional, or psychological purpose for the practitioners.”
I wouldn’t actually call it respect but religion is an idea that’s not just something to be mocked and relegated to the dustbin. I’m not saying that Generation X is necessarily more religious, but they see real power and value in tradition and in certain kinds of family experiences. So, a huge amount of the humor can still come at the expense of your Jewish mother or your Jewish grandmother, but the family can also be the thing that is keeping you grounded, and frequently through some sort of religious ritual.
Who exemplifies that?
My favorite example is the 2009 Jonathan Tropper novel, “This Is Where I Leave You.” I’m so disappointed that the film adaptation of that sucked a lot of the Jewish identity out of the story, so let’s stick with the novel. In that book, where a family gathers for their father’s shiva, the characters are horrible people in a dysfunctional family writ large. They lie to each other. They backstab each other. But in scene where the protagonist Judd describes standing up on the bimah [in synagogue] to say Kaddish [the Mourner’s Prayer] after the death of his father, and the way he talks about this emotional catharsis that comes from saying the words and hearing the congregation say the words — it’s a startling moment of clarity in a book where these characters are otherwise just truly reprehensible.
Adam Sandler was born in 1966, the first year of Generation X, and his “Chanukah Song” seems like such a touchstone for his generation and the ones that follow. It’s not about religious Judaism, but in listing Jewish celebrities, it’s a statement of ethnic pride that Roth or Woody Allen couldn’t imagine.
It’s the reclamation of Jewish identity as something great and cool and fun and hip and wonderful and absolutely not to be ashamed of.
From left, Ilana Glazer, Abbi Jacobson and Seth Green in an episode of “Broad City” parodying Birthright Israel. (Screenshot from Comedy Central)
Which brings us to “Broad City,” which aired between 2014 and 2019. It’s about two 20-something Jewish women in New York who, in the case of Ilana Glazer’s character, anyway, are almost giddy about being Jewish and embrace it just as they embrace their sexuality: as just liberating. Ilana even upends the Jewish mother cliche by loving her mother to death.
That’s the episode with Ilana at her grandmother’s shiva, which also has the B plot where Ilana and her mother are shopping for underground illegal handbags. They spend most of the episode snarking at each other and fighting with each other and her mother’s a nag and Ilana is a bumbling idiot. But at the moment that the cops show up, and try to nab them for having all of these illegal knockoff handbags, the two of them are a team. They are an absolute unit of destructive force against these hapless police officers.
I think all of your examples of younger comics are women, who have always had fraught relationships with Jewish humor, both as practitioners and as the target of jokes. You write about “The JAP Battle” rap from “Crazy Ex-Girlfriend,” which both leans into the stereotype of the Jewish-American Princess — spoiled, acquisitive, “hard as nails” — and tries to reclaim it without the misogyny.
Rachel Bloom’s character Rebecca in “Girlfriend” self-identifies as a JAP, but she doesn’t actually fit the category. It’s her mother, Naomi, who truly is the Philip Roth, “Marjorie Morningstar,” Herman Wouk model of a JAP. So Bloom is kind of using the term, but you can’t repurpose the term when the original is still there.
So as an alternative, I offer up a new term: the Modern Ashkenazi American Woman. It’s very New York, it’s very East Coast, it’s very particular to a type of upbringing and community that in the 1950s and ’60s would have been almost exclusively Conservative Jews, and then may have become a bit more Reform as we’ve gotten into the ’90s and 2000s. They went to the JCC. They probably went to Jewish summer camp.
But even that doesn’t even really speak to the American sense of what Jewish is anymore, because American Jews have become increasingly racially and culturally diverse.
There is also something that’s happening historically with Generation X, and that’s the distance from the two major Jewish events of the 20th century, which is the Holocaust and the creation of Israel.
The Silent Generation and baby boomers still had a lingering sense of existential dread — the sense that we’re not so far removed from an attempted total annihilation of Jews. Gen X and millennials are so far removed from the Holocaust that they don’t feel that same fear.
But the real battleground we’re seeing in contemporary American Judaism is about the relationship to Israel. For baby boomers and even for some older members of Gen X, there’s still a sense that you can criticize Israel, but at the end of the day, it’s your duty to ultimately support Israel’s right to exist. And I think millennials and Zoomers [Gen Z] are much more comfortable with the idea of Israel being illegitimate.
Have you seen that in comedy?
I certainly think you can see the leading edge of that in some millennial stuff. The “Jews on a Plane” episode of “Broad City” is an absolute excoriation of Birthright Israel, and does not seem particularly interested in softening its punches about the whole idea of Jews going to Israel. I think we can see a trend in that direction, where younger American Jewish comedians do not see that as punching down.
You’re teaching a class on Jewish humor. What do your undergraduates find funny? Now that Woody Allen is better known for having married his adoptive daughter and for the molestation allegations brought by another adoptive daughter, do they look at his classic films and ask, “Why are you teaching us this guy?”
For the first time I’m not including Woody Allen. I had shown “Crimes and Misdemeanors” for years because I think it’s his most theological film. I think it’s a great film. And then a couple years ago, I backed off, because some students were responding that it was hard to look at him with all the baggage. He’s still coming up in conversation because you can’t really talk about the people who came after him without talking about him, but for the first time I’m not having them actually watch or read any of his stuff.
They have found things funny that I didn’t expect them to, and they have not found things funny that I would have thought they would. They laughed their way through “Yidl mitn fidl,” the 1936 Yiddish musical starring Molly Picon. I also thought they’d enjoy the Marx Brothers’ “Duck Soup” and they did not laugh once. Some of that is the fact that Groucho’s delivery is just so fast.
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Reza Pahlavi, Iran’s exiled crown prince, has a plan for his people’s future — if they’ll have him
With a U.S.-Israel bombardment underway and President Trump and Prime Minister Benjamin Netanyahu openly pressing for regime change, related questions now loom large: What are the Iranian people prepared for — and who, exactly, is positioned to lead them if the Islamic Republic falls?
Since late 2025, anti-regime protests have spread across Iran, resulting in mass arrests, imprisonments, and thousands killed in crackdowns by regime forces. On January 14, following massive demonstrations, President Donald Trump posted on Truth Social, addressing Iranian protesters: “KEEP PROTESTING – TAKE OVER YOUR INSTITUTIONS!!!… HELP IS ON ITS WAY.” At the time, expectations were high for a U.S. strike on Iran, and thousands of protesters were killed in the streets, hoping that help would come. Now, over a month later, Trump appears to have made good on that promise.
Early on Feb. 28, U.S. and Israeli forces began operating across Iran in what the IDF described as a “close and unprecedented cooperation between the IDF and the US military.” Trump and Netanyahu both made statements indicating that the objective of the joint operation extends beyond military deterrence and toward regime change.
Since the start of the operation, the U.S. and Israel have targeted several sites that go far beyond the aims of the 12-Day War, which primarily focused on degrading Iran’s nuclear and ballistic missile capabilities. In this round of strikes, regime assets and figures have been targeted, including Supreme Leader Ali Khamenei, who was killed by an Israeli strike. During the 12-Day War, the US reportedly instructed Israel not to target the Supreme Leader.
Israeli officials say they eliminated several other top officials, including the commander of the Islamic Revolutionary Guard Corps (IRGC), the commander of the Iranian Armed Forces, the Iranian Minister of Defense, and the head of Iranian Intelligence.
Videos have circulated on social media showing Iranians cheering on the attacks, even as reports indicate that the regime has shut down the internet and is jamming satellite signals from diaspora news channels that would otherwise provide critical information about the strikes.
Chants heard across Iranian cities include“death to Khamenei” and “long live the Shah.” Other videos display Iranians honking their cars and chanting “Azadi,” the Farsi word for freedom, dancing in the streets, and gleefully laughing while watching a plume of smoke rise from Khamenei’s residence.
Still, the killing of senior officials — even the Supreme Leader — does not automatically translate into regime change. Even if Ali Khamanei’s death and that of other senior Iranian officials destabilize the clerical regime, there remain 1 million members of the Revolutionary Guard militia and 200,000 members of the IRGC who play a vital role in propping up the government.
Reza Pahlavi, potential leader?
Former Iranian Crown Prince Reza Pahlavi, who lives in the United States, has emerged as one of the most visible opposition figures.
Since January, videos have surfaced on social media showing Iranian protesters calling for the return of the Pahlavi dynasty, which ruled Iran until the 1979 Islamic Revolution. Videos show demonstrators chanting pro-monarchy slogans or displaying the pre-revolutionary Iranian flag. After Pahlavi publicly called for mass mobilization of protestors earlier this year, the demonstrations escalated, with some protestors holding up photos of him in the streets.
The son of the former Shah, Pahlavi was born in Tehran in 1960. He was formally named Crown Prince at age 7 during his father’s coronation. At 17, he became one of the youngest licensed pilots in Iran before leaving for the US to pursue advanced flight training. While he was abroad, the 1979 Islamic Revolution overthrew his father and abolished the monarchy, turning what was meant to be a temporary study into permanent exile. He has not returned to Iran since.
Today, Pahlavi lives in Maryland with his wife and three daughters, one of whom married a Jewish businessman last summer. He has positioned himself not as a monarch-in-waiting, but as a potential transitional leader. He has repeatedly stated that he does not seek to restore the monarchy, instead advocating for a secular, democratic system. U.S. officials have taken notice: following renewed unrest in January, he reportedly met with Steve Witkoff, top Middle East advisor to Trump.
Behind Pahlavi is a network of advisers drawn largely from the Iranian diaspora, including academics, private-sector executives, and professionals with experience in US government institutions. Some serve in formal roles, while others function as informal advisers. His main organizational platform is the National Union for Democracy in Iran (NUFDI), a Washington-based organization that has for years promoted regime change in Iran with Pahlavi’s support. Under NUFDI, Pahlavi and his team developed the Iran Prosperity Project, a governance blueprint intended to guide the country through a post-Islamic Republic transition.
On the eve of the joint U.S.-Israeli operation, Pahlavi unveiled an updated version of his transitional plan. The document outlines Iran’s urgent priorities during the first six months following a potential regime collapse.
About two hours after the initial strikes in Iran, Pahlavi posted a video to X, encouraging Iranian forces to abandon the regime and telling the Iranian people that he will “announce to you precisely” when they “can return to the streets for the final action.”
His prospects remain contested. Analysts have long questioned whether a figure who has lived outside Iran for nearly five decades can command broad domestic legitimacy. Reliable polling inside Iran is difficult, but Dutch pollster Ammar Maleki has found that roughly one in three Iranians expresses confidence in Pahlavi based on large-sample surveys conducted in recent years. At the same time, a similar proportion strongly oppose him. Nonetheless, Maleki asserts, no other opposition figure approaches his level of name recognition.
Pahlavi is also openly pro-Israel. He has traveled to Israel, prayed at the Western Wall, met with Netanyahu, and advocates for expanding the Abraham Accords into what he calls “Cyrus Accords” between Israel and a future Iran, describing the two nations as the “only two countries on this planet that can claim to have a biblical relationship.” Because of his pro-Israel stance, some detractors frame his potential leadership as aligned more with Western and Israeli interests than with those of the Iranian people.
However, in recent months, experts have increasingly framed him as a viable option — or at least as an integral part of the current protest movement that should not be ignored.
The post Reza Pahlavi, Iran’s exiled crown prince, has a plan for his people’s future — if they’ll have him appeared first on The Forward.
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Iranian Leader Khamenei Killed in Strikes, Israel Says
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks during a meeting in Tehran, Iran, Jan. 3, 2026. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
The United States and Israel launched the most ambitious attack on Iran in decades on Saturday, and Israel said Supreme Leader Ali Khamenei had been killed in the operation.
Khamenei’s body has been found, a senior Israeli official told Reuters. Iranian news agencies Tasnim and Mehr, however, reported that the supreme leader was “steadfast and firm in commanding the field.”
Iran called the strikes unprovoked and illegal and responded with missiles fired at Israel and at least seven other countries, including Gulf states that host U.S. bases.
US President Donald Trump, who made the biggest foreign-policy gamble of his presidency after campaigning for reelection as a “peace president,” said the strikes were aimed at ending a decades-long threat from Iran and ensuring it could not develop a nuclear weapon.
Trump called on Iranian security forces to lay down their weapons and invited Iranians to topple their government once the bombing ended.
The US president later on Saturday told NBC News that “most” of Iran’s senior leadership has been killed. He said he believes reports of Khamenei’s death are accurate. “We feel that that is a correct story,” Trump told NBC News in a phone interview, according to a report on its website.
Israeli Prime Minister Benjamin Netanyahu said there were many signs indicating Khamenei “is no longer” and called on Iranians to finish the job. He said Khamenei’s compound had been destroyed, and Revolutionary Guard commanders and senior nuclear officials had been killed.
Three sources familiar with the matter said Iranian Defense Minister Amir Nasirzadeh and Revolutionary Guards commander Mohammed Pakpour were killed in the Israeli attacks. Iranian media had said Khamenei’s son-in-law and daughter-in-law were also killed.
‘WE ARE TERRIFIED’
In cities across Iran, explosions caused widespread panic.
“We are scared, we are terrified. My children are shaking, we have nowhere to go, we will die here,” mother-of-two Minou, 32, said weeping as she spoke to Reuters by phone from the northern city of Tabriz.
Iran responded by launching missiles at Israel and at several Gulf Arab countries that host US bases.
After confronting hundreds of Iranian missile and drone attacks, the Pentagon said there were no US deaths or injuries.
The US military named the campaign Operation Epic Fury.
Iran issued a warning that the Strait of Hormuz, the narrow passage through which around a fifth of global oil consumption passes, had been closed. Traders expected a sharp jump in oil prices. Airlines canceled flights in the Middle East.
Tehran promised a stronger response to come, with a senior Iranian Revolutionary Guards commander, Ebrahim Jabbari, saying it had so far used only “scrap missiles” and would soon unveil unforeseen weapons.
The U.N. Security Council was due to meet in New York on Saturday. Secretary-General Antonio Guterres called for an immediate cessation of hostilities.
Israel‘s military said some 200 fighter jets had completed the largest flying mission in its history, hitting 500 targets throughout Iran including strategic defense systems already damaged in strikes last year.
A girls’ primary school in the southern Iranian town of Minab was hit, killing 85 people, according to the local prosecutor cited by state media. Reuters could not independently confirm the reports. Israel‘s military did not immediately respond to a request for comment.
TRUMP SAYS ‘BOMBS WILL BE DROPPING EVERYWHERE’
In a video message on social media, Trump cited Washington’s decades-old dispute with Iran and Iranian attacks, dating to the seizure of the US embassy in Tehran during the 1979 Islamic revolution.
Trump said the aim was “eliminating imminent threats from the Iranian regime.” He urged Iranians to stay sheltered because “bombs will be dropping everywhere,” but added: “When we are finished, take over your government. It will be yours to take. This will be probably your only chance for generations.”
But he faced pushback from opposition Democrats, and a few of his fellow Republicans in the US government, who said a prolonged campaign against Iran would be illegal without congressional approval and that lawmakers should vote within days.
Netanyahu said the joint US-Israeli attack “will create the conditions for the brave Iranian people to take their destiny into their own hands” and “remove the yoke of tyranny.”
Iran’s clerical leaders were already in a difficult position after mass anti-government demonstrations in January, which led to a crackdown in which thousands of people were killed in the worst domestic unrest since the era of the 1979 revolution.
Protesters had again taken to the streets in recent days in remembrance of those killed the previous month.
Israeli military operations over the past two years had already killed some of Iran’s senior military officials and severely weakened several of Tehran’s once-feared proxy forces across the Middle East.
After Israel pounded Iran in a 12-day air war in June joined by the United States, the US and Israel had warned that they would strike again if Iran pressed ahead with its nuclear and ballistic missile programs.
The threats were backed up recently by a US military buildup in the region, even as Iranian and US officials held nuclear talks.
Eyal Zamir, the Israeli armed forces chief of staff, said that over the past months, he had been involved in preparing joint battle plans against Iran in coordination with senior leaders in the US military.
MISSILES FIRED AT ARAB GULF STATES
Oil markets have been closely watching the standoff. Jorge Leon, head of geopolitical analysis at Rystad Energy, predicted prices could shoot up by $10-20 per barrel when markets open on Monday, if there is no sign of de-escalation.
Iran, the third-largest producer in the Organization of the Petroleum Exporting Countries, pumps about 4 percent of global oil supplies, and a far larger share is shipped past its coast through the strait leading out of the Gulf.
In Israel, sirens and mobile-phone warnings sent Israelis rushing to air raid shelters as Iran launched a series of missile barrages. There were no immediate reports of serious damage or casualties.
Loud booms sounded in Abu Dhabi, capital of the United Arab Emirates, an oil producer and close US ally, and several blasts were heard in the business capital Dubai, where one of the city’s plush hotel districts was also hit.
Nada AlGarhy, 30, said she and her husband had been at the Waldorf Astoria hotel on Dubai’s luxury Palm development for Iftar, the evening meal during the fasting month of Ramadan, when they heard a loud explosion.
Bahrain said the service center of the US Fifth Fleet – base for American naval forces in the region – had been subjected to a missile attack. Video footage showed a thick grey plume of smoke rising from near the island state’s coastline.
Qatar said it had downed all missiles targeting the country and that it had a right to respond. Kuwait confirmed a missile attack on a US military base there.
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Before I became an orthodontist, I was my good friend Neil Sedaka’s saxophonist
When I first heard Neil Sedaka had died at the age of 86, I posted a Sedaka song on social media. I’m a Gen-X alternative rock fan, which is not exactly Sedaka’s lane, but it’s hard not to tip your hat to a pop culture legend. I posted “Standing on the Inside,” from 1973, and told people to wait for the chorus. Then, in the comments, my friend Beth Tichler Mindes from my Camp Tranquility summer camp days, wrote a sentence that stopped me: Neil and her dad had been in a band together when they were teens in the Catskills. She’d known Neil her whole life. I asked if I could talk to her 86-year-old father, Howie Tichler, and when I got him on the phone, he told me about the time in the spring of 1958 when he first met Neil Sedaka.
I first met Neil at the Kingsway Theatre on Kings Highway in Brooklyn. I was standing in the back near the popcorn. He was next to me, wearing a high school band sweater. I asked him what school he went to, and I told him I was a musician too. He said he was a piano player and that his band was auditioning for a saxophone player for a Catskills summer gig. I said, great, I’m in. It was that quick. He told me to come down to the basement and audition.
Honestly, I was at the theater to meet girls, not to watch the movie. That’s why I was hanging out in the back.
Before the audition, I spoke to my uncle, Sid Cooper. He was a saxophonist and woodwind player with the Tommy Dorsey band and later at NBC, playing with the Tonight Show band during the Jack Paar years and into the Johnny Carson era. He made sure I was ready. I needed a rhumba, a cha-cha, a foxtrot, a jitterbug. In those days you had to know the dances.
The audition was for a four-piece band. Neil wasn’t even the leader. He was just the piano player. The job was in the Catskills, at a hotel in Monticello called the Esther Manor. Esther ran the place, and her daughter, Leba Strassberg, worked behind the front desk. Neil would later marry Leba.
I don’t remember exactly how we got there. Maybe my father drove. Maybe someone in the group had a car. But we packed everything in and drove up.
When we arrived, we were told to introduce ourselves to the owner using only our first names. Half the band was Italian. In most places in the 1950s, people were hiding Jewish heritage. In the Catskills, Italian last names apparently wouldn’t go down so well. So, Eddie Caccavale became just Eddie. Paul Delova became Paul.
There were sometimes four of us, sometimes five. The group was called The Nordanels. My name wasn’t in the title because I joined a little late. The name came from Norman, David, and Neil. N-O-R-D-A-N-E-L-S.
If it was a wedding or a bar mitzvah, we wore white tuxedos. Sometimes black. At the hotels, it depended on the night of the week.
We worked six days a week, and this is no exaggeration. Afternoons, we played poolside for cha-cha lessons. Then we’d run back to our rooms, change, and play in the lobby as guests came in for dinner. After that, we played dance music before the stage show, then read the charts for the acts — usually, a dance team, a singer, or a comedian.
I was making about $85 a week, plus room and board. I wouldn’t exactly call it a room as I slept near the chicken coops. We didn’t get tips, either — unless you count being seated at dinner with the single girls.
I was born in 1939, so you can do the math. I was 18 when I started at Brooklyn College. By 1961, I was headed to Temple University in Philadelphia for dental school.
The Catskills gig helped pay for all of it as I could save every summer. Brooklyn College tuition was $15 a year, and they even threw in the textbooks. Dental school was another story. So the band gig felt like a gift.
People think of Dirty Dancing when you say Catskills. That came later. The movie is set in 1963, at a fictional resort called Kellerman’s. But the atmosphere was already there in the late 50’s and early 60’s. It was smoky. It was loud. It was hopeful.
At Esther Manor, single girls came up with their parents for the summer, and at dinner they would sometimes seat the musicians with the guests. So there we were, night after night, at long tables with our instruments nearby. We were in heaven. So were the girls.
I did this for six or seven summers. It wasn’t a one-time gig. I kept playing through my third year of dental school. After Carol and I were married, and I graduated, that era ended. From then on, I focused on dentistry. I’m a retired orthodontist, and I practiced on Long Island for about 45 years, and now I teach at Columbia. We originally lived on Long Island near my practice. My wife became a social worker and psychotherapist and opened a practice in Manhattan, so we moved halfway to the city. Once the kids flew the coop, we moved into Manhattan.
During the pandemic, we did something that still makes me laugh. Back when everything was masks, masks, masks, Carol and I were stuck in our apartment one day, and we wrote new parody lyrics to one of Neil’s songs. The original was “Breaking Up Is Hard to Do.” We turned it into “Masking Is Not Hard to Do.” I called Neil and told him we’d written these lyrics, and I emailed them over.
“Don’t take your mask away from me.
Don’t put my health in jeopardy.
If you don’t, then I’ll be blue,
Because what I am asking is not hard to do.
Remember when you held me tight.
We can’t do that now, but that’s all right.
Thinking safe will get us through,
Because masking is not hard to do.
They say that masking up is a difficult task.”
The next day we found out he’d posted it on Facebook. During the pandemic, he was doing this daily thing where he would sing three songs, and he introduced us and said we wrote the lyrics, and then he played it.
I guess I wasn’t so shocked when I heard he died, as when I spoke to him about a week ago, he was frailer than I ever heard him. But when we talked, we were right back to music.
We always talked about gigs we did together, about musicians who were on the job, and about little details he might have forgotten. For example, the last time we spoke, just two weeks ago, he said, you know that album I recorded that wasn’t very successful, where I sang a bunch of standards? I said sure, I remember it; I still have it. And he said, who was the piano player on that gig?
Our conversations were brief on family, and then we’d get into the details of the cool things we did together. It was always a walk down memory lane.
What I truly admired about Neil was his humility. He understood the unspoken thing between musicians. He knew my limitations, and he never judged my playing. He also knew I was an orthodontist. I had patients, not jam sessions. I wasn’t able to keep up my chops the way a full-time musician could, and he never made me feel like I was anything less than part of the band.
About 15 years ago, Neil called me up and said, “I’m on tour, and I have a gig at the Shubert Theatre in New Haven. My saxophone player is stuck in Montreal. Can you come do the show with me?”
I said, “Sure, but you realize you’re asking an orthodontist to sit in with an eight-piece orchestra.”
He said, “No problem. I’ll fax you the music.” Fax. That’s how long ago this was.
So the music starts flying through my fax machine, half of it unreadable. I called Neil and said, “I’m doing the gig, but don’t expect me to be reading those charts. I’m going to do it by ear.” And he said, “Great.”
I drove up the night before because we had soundcheck the next afternoon. The band was there, Neil wasn’t even there yet, one of the other musicians was running the rehearsal. I’m standing in this magnificent old theater in the middle of New Haven, and I walked up to the guys and said, “Hi, I’m Howie Tichler. I’m really an orthodontist. So go easy on me.” And the guy says, “Neil told us everything. Don’t worry about a thing. Come on up. We’ll rehearse.”
They put me right behind Neil, so the spotlight wasn’t only on him. It was on me, too. The air conditioning was blasting, and it kept blowing my sheet music off the stand, so I’m trying to keep the pages from taking flight while also pretending I belong there.
Neil was incredibly gracious. He introduced the band and he said, “This is my friend Howie Tichler, who is really an orthodontist, and he came to help me out.”
And when I left the theater, I’m walking out with my saxophone on my shoulder, and a woman stopped me and said, “Can I talk to you for a second?” I thought she was going to compliment my playing.
Instead she asked me if she needed braces.
Right now, I’m mostly thinking about the good times. Whenever he came to Manhattan we’d meet up. We went to museums together — the Met, the Guggenheim. It wasn’t always about music. Sometimes it was just two old friends walking around looking at art.
He also came to visit us on Fire Island. Within half an hour, everyone in Fair Harbor knew he was at our house. Not because of an announcement, because of his voice. We had a little portable piano, and he’d sit down and sing. Someone walking by would hear it, stop, and then word would spread.
I actually sang on his first hit, “The Diary.” It’s a doo-wop song, and they couldn’t afford, or maybe couldn’t find, backup singers, so I became the backup singer on Neil Sedaka’s first record.
But the thing I keep coming back to isn’t the credit. It’s the sound of him in the room, that voice carrying out the window. In Fair Harbor you could hear him before you saw him.
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