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Richard Belzer was a Jewish comedian. Why didn’t his obituaries say so?
(JTA) — Ever hear Bob Dylan’s “Like a Rolling Stone” sung in Yiddish dialect? It used to be a regular bit performed by comedian and actor Richard Belzer, who died this week at 78. He also used to do a routine about Bob Dylan’s bar mitzvah in which he recited a Hebrew prayer in the singer’s distinctive tone. A similar Elvis bar mitzvah bit was also part of his routine.
Surprisingly, Belzer performed these niche routines in numerous comedy venues and even on the nationally televised “The Late Show with David Letterman.” In addition to a variety of other Jewish references embedded in his act, Belzer also performed Yiddish-inflected parodies of Prince’s “Let’s Go Crazy” and “When Doves Cry.”
But like so many American comedians of the Hebraic persuasion, Belzer didn’t really work Jewish. The bulk of his act was general and observational. To be sure, there were bits and pieces of Jewish material that can be found scattered about his comedic oeuvre, though to have the broad appeal he achieved, he understood that he had to deal in comic generalities. But to have thrown bits like Dylan’s bar mitzvah into routines for venues as broad as Letterman is an indication that he was truly dedicated to his Jewish material.
Moreover, he enjoyed it. Around 2003, after he’d snagged a contract to do a special on a cable network, he approached Letterman’s legendary bandleader, Paul Schaffer, and told him he wanted to do something “Jewish” for the show. Schaffer suggested The Barton Brothers’ risqué Yiddish radio ad parody song “Joe and Paul.” Belzer loved the idea. The duo learned the Yiddish lines and performed the tune, which, in veiled Yiddish tones, talks about masturbation and going to a prostitute named “Cock-eyed Jenny.” It was so well-received and the two enjoyed it so much, they began to do it in other venues. It eventually wound up on a 2008 album titled “The Jewish Songbook,” together with songs sung by Neil Sedaka and Barbra Streisand.
Which is why it’s been strange to read obit after obit in outlets like The New York Times, The Guardian and The Hollywood Reporter, among others, that didn’t bother to mention that Belzer was Jewish — even when, as the Jewish Telegraphic Agency pointed out, the character for which he was best known, Det. John Munch on “Homicide: Life on the Street” and “Law & Order: Special Victims Unit,” identified as Jewish. Obituaries, after all, are meant to be the final stock-taking of a person’s life. They should include the basics of who they were. And one of the basics of Richard Belzer is that he was a Yid.
Moreover, according to Paul Shaffer, he was a proud one. I should also point out that I don’t mean Jewish in a religious sense. Belzer, after all, appears to have been an atheist, so what is meant here is Jew as an ethnic category, one that apparently confounds a lot of people and which results in many Jewish artists being described as anything but Jewish.
To call Burt Bacharach an “American composer” or Barbara Walters a “pioneering woman newscaster” is accurate, but misses a significant ethno-cultural aspect of these people, one that was integrally responsible for making them who they are and influencing their creative choices. The notion that “Jewish” is something more than a religious denomination — that it’s a wide-ranging culture that includes art, literature, music, food, folkways and languages — is terribly difficult to grasp for some people.
One case in point is an excellent book by Kliph Nesteroff that appeared in 2015 called “The Comedians,” which richly details the history of stand-up comedy in America. Assiduously researched, it’s become the definitive work on the topic. The book, however, deracinates the history of the field. From reading it, you would never know that 20th-century American comedy was largely a Jewish enterprise. In fact, you’d hardly know that Jews were involved at all. You will read about comedians such as Milton Berle, Joan Rivers, Lenny Bruce and Jerry Seinfeld, but you’ll have no idea that any of them are Jews, or that Jewish history and culture might have had at least a nominal influence in their work and in their field. It’s like a history of opera that doesn’t bother to mention Italians: They weren’t the only ones involved, but the field would have been far poorer without their distinct contributions.
The matter of the mysteriously disappearing Jew occurs in other industries as well. It’s particularly egregious in the art world and popped up last year at the opening of the Academy Museum of Motion Pictures, a lavishly funded new institution that celebrated the diversity of Hollywood, touting the contributions of minorities involved in the film industry. However, the one minority they initially left out was the one that was instrumental in building that very industry. It’s all part of a phenomenon comedian David Baddiel describes as “Jews don’t count.” They’re not considered a minority among the many others and have apparently become white people who don’t believe in Jesus. As such, they’re not worthy of distinction.
History, however, tells a different story. When Jews began to come to this country en masse at the end of the 19th century, the culture they met often mocked and derided them. Suffering discrimination in multiple realms, they were excluded from certain neighborhoods, clubs and a variety of occupations. Universities placed quotas on them. Many hotels denied them entry, a fact that led to the creation of hundreds of Jewish hotels in New York’s Catskill Mountains. While American attitudes toward Jews eventually changed, a fact that allowed them to become full participants in society, they still find themselves victimized by Jew-hatred. Even though it’s often denied, the mystery of Jewish difference, apparently, is still a thing.
And for Richard Belzer, it was a thing he obviously enjoyed. Comedy writer and novelist Seth Greenland, who worked on numerous projects with Belzer and whose first novel was based on him, told me, “Something about Richard was quintessentially Jewish. He was kind, disputatious, intellectually curious, and hilarious. Although he wasn’t at all religious, he was proud to be Jewish and embraced that identity.”
Alan Zweibel, a comedy writer who worked with Belzer beginning in the mid-1970s on “Saturday Night Live,” added, “Belz made no bones about being Jewish in his act or in his life.” Zweibel once took Belzer to his parents’ Long Island home for a Friday night dinner, over which the comedian bonded with Mr. and Mrs. Zweibel over milchig and fleishig issues, the minutiae of keeping kosher. Alan’s father pointed to Belzer and told his son, “You could learn a lot from this guy.”
“Belz and Gilbert Gottfried would always do Jewish shtick and saw themselves in a long line of Jewish comics,” said author Ratso Sloman. “And one time I was at Catch [A Rising Star], probably in the mid ’80s and at the end of the night, Belz and Gilbert went on stage and did dueling old Jewish weather forecasters. It was so hilarious, I almost pissed my pants.”
Paul Schaffer also recalled how Belzer once accompanied him to say Kaddish for Schaffer’s father at the Carlebach Shul on the Upper West Side. “I didn’t know what kind of Jewish education he had,” Schaffer told me, “but the cat could daven [pray].” Paul added that he and Belzer once bonded over old cassettes of Friars Club roasts. One of the tapes was of a roast emceed by DJ and Sinatra expert William B. Williams (born Velvel Breitbard), who, whenever someone’s joke bombed, would begin to utter the Jewish prayer for the dead — “Yisgadal, yisgadash, shemey rabo….” — and get big laughs. Belzer loved it so much, he stole it and would recite the prayer onstage at subsequent roasts whenever a comic bombed, and even when his own jokes died.
Yisgadal, yisgadash, Belz. You will be missed.
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Carrie Prejean Boller ousted from White House Religious Liberty Commission following antisemitism row
(JTA) — Catholic right-wing activist Carrie Prejean Boller has been removed from the White House Religious Liberty Commission over what the chair called her “political agenda” during a public hearing on antisemitism this week.
The announcement of Prejean Boller’s removal by Texas Lt. Gov. Dan Patrick, an evangelical Christian, on Wednesday came after Prejean Boller spurned calls to resign from her post amid mounting backlash over her remarks on Monday.
“Carrie Prejean Boller has been removed from President Trump’s Religious Liberty Commission,” Patrick wrote in a post on X. “No member of the Commission has the right to hijack a hearing for their own personal and political agenda on any issue. This is clearly, without question, what happened Monday in our hearing on antisemitism in America. This was my decision.”
During Monday’s hearing, Prejean Boller, who was named to the commission in June, argued that anti-Zionism is not antisemitic and said her Catholic faith prohibits her from supporting Israel.
“I’m a Catholic, and Catholics do not embrace Zionism, just so you know, so are all Catholics antisemites?” said Prejean Boller, who wore a pin depicting the American and Palestinian flags.
She also defended conservative influencers Candace Owens and Tucker Carlson against antisemitism allegations, later receiving praise from Owens on social media for her defense.
Following Patrick’s announcement of Prejean Boller’s removal, Owens decried the decision in a post on X, which featured a host of antisemitic conspiracy theories.
“Carrie didn’t hijack anything. You hosted a performative Zionist hearing meant to neuter the Christian faith. Carrie spoke truth, as a Catholic, and Christians, the Truth cannot be defeated. Zionists are naturally hostile to Catholics because we refuse to bend the knee to revisionist history and support the mass slaughter and rape of innocent children for occult Baal worshipers. Your decision will only further the Christian enlightenment which is taking place in this country. And for that, we thank you. ✝️,” wrote Owens in the post, which was reposted by Prejean Boller. “@CarriePrejean1 said no to selling her soul.”
Prejean Boller’s removal drew praise from Shabbos Kestenbaum, an antisemitism activist who was invited to speak on Monday’s panel and had previously called for Prejean Boller’s removal.
“We spoke about Christian Americans and Jewish Americans being under assault. She was interested in discussing the Middle East and non advancing American religious liberties. THANK YOU,” tweeted Kestenbaum.
The post Carrie Prejean Boller ousted from White House Religious Liberty Commission following antisemitism row appeared first on The Forward.
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Art theft, angels and neo-Nazis force a reckoning with the past in ‘The Tavern at the End of History’
Tavern At The End of History
Morris Collins
Dzanc Books, 326pp, $27.95
In Morris Collins’ novel about two directionless adults on the hunt for a famous work of art presumed to have been stolen during the Holocaust, one character theorizes that “the only way towards a moral life” is to let go of the past. But Tavern At the End of History a follow up to Collins’ debut novel — the post-colonial thriller Horse Latitudes — is all about remembering, even that which is painful, and reckoning with it.
When readers are first introduced to Jacob, his inappropriate remarks to a student have cost him his professorship and his marriage, and he’s become an alcoholic. At a park in Brooklyn, he meets Baer, an impoverished Orthodox man living in a ramshackle apartment with only a fat orange cat to keep him company. As it turns out, they are both connected to the disgraced Kabbalah scholar Alex Baruch.
After meeting Baruch at a conference in Berlin, Jacob became a devoted follower. Even after Baruch was exposed for lying about being a German Holocaust survivor, Jacob remained loyal and has agreed to meet with Baruch at his sanitarium in Maine the same weekend Baruch plans to auction off a sketch by the deceased Jewish artist Alexander Lurio.
Baer reveals that the sketch had belonged to his family before the war, but, he says, it was confiscated by the Nazis. Jacob agrees go to Maine and look for the sketch with Baer’s cousin Rachel, an art historian still reeling from her husband’s suicide after she helped him leave the Orthodox community. But art isn’t the only interesting thing on Baruch’s private island. There are neo-Nazis, an erotic statue garden, otherworldly entities, and an eccentric group of Jews, although it’s unclear if they are fellow visitors of the sanitarium or patients.
Jacob, Rachel, and the other Jews at the sanitarium are incessantly haunted by the past — for Baruch, this becomes literal, when a friend he presumed had died in the Holocaust appears at his doorstep. The oddball group spends their five days in Maine, primarily telling stories about their trauma, all linked to the Holocaust either through their own experiences or those of their parents. It may be doubtful that there is any sense to be derived from tragedy, but they try their very best.
For Baruch, this means trying to justify lying about his past and doing unspeakable things to make his life easier. Jacob funnels his confusion into philosophical debates about how — or even if — the Holocaust and Israel should be understood in relation to one another. Rachel seems to believe misfortune can be rectified as she hunts for the stolen Lurio sketch.
The book often veers into unsettling territory, sometimes painting overwhelmingly disturbing scenes from the Holocaust, but Collins’ illustrative writing keeps the story engaging, even in its bleakest moments. His world-building is so convincing it’s almost incomprehensible that the Lurio works are fictionalized. Even the enigmatic Alex Baruch and the fake writings Collins “quotes” from feel real.
Because the book takes place in 2017, some of its musings on Israel and antisemitism feel less jarring than they could be. The characters watch the Charlottesville Unite the Right rally on the television, scenes that could now easily be substituted with more alarming images of government officials cozying up to neo-Nazis. The discussions about the Holocaust and Zionism feel less edgy than they may have almost a decade ago, as so much new scholarship questioning the role of memory and trauma in the creation of Israel has come out.
The book ends with some ambiguity about what exactly transpires on the island and how our characters will be able to move on. Still, Collins crafts a compelling art mystery, buttressed by a tale of a group of lost souls trying to find meaning in a world that sometimes feels hopeless.
The post Art theft, angels and neo-Nazis force a reckoning with the past in ‘The Tavern at the End of History’ appeared first on The Forward.
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Netanyahu returns to Washington — this time to shape a deal with Iran, not fight one
When President Donald Trump and Israeli Prime Minister Benjamin Netanyahu meet at the White House today – their 6th meeting in the U.S. in the last year – their discussion will focus on a shared commitment to confronting the Iranian nuclear threat, but the stakes are different for each of them.
For Trump, a nuclear agreement could cement his legacy as a peacemaker, perhaps even earn him a long-coveted Nobel Peace Prize. For Netanyahu, a deal could bolster his political standing back home in a difficult election year.
In 2015, when President Obama was on the verge of signing a nuclear deal with Iran, Netanyahu cast himself as the indispensable interpreter of the Iranian threat to Washington, as he has again. But back then, Netanyahu came to publicly oppose what he called “a very bad” Iran deal, pushing back against the U.S. president. Now, he is visiting the White House with the hope of shaping U.S. policy on Iran, not challenging the president.
Trump has described the first round of discussions with Iran as “very good,” even as U.S. aircraft carriers and other military assets build up in the region. He has insisted that Tehran is “wanting to make a deal very badly.” Israel, for its part, has made clear that any agreement must go beyond limits on uranium enrichment and also address Iran’s ballistic missile program and its network of regional proxies – Hamas, Hezbollah, the Houthis – that have been attacking Israel.
Netanyahu has said he plans to present the president with Israel’s approach to the nuclear talks led by Trump’s close advisers, son-in-law Jared Kushner and Mideast envoy Steve Witkoff.
Netanyahu is betting that intimacy equals influence. That being the leader who shows up in person — again and again — ensures Israel is not outflanked as decisions are made. Last June, that strategy appeared to pay off. Netanyahu launched a charm offensive aimed at drawing Trump into a more active role in dismantling Iran’s nuclear program. If talks fail, Trump could act again. “Either we will make a deal, or we will have to do something very tough like last time,” Trump told Axios.
But the frequency of these meetings also reflects some vulnerability. It showcases a prime minister who cannot afford distance and disagreement with the White House.
The domestic clock is ticking
The longest-serving Israeli leader is facing a real risk that Israel’s legislature, the Knesset, will dissolve in the coming weeks if his coalition fails to resolve the explosive issue of military conscription for Haredi yeshiva students. The Haredi parties have threatened to vote against the budget ahead of the March 31 deadline — a move that would trigger elections as early as June.
If Netanyahu emerges from the White House visit with rhetorical alignment or symbolic support, he could buy himself time and political oxygen.
These gestures matter for Israel, where the education minister, Yoav Kisch, has formally invited Trump to attend the Israel Prize ceremony on Independence Day in Jerusalem to receive the prestigious award for a “Unique Contribution to the Jewish People.” Israeli officials have also invited him to participate in the annual torch-lighting ceremony, one of the most emotionally charged moments on the Israeli civic calendar.
If Trump accepts the invitation and travels to Israel again, it would be a political gift of the highest order. For Netanyahu’s supporters, that imagery could energize turnout and blunt opposition momentum. For undecided voters, it reinforces a familiar argument: Whatever Netanyahu’s flaws at home, replacing him would risk destabilizing Israel’s most important relationship abroad and its closest ally in any confrontation with Iran.
But Trump’s current position on Iran may still cross Netanyahu’s red lines. And Trump has shown before that he is willing to act unilaterally, even without backing from allies.
Still, he is very popular in Israel, and that benefits Netanyahu. A new survey by the Jewish People Policy Institute showed that 73% of Israelis rate Trump as a better-than-average U.S. president for Israel’s interests and 54% of Jews in Israel view Trump as one of the best presidents in U.S. history.
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