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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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The post Richard Belzer was a Jewish comedian. Why didn’t his obituaries say so? appeared first on Jewish Telegraphic Agency.
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Apple TV’s ‘Your Friends & Neighbors’ just gave us a stunningly authentic Jewish episode
(JTA) — Matzo is not something I typically give much thought to in the days following Passover. Yet I cannot stop thinking about a piece of shmura matzo I recently encountered.
The encounter came on Apple TV’s “Your Friends & Neighbors,” where the handmade round matzo (that always tastes a little burnt) just had a major cameo — perhaps its debut on a national TV series — in the episode that dropped on Friday.
“Your Friends & Neighbors” stars Jon Hamm as a suburbanite who takes to theft, roiling his community. The entire show is packed with rounds of golf and all-you-can-eat buffets at a WASPy country club — I hadn’t gotten the sense that anyone was Jewish. Until I saw that the fourth episode of the second season was called “The Bread of Affliction.”
Perhaps I should have known: The show is based (and filmed) in Westchester County, just north of New York City, where I work as a rabbi and where many secular families include Jews. And there was a “L’chayim” in the previous episode, but that phrase has practically entered the English lexicon. I never saw the matzo coming.
I’ve carved out a social media niche critiquing portrayals of Judaism in pop culture. So I have to give credit where credit’s due — what transpired on “Your Friends & Neighbors” was no less than a modern miracle: Judaism done right.
I was sold at “Good yontif,” the words recited by Hari Sahni (played by Manu Narayan), one of the hosts, as guests entered his gorgeous, towering home for the seder.
What soon transpired was not your traditional hodgepodge of a Passover table: no scattered Hebrew school projects or random plastic frogs. We viewers got an aspirational seder, with an aesthetic somewhere between cottagecore and, well, upscale Westchester. The seder table was a canvas filled with floral arrangements, votive candles, and beautifully scripted place cards. For those playing insider Jewish baseball, there was even a place card for Elijah (no last name).
There was also drool-worthy matzoball soup being stirred in a giant, seder-sized pot, and caviar on matzo, an atypical yet perfectly kosher combination.
And then, the kiddush. Gretchen Reagan (played by Miriam Silverman, a Jewish actress and Broadway star), who is married to Hari, recited a full version of the Passover blessing — not the one-liner everyone knows from Hebrew school — and with the right nusach (tune). That tune, that beautiful, trembling holiday version, is one that most traditional households don’t even quite land as well as she did.
All of the guests at the table held (in unison) a classic yellow-and-maroon haggadah, first published in 1949. This nostalgic haggadah, which also appeared in the Passover episode of “Curb Your Enthusiasm” back in 2005, is still used at many seders today. It’s known for its simplicity, black-and-white drawings and helpful directions.
Following that epic kiddush, Mel and Coop’s teenage son, Hunter, struggles to sing “Ma Nishtanah.” Honestly, an all-too-accurate portrayal, too — he probably hadn’t practiced since Hebrew school. He was soon backed up by another Jewish actress and Broadway star, Rebecca Naomi Jones, who plays Suzanne Haber, a neighbor in the series’ fictional Westmont Village community.
Yet what blew me away the most was that shmura matzo. Square matzo famously occupies supermarket kosher sections year-round, but shmura matzo tends to appear only right before the holiday.
Where did the props department find an intact piece? Most boxes of shmura matzo come cracked. And once they had one, how many tries did it take for Amanda Peet to break it neatly in half? The notable Jewish actress plays Mel Cooper, the Jewish ex-wife of Andrew (Coop) Cooper (Hamm), who is not Jewish. Peet’s role has been central across both seasons, as she navigates challenging family dynamics, many of which play out at the seder.
As the seder continued, guests dipped pinkies in wine (ever so daintily) for the Ten Plagues. They went around the table, each reciting one plague in English — a genuinely engaging idea. And of course, there is an epic afikomen hiding spot. I won’t spoil details about its discovery, but let’s just say the afikomen was located exactly where it gets hidden in most households.
This episode was like manna from heaven. It literally just dropped. No hype, no press conference, no rounds of Jewish podcasts that project Jewish pride, sometimes a little too hungrily.
This may be the best thing that happened to Passover since 1995 — i.e., a “Rugrats Passover.” That episode still has the edge because it not only portrayed the seder and intergenerational family drama accurately, but it actually told the story of the Exodus in a way that felt new: accessible, funny and memorable. (Plus, it gave us the line “Let my babies go!”)
I wonder whether my excitement is simply because the standard is just that low for Judaism on-screen. It is. But this episode went above and beyond — even explaining that “Shanah Tovah” is not the appropriate greeting for Passover, or that afikomen means “dessert.”
The episode comes in stark contrast to another trending “Jewish show”: “Nobody Wants This.” I’m still not over Rabbi Noah Roklov (played by Adam Brody) trying to make “Mazel” a greeting. It’s not. Nor is Tu Bishvat a mourning holiday (thank you, Rabbi Neil, played by Seth Rogen).
Where does that leave the future of Judaism on TV? The bar has certainly been leavened, and I’m here for it.
From a material culture perspective, we’ve been living in an era where it has been dayenu — enough — just to have something on the shelves for Hanukkah or Passover, even if it was riddled with errors that could have been fixed by asking one person familiar with Hebrew or Jewish symbols.
And at a time when many people fear being Jewish in public, seeing Judaism on screen as a given — and portrayed correctly — is so affirming. At a moment when I, as a Jewish content creator, am flooded with antisemitic comments, direct messages, and screenshots of my “Jewish” nose, seeing Judaism in the wild is a reminder that they have not “won.”
This episode makes me hopeful that Judaism can be once again celebrated and talked about — not hidden. Now, I’m ready for a Rosh Hashanah episode in Season 3!
This article originally appeared on JTA.org.
The post Apple TV’s ‘Your Friends & Neighbors’ just gave us a stunningly authentic Jewish episode appeared first on The Forward.
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NATO Alliance Considers End to Annual Summits
US President Donald Trump holds a bilateral meeting with NATO Secretary General Mark Rutte at the World Economic Forum (WEF) in Davos, Switzerland, Jan. 21, 2026. Photo: REUTERS/Jonathan Ernst
NATO is considering ending its recent practice of holding annual summits, six sources told Reuters, a move that could avoid a potentially tense encounter with US President Donald Trump in his final year in office.
Trump‘s administration has engaged repeatedly in scathing criticism of many of the US-led defense alliance‘s 31 other members, most recently berating some for not providing more assistance to US military operations against Iran.
The frequency of NATO summits has varied over the alliance‘s 77-year history but its leaders have met every summer since 2021 and will gather this year in the Turkish capital Ankara on July 7 and 8.
But some members are pushing to slow the tempo, a senior European official and five diplomats, all from NATO member countries, told Reuters.
NATO MEMBERS LOOKING FOR LESS DRAMA AND BETTER DECISIONS
One diplomat said the 2027 summit, to be held in Albania, would likely take place that autumn and NATO was considering not holding one at all in 2028 – the year of the US presidential election and Trump’s final full calendar year in office.
Another said some countries were pushing to hold summits every two years, adding that no decision had been taken and Secretary General Mark Rutte would have the final say.
The sources spoke on condition of anonymity to discuss internal NATO deliberations.
In response to a query from Reuters, a NATO official said: “NATO will continue to hold regular meetings of Heads of State and Government, and between summits NATO Allies will continue to consult, plan, and take decisions about our shared security.”
Two of the sources mentioned Trump as a factor but several said broader considerations were at play.
Some diplomats and analysts have long argued that annual summits create pressure for eye-catching results that distracts from longer-term planning.
“Better to have fewer summits than bad summits,” said one diplomat. “We have our work cut out for us anyway, we know what we have to do.”
Another said the quality of discussions and decisions was the true measure of alliance strength.
TRUMP CASTS LONG SHADOW OVER NATO MEETINGS
Phyllis Berry, nonresident senior fellow at the Atlantic Council, wrote: “Reducing high-profile summitry would allow NATO to get on with its business and dial down the drama that has marked many recent transatlantic encounters.”
In an article published on the think tank’s website last week, she noted that NATO held only eight summits during the decades of the Cold War. She described Trump’s first three NATO summits in his first term as “contentious events, dominated by his complaints about low allied defense spending.”
Last year’s summit in The Hague was also largely shaped by Trump’s demand that NATO members boost defense spending sharply to 5% of GDP – a target they accepted by agreeing to spend 3.5% on core defence and 1.5% on broader security-related investment. The mere fact that it ended without major drama was considered a success.
This year’s gathering also looks set to be tense.
After NATO allies refused to give him the support he was demanding in the Iran war, which he had begun without consulting or informing them, Trump openly questioned whether the US should stand by NATO’s mutual defense pact and said he was considering leaving the alliance. Months earlier, he had laid claim to Greenland, an autonomous territory belonging to fellow NATO member Denmark.
At the 2018 summit, Trump threatened to walk out in protest at other NATO allies’ low defense spending.
“Had he made good on his threat to leave in protest, we would have been left to pick up the pieces of a shattered NATO,” Jens Stoltenberg, NATO’s secretary general at the time, wrote in a memoir published last year.
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When a Jewish Icon Moves to Israel for Her Safety: A Warning Sign for the Netherlands
A view of the Concertgebouw building in Amsterdam, Netherlands on Aug. 26, 2024. Photo: Jakub Porzycki via Reuters Connect
The reported decision of Dutch singer Lenny Kuhr, a beloved cultural figure and winner of the 1969 Eurovision Song Contest, to relocate to Israel should prompt serious reflection across the Netherlands.
When a Jewish public figure feels compelled to leave because of hostility, intimidation, or fear, it is not merely a personal decision. It is a warning sign about the health of Dutch society.
For generations, the Netherlands has cultivated an international reputation for tolerance, openness, and civic decency. It is a nation admired for democratic values, free speech, and social stability. Yet no society is immune to the resurgence of antisemitism, and recent years have shown that the Dutch exception is not guaranteed.
Across Europe, Jews are reporting increased harassment, threats, vandalism, and social isolation. The Netherlands is one place where this is happening. What often begins as political hostility toward Israel can quickly spill over into open hostility toward Jews. Online abuse becomes street intimidation. Campus activism becomes exclusion. Political rhetoric becomes a license for prejudice.
This is especially dangerous because it often hides behind respectable language of “anti-Zionism,” “human rights,” or opposition to Israel. But usually, this goes much deeper and becomes (or reveals itself as) a hatred of Jews.
Dutch directness is often celebrated as a cultural virtue. But there is a profound difference between candor and cruelty. When “speaking plainly” becomes an excuse for abuse, society loses an essential moral boundary. Free expression must never become a shield for threats or dehumanization.
The same is true in politics. Consensus culture has many strengths, but it can also create hesitation in moments that require clarity. When antisemitism rises, leaders cannot afford ambiguity. They must name it, confront it, prosecute it, and isolate those who spread it.
Jewish citizens should never have to wonder whether their future is safer elsewhere. They should never need to hide symbols of identity, avoid public spaces, or explain away hatred as the cost of living in a pluralistic democracy.
The departure of a well-known Jewish Dutch figure should therefore be seen not as an isolated story, but as a national test. If even prominent, admired Jews feel unsafe, what message does that send to ordinary Jewish families, students, and elders?
The Netherlands still has time to choose a different path. It can reaffirm that antisemitism has no place in Dutch life. It can protect Jewish institutions, enforce existing laws, educate younger generations, and draw a bright line between legitimate political disagreement and hatred toward Jews.
If it fails, more Jews may conclude that their future lies elsewhere. And that would not only be a tragedy for Dutch Jewry. It would be a tragedy for the Netherlands itself.
Sabine Sterk is the CEO of the NGO Time To Stand Up For Israel.