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Three-time war veteran and longtime JTA correspondent Tom Tugend dies at 97
(JTA) — It was the kind of story that Tom Tugend loved to tell, except he lived it.
He left Berlin, aged 13, on Adolf Hitler’s birthday, in 1939, driven out by the ideology reflected in the swastikas on the banners fluttering in the streets. Six years later, he was back in Germany as an American soldier interrogating the Nazis who had driven his family out.
“I had been a refugee a few years before,” Tugend told the Jewish Telegraphic Agency in 2021. “They kicked me out, they were the masters. And suddenly they couldn’t be nice enough, and couldn’t do enough for us. And of course, each one, some of his best friends were Jews.”
Tom Tugend, who fought in three wars — two for the United States and one for Israel — spent decades as Jewish media’s gentleman correspondent, covering, among other beats, Hollywood.
He died at his home in Sherman Oaks, California, on Wednesday at 97, his daughter Alina said.
“His authenticity came through to anyone who knew him,” Alina Tugend told JTA Thursday. “He was a hero to many people.”
Tugend was unfailingly kind and soft-spoken, including in an interview last year with the JTA, in which he shared story after story, from firing swastika-emblazoned anti-tank guns in Egypt to his experience facing antisemitism as a young German immigrant in the United States.
Born in 1925, Tugend was raised in a well-to-do German Jewish family. His father, Gustav Tugendreich, a respected pediatrician, understood the danger of Hitler’s rise and left for the United States in the mid-1930s after securing a lectureship at Bryn Mawr College.
When he was able to bring them over, he urged his family to follow him, but life remained good enough in Germany that they resisted until it was almost too late — they left four months before World War II started.
It was Hitler’s 50th birthday, April 20, and the city’s trees and poles were draped with massive swastika banners. “Gee, I mean, they may not like the Jews, but it’s very nice of them to give us such a nice sendoff,” Tugend recalled last year with a laugh.
The transition to life in the United States was not easy. The family encountered antisemitism in their new home.
In eighth grade, for example, Tugend’s class read Shakespeare’s “The Merchant of Venice,” which famously includes Shylock, a Jewish moneylender, as a main character. One of Tugend’s classmates, whom he had considered a friend, raised his hand and asked the teacher, “Wouldn’t you rather buy from an American than a Jew?”
“I don’t generally talk about it because it goes so counter, it sounds almost disloyal that you say I had a more difficult time initially in the United States than I had in Germany,” Tugend recalled.
He was restless, and joined the army when he was 18 — where he found more antisemitism. He was deployed in March 1944 and spent time in Marseille helping the French army fight SS units. When his commanders learned he spoke fluent German, they sent him to that country to interview Nazis.
He returned to the United States in March 1946 but remained unsettled. Two years later he saw an opportunity.
“Since a Jewish state is established only every 2,000 years, I was afraid I might not be around the next time,” he said, so he enlisted in the nascent and notoriously strapped Israeli army, which got its material where it could.
Tugend served as a squad leader in an English-speaking anti-tank unit, where he wound up using German guns that featured large swastikas on the barrel.
When that war ended, Tugend returned to California to complete his journalism degree. That stay was short-lived, too — he was drafted again in 1950 but was spared combat. Instead, he went to San Francisco to edit an Army newspaper.
After Korea, Tugend said, he ran out of wars. He shifted his focus to writing. He spent 30 years working at the University of California, Los Angeles and also had a parallel career in Jewish journalism, starting in 1964. He would go on to write for the Jerusalem Post, the Jewish Chronicle and the Jewish Journal of Greater Los Angeles, and he spent decades as the Jewish Telegraphic Agency’s West Coast correspondent.
Lisa Hostein, the longtime former JTA editor-in-chief and current executive editor of Hadassah Magazine, remembered meeting Tugend on a Jewish press trip to Argentina in 1986. She told JTA last year that Tugend was “always the consummate professional and gentleman.”
Over the years, Tugend was honored by the Greater Los Angeles Press Club and the Society of Professional Journalists. He also received a lifetime achievement award from the American Jewish Press Association.
His last published article was last month in the Jewish Journal of Los Angeles; it was an obituary for Edward Robin, a Los Angeles philanthropist and businessman, who was 80, 17 years Tugend’s junior.
Weeks before his own death, Tugend infused the article with his gentle and generous warmth. “A mere listing of his leadership roles in Jewish organizations worldwide would call for a book-length article,” Tugend wrote about Robin.
Honored at last month’s Jewish Journal gala, which he attended, Tugend never lost his love of writing. “You still get a certain kick in seeing your byline,” he told JTA last year.
Tugend is survived by his wife of 66 years, Rachel, and their daughters Alina Tugend, Orlee Raymond and Ronit Austgen.
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The post Three-time war veteran and longtime JTA correspondent Tom Tugend dies at 97 appeared first on Jewish Telegraphic Agency.
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2026 Tribeca Film Festival to Screen World Premiere of Israeli Films, Including Noga Erez Documentary
A still from “What Is To Come.” Photo: Tribeca Film Festival
Organizers of the 2026 Tribeca Film Festival announced on Thursday the official lineup for this year’s event in June and it includes the world premiere of three Israeli co-productions.
“What Is to Come” will be screened as part of the festival’s International Narrative Competition. The drama from Israel and the United Kingdom is about a woman named Yehudit who unexpectedly loses her husband and is forced to start over on her own. “In the process, she finds that abrupt and painful detours can lead to bright roads,” according to a synopsis of the film. The feature is directed and written by Ruthy Pribar, and stars Ronit Yudkevitch, Yaakov Zada Danielm and Tovit Adis Semay. “What Is to Come” will make its world premiere on June 8.
Pribar’s debut feature film “Asia” screened at the Tribeca Film Festival in 2020 and won three awards, including the Nora Ephron Prize for Pribar, a best actress award for Shira Haas, and best cinematography for Daniella Nowitz. The film also won nine Ophir Awards in Israel.
“Moishe Badhan (or The Tale of a Wedding Entertainer),” will also make its world premiere at the Tribeca Film Festival this year, in the Viewpoints section. Directed by Gidi Dar and written by Shuli Rand, the co-production from Israel and the US is a comedy-drama about a disgraced Hasidic wedding-comedian who is trying to gather enough funds to marry off his daughter. The cast includes Shuli Rand, Tal Friedman, and American Jewish comedian Elon Gold, who is also an executive producer on the film. The world premiere will take place on June 4.
The 2026 Tribeca Film Festival will also feature the world premiere of the documentary “Noga,” about Israeli alternative pop singer Noga Erez. The movie, which was directed and co-produced by Jono and Benji Bergmann, is a c0-production from Austria, Germany, Israel, and the US. It examines how Erez “must redefine her role as an artist on a global stage” after the Israel-Hamas war breaks out in 2023. The film’s world premiere on June 7 will be followed by an acoustic performance by Erez and her longtime partner in music and life Ori Rousso.
Erez is performing twice at the Coachella Valley Music and Arts Festival this month. She has never performed at the festival before and has made history as the first Israeli singer to take to the stage at the annual event in Indio, California.
The 2026 Tribeca Film Festival will run from June 3-14. The event will feature 118 feature films including 103 world premieres, which is the most in the history of the festival, and 86 short films. The festival this year will represent 143 filmmakers, including 55 first-time directors, spanning 44 countries.
“Tribeca began 25 years ago as an act of healing, a mission to reunite our community through the power of storytelling. Today, that purpose feels more urgent than ever,” said Jane Rosenthal, co-chair and co-founder of the Tribeca Festival. “This year’s incredible feature and short film lineup includes stories from filmmakers who make us think, feel, laugh, cry, and ask why. Tribeca remains dedicated to the artists’ voices and diverse perspectives that challenge us to see one another more clearly.”
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Over 1,000 Entertainment Industry Figures Back Israel’s Inclusion in 2026 Eurovision Song Contest
A photographer takes a picture of a TV screen in Wiener Stadthalle, the venue of next year’s Eurovision in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
More than 1,000 members of the entertainment industry have signed an open letter expressing support for Israel’s participation in the 2026 Eurovision Song Contest (ESC) held in May, in response to demands to have the country excluded from the competition because of its military actions in the Gaza Strip during the Israel-Hamas war.
Creative Community for Peace, a non-profit organization comprised of prominent members of the entertainment industry, penned the initial open letter in 2024 in response to efforts by anti-Israel activists to have the European Broadcasting Union, which organizes the ESC, ban Israel from the event and to pressure countries and artists to withdraw their participation from the competition. The open letter voiced support for Israel’s inclusion in Eurovision as well as solidarity with the contest’s participants, while denouncing calls for a boycott of the event.
Hundreds more entertainment industry leaders have since added their names to the open letter, including actresses Amy Schumer and Mila Kunis; singer Matisyahu; actors Jeremy Piven and Jerry O’Connell; television writer, producer, and directors Amy Sherman-Palladino and Matthew Weiner; “Wonder Woman” director Patty Jenkins; and “Nobody Wants This” co-creator Erin Foster.
“We have been shocked and disappointed to see some members of the entertainment community calling for Israel to be banished from the contest for responding to the greatest massacre of Jews since the Holocaust,” the letter stated. “We believe that unifying events such as singing competitions are crucial to help bridge our cultural divides and unite people of all backgrounds through their shared love of music.”
“Music should bring us together,” said O’Connell. “No artist should be silenced for where they are from. These boycott efforts destroy the very connections the arts are meant to build.”
Those who signed the initial open letter back in 2024 include Helen Mirren, Boy George, Liev Schrieber, Sharon Osbourne, Gene Simmons, Debra Messing, David Draiman, Mayim Bialik, Julianna Margulies, and Ginnifer Goodwin.
“Artists and culture are being dragged into the angry, misinformed politics of the moment,” said Osbourne in a released statement. “Attempts to exclude Israelis from the international stage twist art into a tool of division and erode the shared humanity that the arts are meant to preserve. I’ve watched this play out for over three years, and it just breaks my heart.”
The 2026 Eurovision semi-finals will take place on May 12 and 14, and the final live show will be on May 16. The competition is being held in Vienna, Austria.
After the European Broadcasting Union confirmed late last year that it will allow Israel to participate in the 2026 ESC, Spain, the Netherlands, Ireland, Slovenia, and Iceland announced they will not participate in this year’s event.
Spain’s national broadcaster RTVE said it will not broadcast or participate in the event, which marks the first time the country has completely boycotted the ESC since it began participating in the competition in 1961. Spain’s Culture Minister Ernest Urtasun called the move “brave.”
Meanwhile, the EBU confirmed this week that for the first time ever the live shows of the 2026 Eurovision Song Contest will be available to watch for free in the United States. It will air on YouTube but also be available for viewing in the US on the Peacock streaming service.
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Yale University Admits Role in Crumbling Public Trust in Higher Education
Graduates enter Old Campus at Yale University for Commencement Day exercises, in New Haven, Connecticut, US May 19, 2025. Photo: REUTERS/Bryan Woolston
Yale University in New Haven, Connecticut blamed itself and other elite colleges for having played a role in crumbling public trust in higher education in a new committee report published on Wednesday.
Racial preferences in admissions, prohibitive sticker prices, declining academic standards, and advocacy of divisive progressive causes which polarized the American public to the point that “national divorce” became a byword on social media in recent years all contribute to a sense that elite higher education considers itself a class apart and above regular people, the report said.
Citing polling showing that just over a third of Americans, 36 percent, have “confidence” in higher education as opposed to 57 percent who did in 2016, it noted that “trust in higher education has declined faster than in other institutions and sectors.”
The statistics reveal uncertainty regarding the purpose of higher education and its relevance to a democracy that is contemptuous of gatekeepers and hollow indicators of status.
Yale University’s own opaque system of “preferences” in undergraduate admissions — which it said privileges the wealthy, athletes, and some minorities — is one source of discontent that needs to be addressed, the report said.
Yale University infamously adopted racial preferences under the leadership of president Kingman Brewster in the 1960s, despite growing evidence that the practice created an environment of academic maladjustment and racial division. This led to the creation of segregated programming and academic programs for African Americans, as well as a summer remedial program for minority students — PROP (Pre-Orientation Program) — that was eventually rebranded in the late 1990s when its apparent subtext proved unpalatable to a new generation of students.
“We recommend that Yale reduce preferences for special classes of applicants. We also believe that the admissions system can be made more effective and less onerous for applicants by establishing and making a public minimum standard of academic achievement necessary for consideration,” the report continued. “Under the current system, Yale informs potential students that everything matters, leaving applicants scrambling to second-guess what the university wants.”
The report authors, drawn from across Yale’s faculty, went on to recommend adopting a “minimum SAT score” or “Yale specific entrance exam” to “ensure that no student is admitted without the requisite academic preparation ability.”
Elite undergraduate admissions is a matter of growing importance to the Jewish community, as it has seen its representation in some Ivy League institutions plunge. According to a report issued by the Harvard Jewish Alumni Alliance in March, Jewish undergraduate enrollment at Harvard has plummeted to lows not seen since the eve of World War II and the Holocaust, falling to just 7 percent.
The same report also found that Jews are the only minority group at Yale University whose admittance rates have declined since the university expanded the size of its undergraduate class in 2018. The revelation has revived memories of elite education’s 20th century practice of “restriction,” by which admissions officers relied on a “holistic assessment” of applicants to deny admission to Jews.
Yale’s new report also touched on the charged issue of viewpoint diversity, a point of vulnerability for most universities.
“The campus has not been immune from pressures toward conformity, intimidation, and social shaming that have affected the rest of higher education and, indeed, the rest of American society,” it said, referencing a 2015 viral incident in which a Yale undergraduate shrieked at professor Nicholas Christakis because he had implored progressive students not to be hypersensitive over Halloween costumes portraying people of color. “Echo chambers do not produce the best teaching, research, or scholarship.”
Follow Dion J. Pierre @DionJPierre.