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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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Archaeologists uncover a 300-meter section of ancient aqueduct in Jerusalem
(JTA) — JERUSALEM — Israeli archaeologists have uncovered a 300-meter (984-foot) section of Jerusalem’s ancient Lower Aqueduct, providing another window into how engineers about 2,000 years ago ensured that the city would have an adequate supply of water for residents and pilgrims.
The Israel Antiquities Authority (IAA) began the dig three months ago in advance of the planned construction of a new neighborhood in East Jerusalem, at the city’s edge. Such “salvage excavations” are often carried out prior to major construction projects in Israel to ensure that any ruins discovered at the site can be mapped and protected even if they aren’t excavated at the time.
Believed to have been built in the Hasmonean period in the second and first centuries B.C.E., this engineering system carried spring water from the Gush Etzion region of the West Bank, through Solomon’s Pools south of Bethlehem, to Jerusalem and the Temple Mount. It remained in intermittent use until the early 20th century.
Although parts of the aqueduct have been uncovered in previous excavations, this is the first time such a large section will be made permanently accessible to the public, Benyamin Storchan, an IAA archaeologist and the excavation’s co-director, told the Jewish Telegraphic Authority.
Based on earlier discoveries and a wide range of research, archaeologists had strongly suspected where the newly uncovered section was located.
“We were able to work with municipal urban planners to ensure that the shape of the new neighborhood will be determined not only by its natural topography, but based on the antiquities found there,” Storchan said.
The aqueduct, the discovery of which was made public on Sunday, will be preserved as a promenade/archaeological park at the entrance to the future neighborhood by the IAA and Israel Land Authority.
Bringing Water to Jerusalem
Before the aqueduct was built, the landlocked city of Jerusalem relied on the Gihon Spring and rainfall runoff for its entire water supply, Storchan said. Under Hasmonean rule, Jerusalem’s population grew and the need for water increased. That was especially true during Jewish festival times, when pilgrims doubled or even tripled the population.
The solution involved transporting water from springs in the Gush Etzion region, a hilly area more than 800 meters above sea level. Spring water had to be channeled to collection areas, and then toward Solomon’s Pools, an extensive water-storage complex built south of Bethlehem. From there, two major aqueducts, the Lower Aqueduct and the Upper Aqueduct, carried water toward Jerusalem – a distance of more than 20 kilometers (12 miles).
The Lower Aqueduct, which appears to predate the Upper Aqueduct, “is an engineering marvel,” Amit Re’em, the IAA’s Jerusalem district archaeologist, said in a press statement. “Even today, with all our modern technology, building such a system would require extensive planning and effort. The thought that, about 2,000 years ago, they managed to bring water to Jerusalem this way is astonishing.”
Its route had to follow the contours of the rugged topography while maintaining a gentle gradient for the water to flow by gravity alone, without mechanical pumps. Along most of its route, the water dropped just one meter in elevation per kilometer.
“The newly exposed section reveals the various stages in the history of the water system,” the IAA said. “Initially, the water flowed in a built, plastered channel. Then, about 500 years ago, during the Ottoman period, ceramic pipes were installed within the original channel, the outer face of the aqueduct wall was plastered and small stones were pressed into the plaster while still wet.”
Used for about 2,000 Years
One of the aqueduct’s most remarkable characteristics was its longevity. Believed to be constructed during the Hasmonean period, it was repaired and reused through successive eras, including the Roman, Byzantine, Umayyad, Crusader, Mamluk and Ottoman periods.
The fact that various kingdoms and rulers decided to repair and not replace the water system “is one of the most fascinating parts,” Storchan said of the waterway. Rather than repurposing an older structure for a different use, successive rulers retained the aqueduct’s original purpose.”, “here we see a single installation being reused again and again for its original function.”
The aqueduct was used until about a century ago, when modern water infrastructure, including electric pumping stations, proved more efficient. Its long history of repairs, however, complicates archaeological dating, Storchan said. Those who repaired it over the millennia added plaster, repaired collapsed sections and modified the channel, sometimes obscuring evidence of the original construction.
Utilizing modern technology
Still, the latest excavation gives researchers an opportunity to reexamine longstanding questions with advances in scientific dating methods.
“Today, technology is more advanced than it was then. We’re working with all kinds of specialists to pinpoint the dating of the original construction,” Storchan said.
One such method is optically stimulated luminescence (OSL), which can estimate when mineral grains in sediment were last exposed to sunlight. Combined with the analysis of mortar, plaster and archaeological layers, the technique may help narrow the dates associated with different stages of the system’s development.
For Storchan and his colleagues, every new insight is a cause for celebration.
“Our job as archaeologists,” he said, “is to fill in another piece of the puzzle.”
This article originally appeared on JTA.org.
The post Archaeologists uncover a 300-meter section of ancient aqueduct in Jerusalem appeared first on The Forward.
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Regan Katz manages not just one, but two different – and successful baseball teams in two different cities
By BERNIE BELLAN About three months ago I wrote a story about an up and coming local football star by the name of Gavin Katz – who, although only 14 years old, had already received widespread recognition for his defensive abilities on the football field. (You can read that story at “Gavin Katz: ‘The next great Jewish football player’.”)
Gavin had been both a linebacker and defensive lineman for his pee-wee Fort Garry Lions Bantam football team – and he was voted most outstanding defensive player on his team by his coach, John Makie.
One thing that stood Gavin in especially good stead as a football player was that, in his 14th year, he grew 4 inches to 5’8″ and added 35 pounds to weigh 170 pounds at the time I spoke to him in July.
With him graduating from Ecole River Heights last June and moving on to Kelvin High School this September, Gavin had hopes to make the Kelvin football team, but he was realistic about his chances, saying that he thought he would probably “end up on the practice roster” for the Clippers varsity team “where he will be fighting for a playing role,” because if he did make the team he’d be among the youngest players on the team (which is usually made up predominantly of players from Grades 11 & 12).
Well, as I noted in my introduction to my story about Gavin Katz, the idea for doing that story came from sportswriter Scott Taylor. Recently, Scott sent me another email about a story, but this time the idea he suggested was to do a story about Gavin’s father, Regan.
I had mentioned Gavin’s parents’ names in my story about Gavin – also that Regan is former Mayor Sam Katz’s nephew (His father is Sam’s older brother, David), but other than adding Gavin’s mother’s name (Mandy), I didn’t go into any detail about Regan Katz and his own very successful career.
Then I received another email from Scott Taylor, this time about Regan (with a photo attached):
“Here’s a photo of the best baseball executive in Canada — Regan Katz.
“He runs both the Goldeyes and the Ottawa Titans. He helped get the Goldeyes to the playoffs, just won a championship with the Ottawa Titans and also set the affiliated minor league attendance record in Ottawa with more than 10,000 fans for the Frontier League opener and again for the Championship series.
“This guy has his shit together.”
And so, since my story about Gavin Katz was one of the most widely read stories on this website this past summer (It was also very widely read in the print Jewish Post newspaper.), I decided that, if Scott Taylor sends me a story idea, it’s an idea worth following up.
Which led me to contacting Regan Katz again. (The last time I contacted him it was to see whether he could wake Gavin up to talk to me. After all, like most teenagers, Gavin likes to sleep in when he can, but it was already 11 am on a Saturday morning when I was calling, so I figured: “Dad, go wake up your son. There’s a not-so-important journalist who wants to talk to him.”
Which is how I ended up having a very enjoyable interview with a very personable and unassuming young man – who did seem a little bit drowsy as I talked to him.
This time though, when I spoke with Gavin’s father, Regan was very much alert. Considering the hectic schedule he maintains though during baseball season, I could have forgiven him for sounding just a wee bit tired himself. But, at the time we did our phone interview, Regan’s baseball season had wound up. He sounded quite relaxed – still very much enjoying the accolades he had received for his work running not just one, but two different minor league baseball teams.
Before I began to ask Regan about his life in baseball, however, I wanted to touch base with him about Gavin’s football career. By now, the high school football season was in full tilt, and I was curious to know whether Gavin had made the Kelvin football team?
Regan told me that Gavin was one of only three “freshmen” to make the team and “Gavin’s the only one who started every game, and, yesterday got defensive player of the game” (which would have been played Thursday, Oct. 1, as our interview was conducted Friday, Oct. 2.)
I asked Regan whether Gavin was still playing linebacker (which, Gavin had told me, was his preferred position on defense)?
Regan responded that “they moved him to defensive tackle, so he’s right in the front line instead of at the back, but he’s breaking through the offense and helping the linebackers take down the tackles. He got two sacks yesterday and two running back tackles, which is not his job, but he’s breaking (through) kids larger than him and making his way through.”
At some point, as we follow Gavin’s football career, I hope to provide further updates as to his success on the “gridiron.” (By the way, the term “gridiron” – which refers to a football field and which used to be used quite often by sportswriters in the past “comes from the historical layout of the field, which was marked with intersecting lines every few yards that made it look like a metal cooking grate (or gridiron) used for broiling food over an open fire.”)
Enough about Gavin. Now, here’s the main point of why I wanted to do this story, which was to write about Regan.
I asked him how long he’s been involved with organized baseball?
He answered: “I’m in my 28th year.” As Regan observed, although he was born in Winnipeg, “when I was three, my dad decided he was allergic to snow and moved the family west (to Victoria). I came back in my late teens and joined up with the Winnipeg Goldeyes.”
Even before Regan moved back to Winnipeg, however, he had already embarked on a business career in his early teens, working for Westfair Foods (owners of Superstore and Wholesale Club) in British Columbia, helping to build grocery stores all over the province.
As he explained it, “So, when they would open up a new store, I would be the regional person who would go in and ensure that the setup and the staff was on plan.”
Regan was also responsible for training the staff and making “sure that everyone was ready” – traits that were to prove indispensable to what was to come during his current career in baseball. ”I was part of seven store openings in a two-year span, in that role” (with Westfair), Regan added.
He noted that when he left, he told them he was taking a “two-year sabbatical from the job.”
Regan added though, that “since I haven’t gone back, I assume they figured out I’m not returning.”
I asked: “Well, have they sent you a message saying, ‘Hey, the door’s still open?’ “
Regan answered: “No, but every year I get my superannuation for the time I served with them.”
He went on to note that he got married in 2010, “to a wonderful Manitoba woman, ” (Mandy, whose maiden name Gavin had told me, was Falk.)
Sam Katz actually revived the Winnipeg Goldeyes as a baseball franchise in 1994, when the team played out of the north end of what was then Winnipeg Stadium – in what was a very oddly shaped baseball field.
Regan, who came on board full-time with the Goldeyes in early 1999, says that he had spent some time with the team during a few previous summers spent in Winnipeg and had been able to see the Goldeyes play on that field which, he says, was affectionately known as “Deformity Field.”
(The left field fence was only 225 feet from home plate. It was a hitter’s dream – knocking easy home runs over that very short distance to the fence.)
Regan arrived in Winnipeg, however, just in time for what was to be the first season in what was to become the Goldeyes’ new home – what was then called CanwWest Park (now Blue Cross Park), in 1998.
His first title with the Goldeyes, he said, was “account executive, but I was truly a ‘gofer,” he observed.
“At the time construction was on full throttle at the new ballpark – downtown. And so, we were commuting from our offices on Maroons Road (where Winnipeg Stadium was located), and on McDermot – at Sam’s offices for Nite Out (Entertainment), as well as the ballpark trying to get things set up.
“So, when I wasn’t hauling or setting things up, I was making calls off a list to try and convince people to buy tickets.”
In those early years with the Goldeyes, as Regan noted, he was mostly involved in ticket sales, and in “2003, I moved to director of group sales and looked after all of our group sales, which are the outings where people are coming out (for things like) birthday parties, baseball teams, family gatherings, that kind of thing.”
In 2005, Regan moved up from director of group sales to assistant general manager, then in 2016 to vice president and chief operating officer – which are the positions he holds to this day.
In March 2020, however, Regan and his uncle Sam Katz took a trip to Ottawa – just as Covid was beginning to shut down things everywhere – including sporting venues.
There was a baseball park in Ottawa – called Ottawa Stadium, owned by the city, that was sitting empty.
As Regan explained, the city was “taking RFPs for an operator. (It had) sat empty for a year and a bit, and its previous occupant had left all kinds of turmoil and unpaid bills and whatnot.
“So they were looking for a team, trying to decide what to do with the venue. So we went out to tour – just as COVID shutdowns were starting in late March. We toured the venue, contemplated for a bit. And so, we went back and forth for a while, trying to decide if this was something we wanted to take on.
“In September of 2020, we agreed to terms with the city on a lease for the venue. We couldn’t travel across the border, so we started the team in 2022.”
The Ottawa team, known at the Titans, play in what is called the “Frontier League (which will be rebranding in 2027 to become the “National Association.” The Goldeyes, by the way, are in a league known as the “American Association.”)
There is a difference in the calibre of baseball players in the two leagues, as Regan explained to me: Players in the Frontier League would move up to Single A baseball, while players in the American Association would move up either to Double A or Triple A. (The level of baseball in the American Association is at a level wherein you can often see former major leaguers playing on teams.)
As vice-president and chief operating officer for both the Winnipeg Goldeyes and the Ottawa Titans, Regan said that he oversees general operations for both teams, but is not involved with the day to day management of players or coaches of the teams. That is the responsibility of the teams’ general managers and field managers, he clarified.
While there is no specific award for executive of the year in either the Frontier League or the American Association, when Scott Taylor wrote to me that Regan Katz is “the best baseball executive in Canada,” he didn’t say that he was referring only to minor league baseball.
As Regan noted, the Goldeyes received an award for “Game Presentation of the Year” this year, while the “Ottawa Titans received the Commissioner’s Award of Excellence.”
“When we started the (Ottawa) team five years ago,” he observed, “we were averaging about 1,200 fans. This year we were in excess of 2,600. We set attendance records, both for the ballpark in Ottawa, as well as for the league. We also sold 10,278 tickets to our opener, which is a record that will probably stand true for the rest of time.”
As far as the Winnipeg Goldeyes’ season went, not only did the team perform well on the field, making it to the first round of the playoffs, average attendance was the highest it’s been since before Covid, with games averaging over 4,000 fans.
Not only that, but the Goldeyes received a number of accolades for how they produce their games.
“Our broadcaster got Broadcaster of the Year,” Regan noted. (The games are broadcast on Nostalgia Radio Station CJNU. The play by play announcer is Trevor Curl.)
“We (also) received Game Presentation of the Year, which, you know is a big one because that’s what we work so hard on. What we’re selling – it’s all about fan experience.”
Regan continued: “Obviously, we try to put together a winning team, but to us, it’s all about having fun at the ballpark, win or lose – even if you don’t like baseball. So that one meant the most to us.
“We also won Social Media Team of the Year – for Winnipeg. All three of (those awards) are big ones to us because they’re pieces that we choose and work hard on.
“The essence of what I do (is) we’re trying to put on family entertainment that happens to have a baseball game in the background. ..and that’s what we built in Winnipeg.”
I asked Regan whether “in terms of, of how you rate in in Minor League Baseball – without trying to blow your own horn, I know the Goldeyes have always been considered a top-notch operation. Have the Goldeyes received any particular awards from organizations that look at all of minor league baseball and compare all teams?”
“ ‘Baseball Digest’ has acknowledged us a number of times over our 33 years for various pieces of what we do,” Regan answered, “whether it be attendance or game experience or most creative promotion. We’ve certainly received many, many mentions in ‘Baseball Digest,’ which is probably the most well-known for all of Minor League Baseball and independent leagues for sharing what’s out there.”
I asked Regan – and it was based on everything he had told me to that point: “Has anyone in a much more senior league tried to recruit you?”
He responded: “Are there headhunters out there who have called me? Absolutely, yes. Many, many teams call me to consult all the time, but I do keep my advice and recommendations to those within our league because I want to see the leagues that we’re in succeed.”
Regan added: “I have a young family. (In addition to Gavin, the Katz’s have a daughter, Brynlee, who is nine). I like where I’m at. I don’t think any other team is going to come to Winnipeg, so I’m well-planted here.”
My final question was about how difficult it is to run two separate teams that are so far apart?
He answered: “Anybody else who has overlap between two teams has a much shorter commute than I do – with a three-hour flight each way. It’s incredibly challenging. Fortunately, technology’s made it a lot easier with virtual meetings and things like that. I speak with my staff in Ottawa every single day. I’m in constant contact with at least some of them, if not all of them. All of our meetings are virtual so that I can be part of them.”
Only 47 years old, Regan Katz has been working full time since he was a young teenager. I didn’t even mention that, while he was working for the Goldeyes here after he had just moved to Winnipeg, he managed to finish university, where he studied business administration. If anyone would be interested in learning about business administration, with everything he has accomplished so far, Regan Katz could be the perfect teacher.
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Mamdani faces growing pressure over Jewish NYPD Commissioner Tisch and over Israel from left flank
(JTA) — New York City Mayor Zohran Mamdani is facing increasing pressure from some on the leftmost flank of his voting coalition, and an ICE shooting Thursday led democratic socialist allies to add their voices to a major demand: dump police commissioner Jessica Tisch.
“The NYPD’s Strategic Response Group must be disbanded as quickly as possible, and Commissioner Tisch must step down,” said Darializa Avila Chevalier, who won her Democratic primary with Mamdani’s endorsement. The democratic socialist, who is expected to join Congress next year representing Upper Manhattan and parts of the Bronx, was referring to the heavily armed police department unit that often responds to protests.
The calls for Tisch’s removal follow strident criticism of the mayor from pro-Palestinian activists on Wednesday night who called him names, including “traitor” and “Ziohran,” when he showed up at an Oct. 7 Israeli peace vigil mourning the loss of both Jewish and Palestinian lives. The demonstrators assailed him for not doing more to advance the pro-Palestinian agenda that has long been central to his political beliefs, raising questions over whether he could lose parts of his base as he pledges to be a mayor for all New Yorkers.
The demand for Tisch’s removal came after an ICE agent shot and wounded a Dominican man in his car on Thursday afternoon while his 5-year-old son was in the back seat. Avila Chevalier, who joined protests against ICE on Thursday, wrote on X that the NYPD “spent more time protecting a militia that just shot someone than protecting New Yorkers.”
Mamdani’s decision last year to retain Tisch — a self-described “proud Zionist” who comes from a prominent Jewish family — was seen as a reassuring move by moderates and establishment Jewish organizations including UJA-Federation of New York and the Jewish Community Relations Council. (70 Faces Media, the parent company of the Jewish Telegraphic Agency and New York Jewish Week, receives UJA funding.)
A number of progressives were skeptical of the decision at the time, citing her background as an appointee of Mamdani’s predecessor, Eric Adams, and her past criticism of campus pro-Palestinian protests. Some viewed her as an impediment to criminal justice reform.
Meanwhile, some on the left have dinged him for not yet following through on campaign promises 10 months into his term, including dissolving the Strategic Response Group, or backing down from his vow to arrest Israeli Prime Minister Benjamin Netanyahu, a plan which he later said he did not have the power to execute.
Anti-Zionist groups including Pal-Awda, Within Our Lifetime and a number of student organizations who rallied against Mamdani at the Oct. 7 vigil accused him of succumbing “to Zionist pressure.” Protesters called him a “traitor” and a number of chants rang out including, “Mayor Mamdani you can’t hide, we charge you with genocide,” drowning out speakers at the vigil and forcing the organizers to move it behind police barricades to keep the protesters from overrunning the event.
Among those protesters’ many gripes with the mayor was his decision to retain Tisch. One sign at the demonstration depicted Mamdani with the text, “Chief Executive of the NYPD SRG” with a Star of David in the middle, and a name tag on the mayor’s chest reading, “Ziohran.”
Criticism was also directed at Mamdani for not stopping Israeli real estate events at synagogues, and for his strategy to combat antisemitism, released last week, which allocates funds to a number of community-based organizations aimed at preventing hate crimes. Some critics have charged that some of the funding will aid Zionist organizations.
“The Jewish community is a large part of New York and it should be cherished. But you cannot fund these Anti-Defamation Leagues that prioritize Zionism over Judaism,” a John Jay College student protester, who declined to be named, told JTA during the demonstration.
On Thursday, the Democratic Socialists of America’s New York City chapter — which Mamdani has called his “political home” — wrote that Tisch “must end NYPD complicity with ICE” and that if she “cannot put a stop to these injustices, she must be fired.”
“Abolish ICE. Disband the SRG. Fire Tisch,” wrote Illapa Sairitupac, a fellow democratic socialist who won the Democratic nomination for a Lower Manhattan State Assembly district. Mamdani endorsed both Sairitupac and Avila Chevalier this past year.
While some protesters at the vigil said they were Mamdani voters — and one speaker even identified herself as a former intern for the now-mayor — some of the mayor’s allies have stressed that the crowd protesting him was not representative of his base.
“If I had to gamble, I would gamble that the vast majority of them were people who never supported him,” activist Abby Stein told JTA on Thursday night, during the Mazals gala held by left-wing group Jews for Racial & Economic Justice. Mamdani was due to attend the JFREJ event, but because of the ICE shooting was instead in the Bronx, where he denounced the federal agency and demanded that it cease its operations in New York City.
Many of the signs excoriating Mamdani at Wednesday’s protest outside of City Hall were signed with the name of the Maoist Communist Union, an organization that opposed Mamdani before he took office. Some protesters were handing out copies of Spartacist, the Trotskyist International Communist League’s journal.
“We certainly didn’t support Mamdani or vote for him,” said Erica Jones, among the Trotskyist protesters. “We knew he was running as a Democrat and he would be as big of a sellout as AOC and Bernie Sanders and all the rest of those who claim to have, at one time, stood for socialism but in reality, stand for the capitalist masters who are oppressing us all.”
Stein, a member of the DSA in addition to JFREJ, called out some of the protesters’ rhetoric and the choice to crash the Israelis for Peace Oct. 7 vigil. But she also acknowledged that there was overlap between their demands and her views, including over the police commissioner.
“There are things that people are upset over that I think are legit — like keeping Jessica Tisch on, for example,” Stein said. “A lot of us were not very happy about it.”
Ultimately, Stein said there is “always going to be something to protest” with any politician, and pointed to a quote from New York’s mayor in the 1970s and ‘80s, Ed Koch: “If you agree with me on 9 out of 12 issues, vote for me. If you agree with me on 12 out of 12 issues, see a psychiatrist.”
This article originally appeared on JTA.org.
The post Mamdani faces growing pressure over Jewish NYPD Commissioner Tisch and over Israel from left flank appeared first on The Forward.
