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Comedians are just as capable of antisemitic incitement as political figures. So let’s take Dave Chappelle seriously.
(JTA) — Last week saw Dave Chappelle deliver a brilliant monologue on “Saturday Night Live” addressing the antisemitism controversies surrounding Kanye West and Kyrie Irving.
Unfortunately, “brilliant” doesn’t inherently mean “moral” or “good.” Chappelle’s monologue was a masterclass in how to normalize and embolden antisemitic discourse, delivered in plain sight and with just enough “wink wink, nudge nudge” plausible deniability — mixed in with a sprinkle of real commentary — that one would easily almost not realize that … wait, did Chappelle denounce anything exactly?
He opened the monologue by pretending to read from the kind of apology being demanded of Kanye West, the rapper who in recent weeks had exposed various antisemitic tropes. “I denounce antisemitism in all its forms, and I stand with my friends in the Jewish community,” Chappelle “read,” mocking the boilerplate apologies that often arise in these moments. At face value, it’s a great piece of satire. But then he follows up with the punchline: “And that, Kanye, is how you buy yourself some time.”
He isn’t holding West to account. He’s clearing the way and setting the stage for the finest bout of antisemitic dogwhistling probably ever featured on “SNL.”
There is legitimate commentary to be made about the often disproportionate and racialized vitriol directed at Black Americans who engage in antisemitism, coming from a society that revels in Black pain and punishment. Jews of color, and especially Black Jews like me, have been addressing this reality across social media for decades, noting the lack of intensity and accountability when the shoe is on the other foot — when Jewish figures espouse anti-blackness.
But this monologue by a Black comedian is making no such argument. And it comes as more bold and brazen bad-faith actors are acting out in more and more violent ways. Comedians are just as capable of incitement as political figures.
Chappelle is wildly adept at structuring complex jokes. For years he deftly delivered biting, raw and real socio-racial commentary, from his standup routines to “The Chappelle Show,” and since the 2000s has positioned himself as an astute teller of hard truths. If you doubt the man’s intelligence, watch what he does late in the “SNL” routine when he talks about Donald Trump.
With backhanded praise, Chappelle attributes Trump’s popularity and appeal to his skill at being an “honest liar.” Never before, said Chappelle, had voters seen a billionaire “come from inside the house and tell the commoners, ‘Inside that house we’re doing everything you think we’re doing.’ And then he went right back inside the house and started playing the game again.”
Chappelle took notes on Trump’s knack for saying exactly what he means and telling people exactly what he planned to do.
When Chappelle says there are two words you should never say together — “the” and “Jews” — he’s not speaking against antisemitic conspiracy theories that treat Jews as a scheming monolith. He’s insinuating instead that there is a “The Jews” that should never be challenged. (Chappelle goes on to repeatedly use the phrase “The Jews” in his monologue.) The one time he uses “the Jewish community” is to introduce the straw man argument that Black Americans should not be blamed for the terrible things that have happened to “the Jewish community” all over the world — a declaration so baffling that only one person in the audience responds. After all, no one was blaming West or Irving, the NBA star who shared on Twitter a link to a wildly antisemitic film, for the terrible things that happened to Jews. They were just being asked not to promote the ideas of people who had done those terrible things.
Also on full display is Chappelle’s deft, almost “1984”-esque doublespeak. Chappelle notes that when he first saw the controversy building around West’s antisemitism, he thought “Let me see what’s going to happen first” — a strange and telling equivocation. Chappelle diminishes the significance of the film shared by Irving, “Hebrews to Negroes: Wake Up Black America,” by describing it as “apparently having some antisemitic tropes or something,” but then jokes that Irving probably doesn’t think the Holocaust happened — a trope presented in said movie.
Chappelle is reluctant to call Kanye “crazy” but acknowledges he is “possibly not well,” but has no problem referring to Georgia Senate candidate Herschel Walker as “observably stupid.”
Ultimately and persistently, Chappelle suggests that Kanye erred not in being antisemitic, but in being antisemitic out loud.
Most insidious in this regard was his seeming rejection of the notion, promoted by West, that Jews control Hollywood. Said Chappelle: “It’s a lot of Jews [in Hollywood]. Like a lot. But that doesn’t mean anything, you know what I mean? There’s a lot of Black people in Ferguson, Missouri. It doesn’t mean we run the place.” He refers to the idea that Jews control Hollywood as a “delusion.”
And then, rather than let this necessary distinction set in, he undercuts it, saying, “It’s not a crazy thing to think. But it’s a crazy thing to say out loud in a climate like this.” The problem, Chappelle is suggesting, is not harboring dangerous delusions, but saying them in public and risking being called on it. The “climate” is not one of dangerous antisemitism, but the danger of speaking one’s mind.
Chappelle telegraphed this sentiment with an earlier quip: West, he said “had broken the show business rules. You know, the rules of perception. If they’re Black, then it’s a gang. If they’re Italian, it’s a mob, but if they’re Jewish, it’s a coincidence and you should never speak about it.”
The “perception” is that only Jews can’t be spoken of in derogatory terms. Kanye wasn’t wrong for thinking antisemitic thoughts, Chappelle suggests, but, again, speaking about them.
There are lots of jokes made in Hollywood at the expense of Jews. This, however, was not a case of Jews being unable to laugh at ourselves. There’s a difference between laughing at ourselves and having someone who isn’t Jewish use “wink wink” antisemitic tropes. It’s not that Chappelle’s monologue wasn’t funny on its face, it’s that it was harmful. This isn’t happening in a vacuum: It’s happening in a specific context, particularly one in which antisemitism has already been riled up and emboldened by Kanye and Irving. (“Hebrews to Negroes” became a bestseller on Amazon after Irving tweeted about it.)
It just takes the wrong kind of person to hear this monologue for us to experience, God forbid, another Tree of Life shooting. I didn’t particularly relish the wake of the first shooting when, as the rabbi of a congregation in Rockland County, New York, I met with county officials and negotiated police presences, and discussed mass-shooter evasion tactics to ensure the safety of my congregants.
For anyone who thinks Chappelle’s monologue was “just jokes” or that I am reading too much into it, consider his last line — a bravura complaint about cancel culture and the unspoken forces behind it: “I’ll be honest with you. I’m getting sick of talking to a crowd like this. I love you to death and I thank you for your support. And I hope they don’t take anything away from me. [ominous voice] Whoever ‘they’ are.”
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The post Comedians are just as capable of antisemitic incitement as political figures. So let’s take Dave Chappelle seriously. appeared first on Jewish Telegraphic Agency.
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Jonah Hill’s cancel culture dramedy makes an antisemitism exception — all about Kanye
Ye, the rapper formerly known as Kanye West, is having an interesting April.
Fans are hailing his new album Bully as a return to form. (Critics are more mixed.) He reportedly made $33 million from two sold-out shows in Los Angeles, but he was also banned from entering the U.K. owing to a pressure campaign by Jewish groups over a scheduled headlining performance at the Wired music festival, even as the artist, who recently attributed his antisemitic behavior to a brain injury and bipolar disorder, offered to have “meet and listen” sessions with the Jewish community.
On top of this mixed reception, add a movie premiere. Ye has a memorable cameo in Jonah Hill’s new AppleTV+ film The Outcome, about an A-list actor’s teshuvah tour. And that moment has something to say about what to do with the artist’s outbursts.
Hill’s character, a crass crisis lawyer named Ira, assembles a dream team to protect his client, Reef Hawk (Keanu Reeves), who is awaiting the release of an incriminating video. The nature of this video is unknown beyond its potential to derail his comeback after a five-year sabbatical to treat a secret heroin addiction. Among Reef’s potential defenders are a Gloria Allred-style lawyer (Laverne Cox), a Black minister legendary for his work on civil rights (Roy Wood Jr.) and an ambassador from the Asian-American community (Atsuko Okatsuka). Ira notes someone missing from the mix, one “Moshe, from the Antisemitism Committee,” perhaps a poorly-named stand-in for the ADL.
“We ran the numbers,” Ira’s assistant says by way of explanation. “It turns out that hating Jews doesn’t negatively affect a person’s career. In fact, it could help.”
And we cut to a black-and-white headshot of Ye, occupying the whole screen.
Hill explained this choice in an interview with TMZ, saying the scene wasn’t just there to score a cheap shot at Ye, who publicly (and compellingly) apologized in an ad in the Wall Street Journal in January.
“In the midst of all this Jew stuff, he did Instagram a picture of me in the 21 Jump Street poster,” Hill recalled. “And he said something along the lines of ‘I don’t hate Jews anymore because I love Jonah Hill.’”
“Me and him got no beef,” Hill continued.” I just put that in there like, ‘Yo, you’re gonna f—ing put the 21 Jump Street poster up there and say you don’t hate Jews anymore. That’s pretty wild. I’m gonna put a picture of you saying that like, hating Jews helps your career.’”
Clearly a sight gag and a bit of an inside joke. But is it true?
Running my own numbers, and not even accounting for this last week of ups and downs, Ye took a major hit to his net worth when he lost his Adidas partnership, backsliding all the way from billionaire to mere multimillionaire. Fans still turn up for Ye, and some even seem to like what I’ll call his Hitler catalogue. That said, it’s hard to imagine him making a full recovery, once again gracing the stage at the Grammys or headlining a major festival or getting a shot at the Super Bowl halftime show.
The difference between Ye’s transgression and that of others is instructive. There’s plenty of arguable antisemitism in the case of celebrities whose pro-Palestinian advocacy has crossed the line into something unsavory. Rappers Bob Vylan of “death, death to the IDF” fame and Kneecap, who chanted “up Hamas, up Hezbollah,” come to mind. They have had their own brushes with cancellation and been denied visas because of their antics — but also strong support from those who believe they are simply speaking up for Palestinians. The ascendancy of Israel conspiracies, echoing age old canards, has recently produced an odd coalition between pundits on the far-left and far-right, and hasn’t put a dent in their audience.
(Hill, though Jewish, was accused of dabbling in Jewish stereotypes his last film, You People, and he will likely get some flack for this movie, both for his character — a kind of grubby fixer who calls his client “Bubbie” — and for a joke where Man’s Search for Meaning is referred to as “the most lit Holocaust book.”)
Even in this environment, Ye is toxic for mainstream consumption, because when he went “death con 3” on the Jews, his words had no agenda beyond delusion-fueled animus about Jewish control of the media. Ye’s awareness of the Middle East was best expressed on the occasion he used a fish tank net and Yoo-hoo bottle to represent the Israeli prime minister. Vylan and Kneecap’s slogans are more subtle and plausibly deniable than one of Ye’s latest tracks, literally called “Heil Hitler.”
There was no hedging it, try as Candace Owens might. It was Jew Hate Classic, the original recipe. And it wasn’t, in the case of Mel Gibson, a pattern that emerged over relatively wide gaps of time with only one incident widely known to the general public. It was an endless, often marathon torrent of invective and odd tangents care of an unmedicated bipolar insomniac. It went on for months. Then died off. Then came back swinging in the form of an album the concept of which could, charitably, be defined as spiritually Hitlerian.
The sheer concentration of vitriol seems like proof that the outburst was the result of a manic episode, which could afford the rapper some grace. Instead, he now lives in a liminal space between relevance and punchline. This strain of antisemitism doesn’t boost careers — yet — but the man behind it can sell out stadiums in spite of it.
All the while, the question of what to do with Ye’s mental health, and how it factors into his cancellation makes him a conundrum, even if it should by rights be a better excuse than Mel Gibson’s squad car in vino veritas. (Gibson is mentioned in the film, in the context of a poppers-related Weekend at Bernie’s scenario, not his own scandal.) Before we render a judgment, we need commitments he won’t repeat his tirades and so continue to influence looksmaxxers, incels and their overlapping Venn Diagram of Nazi revivalists.
Hill’s belief that Ye’s antisemitic streak was good for business is symptomatic of something fundamentally off with the director’s treatment of cancel culture. It feels out-of-touch even — or maybe because — it draws from experience. Hill himself was the victim of cancellation some years ago, when his ex leaked texts in which he weaponized “therapy talk.” Hill’s project, with a cast that includes Reeves, Van Jones, Martin Scorsese, Drew Barrymore and a rare appearance from Cameron Diaz, is itself proof of how not all cancellations are created equal or indefinite.
The Outcome is in tension with itself, part Hill’s version of Don Henley’s “Dirty Laundry” and Seth Rogen’s The Studio, part earnest penance that may or may not be coming from the director-writer himself.
One of the lines, delivered by Reef’s reality star mother (soap opera icon Susan Lucci), as a crew films their rapprochement for Bravo, sums the film up nicely: “Just because it’s performative doesn’t mean it’s not the truth.” We’ll have to take her word for it.
When it comes to Ye, there is some truth that antisemitism alone can’t crater a career — with the exception of lesser talents, it never could. We need not wonder how it has affected Ye’s popularity with Hill, who cited him on TMZ as “probably the greatest artist whoever lived.”
As Ira departs the film, we see his bumper sticker: “Honk if you can separate the art from the artist.” Hill would blow out the horn, and hopes you might too.
Jonah Hill’s The Outcome debits April 10 on AppleTV+.
The post Jonah Hill’s cancel culture dramedy makes an antisemitism exception — all about Kanye appeared first on The Forward.
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Dollar Struggles to Rebound as Fragile US-Iran Ceasefire Keeps Markets Wary
U.S. $100 bills. Photo: Wikimedia Commons.
A fragile calm reigned across currency markets on Thursday as traders kept their eyes fixed on whether the ceasefire between the US and Iran would hold, a day after its announcement sent the dollar tumbling across the board.
The deal appeared to be on thin ice, as Israel bombed more targets in Lebanon, and there was no sign Iran had lifted its blockade of the Strait of Hormuz, which has caused the worst disruption to global energy supplies in history.
Iranian negotiators were expected to set off later on Thursday for Pakistan for the first peace talks of the war, but Tehran said there would be no deal as long as Israel was striking Lebanon.
President Donald Trump said all US ships, aircraft, and military personnel would stay in place in and around Iran until it fully complied with a deal.
The uncertainty left currency markets on edge.
The euro was up 0.17 percent at $1.1683. It had gained 0.6 percent on Wednesday, but retreated late in the day having touched a one-month high of $1.1721 earlier in the session.
Sterling similarly was 0.21 percent higher at $1.342, after gaining 0.77 percent on Wednesday, but retreating from as high as $1.348.
Meanwhile, the Japanese yen lost some ground, with the dollar up 0.3 percent at 159.055 yen, having briefly dropped below 158 on Wednesday.
With the Strait of Hormuz closed, “the entire ceasefire remains tenuous,” said Derek Halpenny, head of research global markets EMEA at MUFG. But, he added, “while the US dollar has rebounded, the moves in general have been modest.”
He said the fact that further talks scheduled in Pakistan were still going ahead was keeping any retracement of Wednesday’s moves in check.
Elsewhere, new personal spending data released on Thursday showed that US inflation increased as expected in February and likely rose further in March amid the war with Iran, a trend that is expected to discourage the Federal Reserve from cutting interest rates for a while.
The personal consumption expenditures price index climbed 0.4% after an unrevised 0.3 gain in January, the Commerce Department’s Bureau of Economic Analysis said on Thursday.
Japan’s consumer confidence worsened in March for the first time in three months, a government survey showed on Thursday, adding to a recent string of data pointing to the potential economic hit from the Middle East war, which would complicate the Bank of Japan’s rate-hike decision. The yen showed little reaction to the data.
Speaking in parliament, BOJ Governor Kazuo Ueda said real interest rates were clearly negative and were keeping the country’s financial conditions accommodative.
Other currencies were also broadly steady. The Australian dollar was 0.15 percent higher at $0.7054, while the New Zealand dollar was 0.46 percent higher at $0.585. In cryptocurrencies, bitcoin was last down 0.97 percent at $70,680.
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Opposition Leader Lapid Calls the Ceasefire with Iran a ‘Political Disaster’
FILE PHOTO: Israeli opposition leader Yair Lapid delivers a statement at the Knesset, Israel’s parliament,, in Jerusalem, February 13, 2023. REUTERS/Amir Cohen/File Photo
i24 News – Israeli opposition leader Yair Lapid on Wednesday launched a sharp attack on the ceasefire agreement reached between the United States and Iran, calling it a “political disaster” and directly blaming Prime Minister Benjamin Netanyahu.
In a post on X, Lapid said the agreement sidelined Israel from critical decisions affecting its national security. “Never in our entire history have we experienced such a diplomatic disaster,” he wrote, adding that “Israel wasn’t even at the table when decisions were made regarding the core of our security.”
Lapid accused Netanyahu of failing to translate military achievements into strategic gains, despite praising the performance of the Israeli military and the resilience of the public during the conflict. “The army has accomplished everything that was asked of it, and the citizens have shown remarkable strength,” he said.
However, he argued that those efforts were not matched by political leadership. “Netanyahu has failed politically, failed strategically, and has not achieved any of the goals he set for himself,” Lapid added.
The opposition leader also warned of long-term consequences stemming from the agreement, saying the fallout could take years to repair. He criticized the government’s handling of the crisis, citing what he described as “arrogance, negligence, and a lack of strategic vision.”