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Dave Chappelle isn’t the first to suggest that Jews run Hollywood. Here are the origins of the trope.
(JTA) – On “Saturday Night Live” last weekend, Dave Chappelle really wanted his audience to know there are a lot of Jews in Hollywood.
“I’ve been to Hollywood, this is just what I saw,” he said during his widely dissected monologue. “It’s a lot of Jews. Like, a lot.”
While suggesting that it might not be fair to say Jews run the industry, the comedian said that coming to that conclusion is “not a crazy thing to think.” Chappelle’s “SNL” episode drew a season-high 4.8 million viewers when it aired on NBC (eclipsing Jewish comedian Amy Schumer’s own hosting stint the week before), and his monologue had more than 8.1 million views on YouTube as of Wednesday.
The Anti-Defamation League was quick to denounce Chappelle’s act, calling it antisemitic. Other prominent Jews have followed suit.
“I was very disturbed to see him speaking, to millions of people, a lot of antisemitic tropes,” Pamela Nadell, a professor at American University who researches antisemitism, told the Jewish Telegraphic Agency.
But Chappelle, who was himself riffing on recent antisemitism controversies involving Kanye West and Kyrie Irving, wasn’t exactly breaking new ground by insinuating that Jews run Hollywood. The trope has been a part of show business since its earliest days — when, in a literal sense, Jews did run Hollywood. Or the studios, anyway.
Nearly every major movie studio was founded in the early 20th century by a group of first-generation secular Jews who immigrated to the United States from Eastern Europe. Carl Laemmle (Universal), Adolph Zukor (Paramount), William Fox (Fox), Louis B. Mayer (MGM), and Benjamin Warner (Warner) were all Jewish silver-screen pioneers, laying the groundwork for the size and scale of the industry to follow.
But the industry has diversified greatly in the century since, with studios largely swallowed up by corporate behemoths. And while individual Jews may be overrepresented in an industry that has long welcomed and rewarded them, the rhetorical danger, Nadell said, comes in conflating a large Jewish presence in an industry with ownership and control of that industry.
“Jews remain active in Hollywood in a variety of roles, but it would be impossible to say that they run Hollywood, that they own Hollywood,” she said.
“Whenever the Jews enter into any kind of position where they might have influence over people who are not Jewish, then all of a sudden it’s seen as some kind of conspiracy.”
Conspiracy theories dogged Jews in Hollywood from the industry’s beginning. Because so many Jews were in control in Hollywood in its early years, Joseph Breen, who for decades ran the industry’s Production Code office and tried to make movies palatable to Catholic morality groups, blamed “the Jews” for sneaking sex, violence and moral depravity into the movies.
But their rise to the top of the still-young motion picture industry wasn’t because they were a part of some secretive cabal; it’s because, historians say, Hollywood provided a low barrier to entry for enterprising businessmen, and was lacking the antisemitic guardrails of more established industries.
“There were no social barriers in a business as new and faintly disreputable as the movies were in the early years of [the 20th] century,” historian Neal Gabler writes in his landmark 1988 book “An Empire Of Their Own: How The Jews Invented Hollywood.”
In the book, Gabler notes that the movie business, which evolved out of other professions like vaudeville and the garment industry where Jews had already found a toehold, lacked “the impediments imposed by loftier professions and more firmly entrenched businesses to keep Jews and other undesirables out.”
As such, Jews (particularly recent immigrants) were able to thrive in show business in a way they couldn’t in most other industries. Once they were in, family ties or the general phenomenon of affinity groups often led to them elevating other Jews in the industry: For example, prolific Jewish producer David O. Selznick, whose credits include “Gone With The Wind,” “Rebecca” and a huge string of other hits in the 1930s and ’40s, spent many years at MGM, run by his father-in-law, Louis B. Mayer.
Areas like the film, garment and publishing industries were attractive to Jews, Nadell said, “because there were so many other sectors of the economy where they were barred from.”
But in exchange, Hollywood’s prominent Jews had to effectively extinguish their Jewishness.
Yearning to assimilate into American society, the Jews who ran these studios were beset on all sides by antisemitic invective — first from Christian groups like the Legion of Decency, then by anti-Communist groups, both of whom accused Hollywood’s Jews of conspiring to undermine American society with their loose morals.
As such, the Jewish studio heads largely refrained from making any movies about Jewish themes, or snuffing out antisemitic content even within their own films, or otherwise exerting their influence in any obviously Jewish way, even as many of the Golden Era of Hollywood’s most acclaimed writers and directors (Herman Mankiewicz, Ernst Lubitsch, George Cukor, Billy Wilder) were also Jewish. “Gentleman’s Agreement,” the landmark 1947 film about antisemitism, didn’t have any Jewish producers, directors or major stars (though some of its credited writers were Jewish).
Famously, Hollywood’s Jews also went out of their way to avoid offending Hitler during the Nazi era, continuing to do business with Germany and largely avoiding featuring Nazis as villains in the prewar years.
Director Steven Spielberg speaks at the Academy Awards in Hollywood, Feb. 9, 2020. (Kevin Winter/Getty Images)
With the demise of the studio system in the 1960s, Jewish creatives ranging from Mel Brooks to Steven Spielberg to Natalie Portman no longer had to hide their identity from audiences, but instead made it an essential part of their public personas. Earlier this week, in a New York Times interview, Spielberg acknowledged that Hollywood was a welcoming place for Jews when he arrived as a young filmmaker.
“Being Jewish in America is not the same as being Jewish in Hollywood,” he said while promoting “The Fabelmans,” a loose retelling of his own Jewish upbringing. “Being Jewish in Hollywood is like wanting to be in the popular circle and immediately being accepted as I have been in that circle, by a lot of diversity but also by a lot of people who in fact are Jewish.”
Still, such ethnic affinity has often been deemed conspiratorial. “Hollywood is run by Jews” and “owned by Jews,” Marlon Brando declared in a 1996 interview with Larry King, further claiming that Jewish studio executives prevented antisemitic stereotypes from being depicted on screen while allowing stereotypes of every other minority group “because that’s where you circle the wagons around.”
(Despite this outburst, which prompted intense backlash from Jewish groups, Brando was known for having close relationships with Jews and demonstrating a strong understanding of Jewish theology and culture throughout his life, and apparently spoke Yiddish quite well.)
This general air of suspicion around Jews in show business has continued into the modern day, as evidenced by Chappelle and West’s comments. In the tweets that precipitated the collapse of his businesses, West singled out Jewish producers and managers in the entertainment industry he had affiliations with, echoing how believers in antisemitic conspiracy theories about Jewish control tend to fixate on Jews in leadership positions outside of the public eye.
Attorney Allen Grubman, left, and rocker John Mellencamp speak onstage during the 37th Annual Rock & Roll Hall of Fame Induction Ceremony in Los Angeles, Nov. 5, 2022. (Amy Sussman/WireImage)
Ignoring the many industry leaders who are not Jewish, such conspiracy theorists tend to focus on the successful managers and lawyers in Hollywood who are, including Jeremy Zimmer, Ari Emanuel, Allen Grubman — and Harvey Weinstein, whose decades of sexual abuse, scorched-earth targeting of his accusers and eventual downfall are the subject of the new movie “She Said.”
And in a similar fashion to Brando, Chappelle suggested that there is a double standard in talking about ethnic groups, with jokes about Jews being seen as taboo in a way that jokes about Black people and other groups are not: “If they’re Black, then it’s a gang. If they’re Italian, it’s a mob. If they’re Jewish, it’s a coincidence and you should never speak about it.”
At the same time as Jews in and out of the industry are fighting such perceptions, they are also pushing for greater visibility. The unveiling of the new Academy Museum of Motion Pictures in Los Angeles last year almost entirely omitted Jews from Hollywood’s founding narrative, leading to backlash from Jews in the industry and, ultimately, the guarantee of a new permanent exhibition space focusing on Jews.
And there was one other way in which the Chappelle episode hearkened back to the age-old dynamics of the relationship between Jews and Hollywood: “Saturday Night Live” executive producer Lorne Michaels, who presumably allowed the monologue on the air, is Jewish.
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The post Dave Chappelle isn’t the first to suggest that Jews run Hollywood. Here are the origins of the trope. appeared first on Jewish Telegraphic Agency.
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Yiddish startup brings together literature, listening parties and language circles in London
In one of the world’s earliest Yiddish comics, created by Samuel Zagat in 1912, Gimpel the Matchmaker strides ahead while glancing backwards over his shoulder. He’s moving steadily forward, but at the same time, he keeps one eye on the past.
It’s a fitting logo for Jargon, a London-based Yiddish culture organization that was founded last year, dedicated to exploring the past, present and future of the Jewish diaspora. Jargon draws on London’s rich Yiddish history – as well as the overlapping but distinct diaspora communities that have shaped the city for centuries – to imagine a future for Yiddish culture.
Historians Aleph Ross and M. Syd Rosen founded Jargon last year out of a “craving for more Jewish spaces that were platforming things that were about diaspora, that were about Yiddish, and also about more marginal, either esoteric or radical or counter-cultural Jewish characters,” Rosen told me in an interview. He said they had both long felt that these aspects of Jewish culture were “a major part of our sense of what Jewish history was in Britain,” but didn’t receive the attention they deserved in existing Jewish spaces.
Ross and Rosen began learning Yiddish together around five years ago, when Ross realized that she needed to understand Yiddish for a research project on her own great-great-grandfather, the London Yiddish writer Morris Myer. Still, the organizers see Yiddish as one of many aspects of “leaning into those threads of Jewish cultural identity that we felt have maybe gotten lost through processes of assimilation.”
The duo originally imagined Jargon as a bookshop selling Yiddish-language books alongside other Jewish literature, as well as hosting occasional events. In the year since they launched, that original vision has grown into a busy cultural program with pop-up events across London. Jargon hosts a regular shmueskrayz, or Yiddish-language conversation circle, modeled on the Berlin-based Shmues un Vayn group. At the same time, the group aims to “provide points of entry to [Yiddish] culture for different kinds of people,” including those who don’t speak Yiddish at all. With that audience in mind, Ross and Rosen also run a Yiddish-in-translation book club at a library.
“It’s explicitly about bringing attention to these works that are really cult or famous, or infamous, but [that], actually, very few people have read,” Rosen said. At book club meetings, Ross or Rosen sometimes reads a passage of the book out loud in Yiddish to give attendees a taste of the original.
For Jargon’s monthly pop-up events, the organizers often choose topics that touch on multiple different areas of interest – not just Yiddish language and culture. A recent event about the post-war Romani British poet Mark Hyatt, whose boyfriend was the Anglo-American Jewish poet Harry Fainlight, drew readers of both writers’ work as well as people broadly interested in Roma, Jewish, or queer poetry.
Rosen explains that Jargon seeks out this “slightly jumbled alternative read that we’re trying to put on our events, where they’re explicitly not the most obvious way of presenting a cultural product, and as a result they attract quite a weird and varied audience.”
Jargon’s location in London’s East End helps with that goal. Though Jargon is “semi-nomadic,” with events taking place around London, the group’s home base is at House of Annetta, a community space on Brick Lane, in the Shoreditch neighborhood of East London. Historically a center of Jewish immigrants, the neighborhood later became home to a large South Asian community and is now increasingly gentrified.
Being surrounded by multiple diaspora communities creates an opportunity to “think about the connections between these different stories,” Ross told me. In events like the Mark Hyatt talk, Jargon puts Jewish experiences in conversation with the stories of other minority groups in Britain – something the organization plans to do more explicitly in future programming.
At the same time, the area’s Jewish roots make it a fitting home for a Yiddish revival. “It’s so symbolic for people to feel like they can hear Yiddish in the East End again, even if they themselves never heard it,” Rosen said. “It’s got a heymish quality that people have a lot of fondness for.” That said, “we don’t want [the symbolism of the Yiddish language] to be the end point. We want it to be an entry point.”
During a fundraiser and listening party for the album Lider mit Palestine, a collection of new Yiddish songs protesting the war in Gaza, many audience members were encountering Yiddish music for the first time. Providing an accessible entry point to the language through music, the organizers said, made it possible to “advertis[e] Yiddish culture, but in a way that could actually appeal to people that didn’t even know such a thing existed as well.”
In the future, Ross and Rosen want to expand Jargon’s Yiddish-language book offerings. Since many Yiddish books are out of print, they try to find Yiddish literature secondhand or through donations and resell it on a pay-what-you-can basis. As well as broadening access to well-known Yiddish writers, they aim to introduce readers to more obscure works, offering a starting point for a deeper encounter with Yiddish culture. The goal, as Rosen put it, is for Jargon to be “the sort of environment where people say to themselves: ‘You know what, I’m going to read Isaac Bashevis Singer. Oh, and who’s this author that I never heard of next to him?’”
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How an Amish Mennonite school in Arkansas went viral with a song by an Orthodox Jew
Last month, Jewish social media was buzzing over a video of a choir singing the popular 2018 song “Tatty, My King,” composed by Dovid Edell, a former student of an Orthodox high school for boys in Waterbury, Conn. Normally, another rendition of a popular Jewish song wouldn’t cause such a stir, but the singers in this case weren’t the typical yeshiva grads of the Maccabeats; they were a co-ed a cappella choir of Amish Mennonite students from the tiny Calvary Bible School in Calico Rock, Arkansas.
Jewish viewers mostly expressed delight — “the Youtube algorithm is probably going crazy right now — frum people watching Calvary bible school,” one commenter put it, topping it off with a typed happy face — with only the occasional disgruntled remark about kol isha, the religious prohibition against men hearing women sing.
Curious about this rather unlikely collaboration, I called up Gabriel Jantzi, a self-described “amateur” musician who directed the choir, to ask about his introduction to Edell’s tune, how the project unfolded, and the choir’s surprising moment of minor fame in the Orthodox world.
Can you tell me a little bit about your background?
I’m 41 years old. I went to university for medicine, but I also really liked music. So I studied music, but I didn’t even minor in it, and I ended up as a veterinarian. [In the ensuing years] I have directed church choirs, and I directed my university choir for a year, and so that has been part of my life for the last 25 years. But it’s not like I have a master’s degree in choral composition or conducting.
I am a full-time farm and country vet in Ontario, Canada, and that’s what I do. This is a slow season in January and February, so it’s very convenient to take off time and do something that I really care about. So I’m also a pastor in a local conservative Mennonite church. I take great pleasure and derive a lot of energy out of working with young people who are interested in following God.
What’s your relationship to the Calvary Bible School?
I was a student there 20 years ago. Probably since its inception in the 70s, it’s been a destination for Beachy Amish Mennonite youth between the ages of 18 and 20 who want to dedicate time to study how to live a life that’s pleasing to God.
There are a lot of different names for all the different stripes of Mennonite. I grew up in the Amish Mennonite tradition. I got married, I moved a little bit. I ended up in a tiny bit different stripe. But at least in our communities, it’s not a big issue for me to go back to that tradition and say, here I am, what can I bring and what can I offer? So technically I’m not exactly the same stripe as the school, but I grew up in that stripe, if that makes sense.
I think the concept of moving a little bit along denominational lines, or even to sort of different expressions of one’s faith, would be quite familiar to many Jews.
I think that there are striking similarities between our communities here.
I think a lot of people understand who the Amish are and they understand who Mennonites are, but can you explain what an “Amish Mennonite” is? I know these boundaries can be fluid.
The Beachy Amish Mennonites care about traditions; we’re not throwing them out just because we want to move forward in a certain progressive way. Yet we are much more open to technology than what we call the Old Order Amish or Old Order Mennonite groups. When we use the term “Old Order,” we’re referring specifically to those groups that have said, “We’re going to welcome technology up until the 1800s or the early 1900s, and we’re going to maintain the horse and buggy style of life and so on.” [But Amish Mennonites] said, “No, we’re not actually against technology, we’re just hesitant to adopt everything new without testing it.” We care about probably many of the same traditional values that [Old Order groups] would, such as community and our church. And also just like they do, we put a great emphasis on our religion being a very practical religion. So it’s lived out in such a way that you can look at us and say, oh, they must have some reasons behind living a certain way.
How did you first come across this song, and what made you want to arrange it?
Anabaptists have a strong tradition of a cappella music, men and women singing together without the aid of instruments. We care very much about that: Every time we get together for a worship service, that’s how we sing.
We came across an a cappella cover of this song by Benny Friedman on Spotify and that really resonated with us. Not me personally, but some of these kids [in the choir] would actually be from a congregation that’s set limitations that you’re not even supposed to listen to instrumental music, so they could listen to this song.
And so they brought it to me last year at the Bible school and said, “Do you know this song?” And I said, “No, I’ve never heard of it.” I listened to it a bunch more and I realized why they liked it. It talks about some very universal questions that any kid who’s grown up in a tradition with God will have: Where are you? I’m told I need to come talk to you, but I don’t really want to. And as my relationship with God matures, it kind of develops into this realization that actually He’s been covering my back all this time and I never realized, so I really do want to stay on God’s team. Whether you’re an Orthodox Jew or you’re a conservative Mennonite, either way, as your relationship with God matures, those words really resonate and that progression really comes through in the song. So I thought, and my wife thought as well, that I should lead this song next year for these kids.
I have often taken music and arranged it to fit an a cappella group, and for some reason I just was not filled with any profound inspiration on how to do that for this song. So I asked a friend of mine named Wendell Glick [to arrange it.] He is a professional musician, he’s got a PhD in composition, he does this for a living. He’s also from [an Anabaptist] background, and led this choir for seven years before I did. So he knows this choir, which means he knows how to write music that stretches them just the right amount so that they do a good job of it. I really want to praise him for that.
He did a great job.
It worked for us. We’re only together for two and a half weeks, and we’re not professional musicians. Also, this choir is mandatory. That means 60% of the kids want to be there, 20% are OK with it, and 20% don’t like singing and they still have to be there. Actually, you can see [in the video recording] some of them are really feeling it and others are zoned out. And that’s OK!
For the first week [of practicing], we didn’t really like it. We’ve been very tainted by mainstream Christianity’s Protestant music that came in the 1850s, [whereas] this song has just a touch of minor key. It comes from a different culture, not quite what our mental ear hears. It took us a bit of time to get into it, but by the second week this was without a doubt the favorite song of my repertoire. Then at our local or in-house concerts, the audience just absolutely loved it. And when I say that, it’s not like we got a standing ovation; to us the highest compliment is when somebody says, “It made me worship God.” And those are the compliments we began hearing.
Did you ever have any interactions with Dovid Edell, who wrote the song?
Yes, I did. When I take a song, I make sure it’s licensed for use. I understand [Edell] had to get permission or talk with some rabbis to see whether it would be appropriate. And so he talked to the rabbis and then he called me up and I spoke to him about who wanted to sing it and I explained that the youth are all Christian. He was very nice about it and he said, “Just let them know that this was my conversation with God. It’s a personal song.” And I said, “That’s the basis on which it resonates with us as well.” He was gracious and let us use it.
Then when I was actually working with the students, I also communicated back to Dovid because he said, basically, “I have a few messages I want you to directly convey to the students.” Which made it very personal. Gen-Z loves to have some personal connection, right? When they perform a song, they love to have some personal connection to the composer. And that just made it for them. That was amazing.
Did you get any negative reactions?
I’m assuming — and I say this with respect because we also understand some of the traditions from the Torah — that some people found it offensive, that it’s a mix. Forgive me if I’m mispronouncing it, but I had never come across the kol isha idea so I was a bit sheepish that I walked into something without doing my research very well.
One of the things I care about is that people worry about pronunciation when they sing another language. One of my negatives is I did not ask Dovid how to pronounce “tatty.” I just kind of ran with it. In the future, I would probably be a little more careful about asking the original composer whether he wanted a certain emphasis and a pronunciation of certain words.
Did you realize how popular the video had become in the Orthodox world?
The lovely thing is the conductor is not mentioned in that video and you just see his back. So fortunately, from my viewpoint, very few people know who I am. If there’s any publicity here, I’m glad that the school gets it, because the school is blatantly about the glory of God. And to use a phrase that Dovid would have said, he just wants to spread light. So I want that to be the focus.
We read the comments, and I think I’d have two words to describe our reaction: First is delight, and second, we’re honored. We blatantly are Christians, not Jews, so we come at this and say this is a part of our maturity process to learn more about God’s son. But that being said, the song itself doesn’t speak whatsoever about the Messiah, it only talks about the relationship with God. And to us, it 110% resonated, just like it did for your community, so we are grateful that we could participate.
We care a lot about this school, but we understand it’s very arcane. All of 83 students were there this past term. Not many people know about it. So it was quite a thing that another community is interested in what we’re doing. But we also acknowledge that the song that we are singing is from that community. So yeah, it was kind of a good circle.
Did you have much familiarity with Jews and Judaism before this? Have you learned more about it through this experience?
Yes, we would have some familiarity. I hope I’m not coming across as cocky, but because we study Judaism, I think we actually have a bit more familiarity with Judaism than I think from what I read in the comments than they’d ever have with us. There are a lot of comments that were like, “Where did you get this song?” Well, guys, you put it on Spotify! But if you assume we’re all Old Order Amish that drive horse and buggy and don’t have Internet, then I can understand those questions. So I think we have some knowledge, although I had no idea about things like kol isha. Also, it was a surprise to all of us how much our performance of your song resonated with your community. I’m still not sure why.
I can think of two possibilities. One is that it’s just a very beautiful rendition, so it’s hard to imagine not being moved by it. But I also think Jews are often happily surprised to see a group of non-Jews embrace or respect a piece of Jewish culture, particularly Orthodox culture. A lot of the time, people anticipate negativity.
Well, that’s very nice of you to say. Those words really make me feel fuzzy and warm inside. We have great respect for your culture. We think God brought the Messiah through your people. I realize that differs from the understanding of many people who wrote comments, but we have profound appreciation and love for your people.
We understand that we are the white Christians and Christians have had thousands and thousands of years of fighting with the Jews. So I know it’s hard to say, “Well, we’re not like that.” But I think I can speak for all Anabaptists and say we would strongly differentiate ourselves and say no, one of our fundamental professions or distinctions is this idea of love for all man. In fact, we won’t even go to war because we love people. Again, it comes back to we are honored that you let us use it. We were tickled pink and I’ll be keeping my eyes open for other songs that I think could be used.
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Hezbollah enters Iran war, firing on Israel’s north, as US officials say more fighting is to come
(JTA) — Hezbollah fired on Israel for the first time since a 2024 ceasefire on Sunday, opening a new front in the U.S.-Israel war on Iran that began on Saturday.
Israel hammered Hezbollah positions in Lebanon overnight and said it had killed the group’s head of intelligence, Hussein Makled. Israeli officials said they expected further salvos from the Iranian proxy to the north.
The escalation comes as new missile attacks from Iran caused fresh damage and injuries in Beersheba and as the scope of the damage from the first two days of the war have come into focus. That includes sweeping damage in central Tel Aviv, where one woman was killed; a direct strike on a shelter in Beit Shemesh that killed nine, including three teen siblings; and strikes in Jerusalem that both injured Arab Israelis and sent shrapnel close to the holy sites of the Western Wall and Al-Aqsa Mosque.
Both Israeli and U.S. officials say they expect operations to last for some time, with President Donald Trump suggesting a four-week timeline even as he indicated that Iranian officials had indicated a willingness to return to the negotiating table. Iran’s top security official, whom Ayatollah Ali Khamenei had identified as a leader in the case of his assassination, denied Trump’s characterization.
Military officials including War Secretary Pete Hegseth said on Monday morning that they could not offer a timeline or details about the operations but said they were happy with the operations so far, which are designed to thwart Iran’s nuclear ambitions and topple its Islamic Republic regime. Asked about the significance of the fact that Israel killed Khamenei, Hegseth responded, “I think Israel did a great job in the conduct of that operation.”
A fourth U.S. service member who was wounded over the weekend died on Monday, while multiple U.S. planes were shot down by friendly fire over Kuwait; their passengers survived.
The incident in Kuwait comes as Iran continues to fire on Arab states in the region, in a new escalation of regional conflict. An Iranian drone also crashed into a British base in Cyprus, causing Prime Minister Keir Starmer to agree to a U.S. request to use British bases to support efforts to destroy Iranian weapons. German Chancellor Frederich Merz is visiting Trump on Monday and may also agree to play a role in supporting the U.S.-Israeli operations.
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