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Richard Belzer was a Jewish comedian. Why didn’t his obituaries say so?
(JTA) — Ever hear Bob Dylan’s “Like a Rolling Stone” sung in Yiddish dialect? It used to be a regular bit performed by comedian and actor Richard Belzer, who died this week at 78. He also used to do a routine about Bob Dylan’s bar mitzvah in which he recited a Hebrew prayer in the singer’s distinctive tone. A similar Elvis bar mitzvah bit was also part of his routine.
Surprisingly, Belzer performed these niche routines in numerous comedy venues and even on the nationally televised “The Late Show with David Letterman.” In addition to a variety of other Jewish references embedded in his act, Belzer also performed Yiddish-inflected parodies of Prince’s “Let’s Go Crazy” and “When Doves Cry.”
But like so many American comedians of the Hebraic persuasion, Belzer didn’t really work Jewish. The bulk of his act was general and observational. To be sure, there were bits and pieces of Jewish material that can be found scattered about his comedic oeuvre, though to have the broad appeal he achieved, he understood that he had to deal in comic generalities. But to have thrown bits like Dylan’s bar mitzvah into routines for venues as broad as Letterman is an indication that he was truly dedicated to his Jewish material.
Moreover, he enjoyed it. Around 2003, after he’d snagged a contract to do a special on a cable network, he approached Letterman’s legendary bandleader, Paul Schaffer, and told him he wanted to do something “Jewish” for the show. Schaffer suggested The Barton Brothers’ risqué Yiddish radio ad parody song “Joe and Paul.” Belzer loved the idea. The duo learned the Yiddish lines and performed the tune, which, in veiled Yiddish tones, talks about masturbation and going to a prostitute named “Cock-eyed Jenny.” It was so well-received and the two enjoyed it so much, they began to do it in other venues. It eventually wound up on a 2008 album titled “The Jewish Songbook,” together with songs sung by Neil Sedaka and Barbra Streisand.
Which is why it’s been strange to read obit after obit in outlets like The New York Times, The Guardian and The Hollywood Reporter, among others, that didn’t bother to mention that Belzer was Jewish — even when, as the Jewish Telegraphic Agency pointed out, the character for which he was best known, Det. John Munch on “Homicide: Life on the Street” and “Law & Order: Special Victims Unit,” identified as Jewish. Obituaries, after all, are meant to be the final stock-taking of a person’s life. They should include the basics of who they were. And one of the basics of Richard Belzer is that he was a Yid.
Moreover, according to Paul Shaffer, he was a proud one. I should also point out that I don’t mean Jewish in a religious sense. Belzer, after all, appears to have been an atheist, so what is meant here is Jew as an ethnic category, one that apparently confounds a lot of people and which results in many Jewish artists being described as anything but Jewish.
To call Burt Bacharach an “American composer” or Barbara Walters a “pioneering woman newscaster” is accurate, but misses a significant ethno-cultural aspect of these people, one that was integrally responsible for making them who they are and influencing their creative choices. The notion that “Jewish” is something more than a religious denomination — that it’s a wide-ranging culture that includes art, literature, music, food, folkways and languages — is terribly difficult to grasp for some people.
One case in point is an excellent book by Kliph Nesteroff that appeared in 2015 called “The Comedians,” which richly details the history of stand-up comedy in America. Assiduously researched, it’s become the definitive work on the topic. The book, however, deracinates the history of the field. From reading it, you would never know that 20th-century American comedy was largely a Jewish enterprise. In fact, you’d hardly know that Jews were involved at all. You will read about comedians such as Milton Berle, Joan Rivers, Lenny Bruce and Jerry Seinfeld, but you’ll have no idea that any of them are Jews, or that Jewish history and culture might have had at least a nominal influence in their work and in their field. It’s like a history of opera that doesn’t bother to mention Italians: They weren’t the only ones involved, but the field would have been far poorer without their distinct contributions.
The matter of the mysteriously disappearing Jew occurs in other industries as well. It’s particularly egregious in the art world and popped up last year at the opening of the Academy Museum of Motion Pictures, a lavishly funded new institution that celebrated the diversity of Hollywood, touting the contributions of minorities involved in the film industry. However, the one minority they initially left out was the one that was instrumental in building that very industry. It’s all part of a phenomenon comedian David Baddiel describes as “Jews don’t count.” They’re not considered a minority among the many others and have apparently become white people who don’t believe in Jesus. As such, they’re not worthy of distinction.
History, however, tells a different story. When Jews began to come to this country en masse at the end of the 19th century, the culture they met often mocked and derided them. Suffering discrimination in multiple realms, they were excluded from certain neighborhoods, clubs and a variety of occupations. Universities placed quotas on them. Many hotels denied them entry, a fact that led to the creation of hundreds of Jewish hotels in New York’s Catskill Mountains. While American attitudes toward Jews eventually changed, a fact that allowed them to become full participants in society, they still find themselves victimized by Jew-hatred. Even though it’s often denied, the mystery of Jewish difference, apparently, is still a thing.
And for Richard Belzer, it was a thing he obviously enjoyed. Comedy writer and novelist Seth Greenland, who worked on numerous projects with Belzer and whose first novel was based on him, told me, “Something about Richard was quintessentially Jewish. He was kind, disputatious, intellectually curious, and hilarious. Although he wasn’t at all religious, he was proud to be Jewish and embraced that identity.”
Alan Zweibel, a comedy writer who worked with Belzer beginning in the mid-1970s on “Saturday Night Live,” added, “Belz made no bones about being Jewish in his act or in his life.” Zweibel once took Belzer to his parents’ Long Island home for a Friday night dinner, over which the comedian bonded with Mr. and Mrs. Zweibel over milchig and fleishig issues, the minutiae of keeping kosher. Alan’s father pointed to Belzer and told his son, “You could learn a lot from this guy.”
“Belz and Gilbert Gottfried would always do Jewish shtick and saw themselves in a long line of Jewish comics,” said author Ratso Sloman. “And one time I was at Catch [A Rising Star], probably in the mid ’80s and at the end of the night, Belz and Gilbert went on stage and did dueling old Jewish weather forecasters. It was so hilarious, I almost pissed my pants.”
Paul Schaffer also recalled how Belzer once accompanied him to say Kaddish for Schaffer’s father at the Carlebach Shul on the Upper West Side. “I didn’t know what kind of Jewish education he had,” Schaffer told me, “but the cat could daven [pray].” Paul added that he and Belzer once bonded over old cassettes of Friars Club roasts. One of the tapes was of a roast emceed by DJ and Sinatra expert William B. Williams (born Velvel Breitbard), who, whenever someone’s joke bombed, would begin to utter the Jewish prayer for the dead — “Yisgadal, yisgadash, shemey rabo….” — and get big laughs. Belzer loved it so much, he stole it and would recite the prayer onstage at subsequent roasts whenever a comic bombed, and even when his own jokes died.
Yisgadal, yisgadash, Belz. You will be missed.
—
The post Richard Belzer was a Jewish comedian. Why didn’t his obituaries say so? appeared first on Jewish Telegraphic Agency.
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Pro-Israel Group Issues Slate of Democratic Endorsements in US Congressional Races
Supporters of Democratic Majority for Israel. Photo: Screenshot
A leading pro-Israel Democratic organization is stepping into a series of competitive US House primaries, aiming to bolster candidates who it says can both defend the US–Israel alliance and help Democrats reclaim the majority in 2026.
The Democratic Majority for Israel’s political action committee, DMFI PAC, on Thursday unveiled its first slate of endorsements this 2026 election cycle, targeting nearly a dozen open-seat and battleground contests across the country. The move underscores how support for Israel remains a defining issue within a party navigating internal divisions over Middle East policy.
Among the most closely watched races are several swing districts seen as pivotal to Democratic hopes of flipping the House from Republican control. In Colorado’s 8th District, state lawmaker Shannon Bird secured the group’s backing. In Pennsylvania, endorsements went to Scranton Mayor Paige Cognetti in the 8th District and former television anchor Janelle Stelson in the 10th.
The PAC also threw support behind former Rep. Elaine Luria in Virginia’s 2nd District, a perennial battleground seat, and Texas candidate Johnny Garcia in the 35th District.
In addition to those high-profile contests, the organization endorsed a group of candidates running in open or crowded Democratic primaries, including Cook County Commissioner Donna Miller in Illinois, former Rep. Melissa Bean also in Illinois, Maryland candidate Adrian Boafo, Michigan state Sen. Jeremy Moss, New York contender Cait Conley, and New Hampshire Democrat Maura Sullivan.
DMFI leaders say the endorsements reflect a dual strategy: reinforcing Democratic support for Israel as a key democratic ally in a volatile region, while elevating candidates viewed as broadly electable in general elections. The group argues that backing Israel’s security and right to defend itself against terrorist threats is consistent with Democratic values and national security priorities.
“These endorsements reflect our belief that supporting Israel and winning elections go hand in hand,” said Kathy Manning, former congresswoman and DMFI PAC board member. “The US–Israel relationship has long been a bipartisan pillar of American foreign policy because it’s critical to our security and intelligence capabilities – and it remains a view shared by the majority of Democratic voters. DMFI PAC is proud to support candidates who reflect those values and who can help strengthen the Democratic caucus in Congress.”
The announcement comes as debates over US policy toward Israel and Gaza continue to animate Democratic primaries. While some progressive lawmakers have pushed for new conditions on US aid and have condemned Israel’s military operations in Gaza, pro-Israel advocates maintain that steadfast support for Israel strengthens both American strategic interests and the party’s standing with moderate and swing voters.
In the two years following the Hamas-led Oct. 7, 2023, massacre in Israel, the relationship between the Jewish state and the Democratic Party has deteriorated dramatically. Overwhelming numbers of Democrats indicate a negative perception of Israel in polling. Moreover, recent surveys have shown a supermajority of Democrats claim that Israel has committed a “genocide” in Gaza, a narrative that Israel vehemently rejects and of which there is little substantiation.
Further, the cratering support for Israel among Democratic voters has caused many liberal politicians to distance themselves from Israel-aligned organizations such as DMFI and AIPAC, the preeminent pro-Israel lobbying group in the US.
“Winning back the House requires Democrats to nominate candidates who can build broad coalitions and win in November,” said Brian Romick, chair of DMFI PAC. “These endorsements reflect that reality. DMFI PAC is the only organization focused on electing Democrats to the majority while also ensuring pro-Israel Democrats can win in competitive primary and general elections.”
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Dear internet: Having Jews in movies isn’t ‘Zionist propaganda’
There’s a joke in Blazing Saddles, about an event that took place several thousand years ago, that maybe hasn’t aged so well.
It’s in the scene where Harvey Korman’s conniving Attorney General Hedley Lamarr brainstorms plans to clear away the town of Rock Ridge. Lamarr’s lackey Taggart, played by Slim Pickens, makes a modest proposal: “We’ll kill the firstborn male child in every household.”
Lamarr considers the idea, before dismissing it. “Too Jewish,” he says.
When I heard that quip in a recent rewatch with my girlfriend (her first time), I saw a new reason why you couldn’t make the film today: Modern audiences, particularly those amateur critics itching to sound off online, seem to have more fluency in blood libels about Jews than the Passover narrative Mel Brooks and Co. were riffing on. For those who think the Epstein files contain damning proof of elites eating babies, “too Jewish” might seem like an admission. For the many more who look upon Zion as the source of the world’s ills, a misreading of the gag would likely go viral.
True, Blazing Saddles was made in 1974, well before the recent carnage in Gaza. But I could imagine the rejoinders — “Israel has been killing kids since 1948!”
I put the “too Jewish” joke out of mind for a bit. I decided I was overstating just how wrong people on the internet could be. And then I encountered a post on X. It was responding to a screenshot from Marty Supreme, where the title character presents his mother with a chunk of the pyramids. “We built that,” he says.
“This is Zionist propaganda,” an eagle-eyed netizen wrote, to the tune of nearly 96,000 likes, 11,000 reposts and 7 million views. The self-professed “archeology (sic) major” took the occasion to correct this humorous expression of the collosal self-regard of an antihero ping-pong hustler with proof that this particular Wonder of the World was the work of well-respected Egyptian craftsmen and so (somehow) invalidates the Jewish national project.
Someone else said the film, which nowhere mentions Israel, was Zionist. A Letterboxd review is terse in its description: “if the spiritually Israeli term was a movie.”
This failure to grasp Jewish references that have their own ontology — or the desire to graft more recent ones onto them — is becoming a theme.
Last year, The Brutalist, was mired in a debate about whether or not its subplot about the newly formed Jewish state was an endorsement or indictment of national ambitions in the Levant. (In entering this particular fray, most missed the point: Recent survivors of the Holocaust discussed and argued about Israel, some moved there, others didn’t and a film can present this reality without offering a judgment either way.)
When I see these takes, I beat my chest as if performing viddui over the death of media literacy.
As a critic for a Jewish publication, whose remit is to read deeply into even the most tenuous of Jewish subtexts, this pains me. Not because I myself have offended (though perhaps I have), but because I take the work seriously and try my hardest not to impose on art something that just isn’t there. I’m reminded of Freud’s famous remark: “Sometimes a cigar is a phallic metaphor for Jewish domination on stolen Palestinian land.”
Sorry, that wasn’t it at all, was it?
What the terminally online crowd often mean to say when they shout “Zionist propaganda” is “there are Jews in this!” It’s not a great way to interpret art, and it undermines the legitimacy of the argument that anti-Zionism is not antisemitism. But a film need not even have Jews in it for some to claim it’s really about Israel.
My colleagues and I have written about how Dune, Superman, and Zootopia 2 have been seized by the internet as part of the monomyth of Israeli villainy. When people make these connections, they may believe they’re thinking deeply, but they’re really just reaching for the nearest headline or playing to their own biases.
This insistence on Israel as the ultimate Big Bad reminds me of a remark made by Denise Gough, an actor in the Star Wars series Andor (another property said to be about Israel-Palestine, even though the creator Tony Gilroy mentioned numerous historical inspirations, most directly the Wannsee Conference). In an interview, Gough said a fan sent her a Star Wars analogy, which she said she only half understood.
The fan argued that just as the Death Star, a planet-destroying weapon, has an Achilles’ heel in its exhaust port, that when fired at explodes the whole thing, the conflicts of the world have a focal point in Palestine from which the architecture of oppression can be demolished.
“If we can free Palestine,” Gough concluded, “it explodes everything.” “Everything,” here, being unrelated atrocities in Sudan, Congo and Nigeria.
Let’s leave aside the fact that Gough, an actor in a Star Wars property, is somehow unfamiliar with the most iconic scene in the franchise, and what that level of research might connote for her understanding of the dynamics of the Middle East.
What she is really demonstrating, when she mentions other countries rocked by violence, is something much scarier: how the conspiratorial, magical thinking that all wrongs lead back to Israel — and that everything is a metaphor for it — echoes tropes of Jewish control and is ultimately an excuse for an exclusive fixation. Turn off the targeting computer that acknowledges complexity. Use the force, Denise! Get rid of the Zionist entity, every other crisis will sort itself out!
And so, I worry that Jewish stories — or even jokes — will stop being seen outside of a context of Israel’s actions and that metaphors and allegory will lose their elasticity, all looping back to a unified theory of evil Jews. Not for everyone, but for enough people to make a difference.
The Jewish story is textured, complex and anything but unified. Marty Supreme, The Brutalist and Blazing Saddles, each make this case. Those who see only one narrative not only miss the plot, they miss out on what good art does best.
The post Dear internet: Having Jews in movies isn’t ‘Zionist propaganda’ appeared first on The Forward.
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France Moves to Criminalize Anti-Zionism Amid Surging Wave of Antisemitism Targeting Jews, Israelis
French Prime Minister Sebastien Lecornu delivers a speech at the National Assembly in Paris, France, Jan. 20, 2026. Photo: REUTERS/Sarah Meyssonnier
The French government is moving to criminalize anti-Zionism in a sweeping bid to confront a deepening surge in antisemitism targeting Jews and Israelis across the country, as officials warn of a growing climate of fear and intimidation nationwide.
Speaking at the annual gathering of the Representative Council of Jewish Institutions of France (CRIF), the main representative body of French Jews, Prime Minister Sébastien Lecornu announced that the government would introduce a bill criminalizing anti-Zionist expressions, signaling a move to tackle antisemitism in all its forms, not just traditional manifestations.
“To define oneself as anti-Zionist is to question Israel’s right to exist. It’s a call for the destruction of an entire people under the guise of ideology,” the French leader said.
“There is a difference between legitimate criticism of the Israeli government and rejecting the very existence of the Jewish state. This ‘blurring’ must stop,” he continued.
“Calling for the destruction of the State of Israel is calling to endanger the lives of a people and cannot be tolerated any longer,” Lecornu added. “Hatred of Jews is hatred of the Republic and a stain on France.”
The European Jewish Congress (EJC) commended Lecornu’s announcement, praising him “for his clear and principled commitment to criminalize calls for the destruction of any state, including Israel.”
“Calling for the destruction of the State of Israel is calling to endanger the lives of a people and cannot be tolerated any longer”
We commend
PM @SebLecornu for his clear and principled commitment to criminalize calls for the destruction of any state, including Israel. pic.twitter.com/dvCd2iMtUB
— European Jewish Congress (@eurojewcong) February 20, 2026
During the ceremony, CRIF president Yonathan Arfi warned that Jewish communities in France are under mounting threat, stressing the urgent need for action against the country’s rising antisemitism.
“Antisemitism knows no truce. The conflict in the Middle East has acted as a catalyst. But the hatred growing in our country is a French problem, and there is no reason to expect a rapid decline,” Arfi said.
In April, the French government is expected to endorse a private bill proposed by Jewish Member of Parliament Caroline Yadan, who represents French citizens abroad — including thousands living in Israel — with backing from right-wing parties likely ensuring the majority needed to pass the legislation.
Yadan explained that the bill is designed to combat emerging forms of antisemitism, emphasizing the urgent need for stronger legal measures to protect Jewish communities in France.
“This is a clear statement: Our Republic will not become accustomed, will not look the other way, and will never abandon the Jews of France,” the French lawmaker said.
« Il faut une étape supplémentaire : appeler à la destruction d’Israël, c’est appeler à la mise en danger de tout un peuple. »
Je remercie le Premier ministre @SebLecornu d’avoir annoncé, ce soir, lors du dîner du @Le_CRIF, l’examen, en avril prochain, de ma proposition de loi… pic.twitter.com/hruoRSP5iE
— Caroline Yadan (@CarolineYADAN) February 19, 2026
Like most countries across Europe and the broader Western world, France has seen a rise in antisemitic incidents over the last two years, in the wake of the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
According to the French Interior Ministry’s annual report on anti-religious acts, antisemitism in France remained alarmingly high last year, with 1,320 incidents recorded across the country.
Although the total number of antisemitic outrages in 2025 fell by 16 percent compared to 2024’s second highest ever total of 1,570 cases, the report warned that antisemitism remains “historically high,” with more than 3.5 attacks occurring every day.
The most recent figure of total antisemitic incidents represents a 21 percent decline from 2023’s record high of 1,676 incidents, but a 203 percent increase from the 436 antisemitic acts recorded in 2022, before the Oct. 7 atrocities.
Even though Jews make up less than 1 percent of France’s population, they accounted for 53 percent of all religiously motivated crimes last year.
Between 2022 and 2025, antisemitic attacks across France quadrupled, leaving the Jewish community more exposed than ever.