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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.
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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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Why both sides are ducking settler violence ahead of Israel’s elections
(JTA) — For American Jews who follow Israel closely, one of the hardest things to understand about Israeli politics today is the gap between the severity of settler violence in Judea and Samaria, also known as the West Bank, and the relatively limited role it plays in the election campaign.
The phenomenon is not being ignored altogether. Israeli politicians across the political spectrum condemn acts of violence by Jewish extremists, and security experts have warned that Jewish terrorism and nationalist crime have become a serious threat to Israel’s security and democratic institutions. Yet the issue has not emerged as a major dividing line in the elections.
Why? Part of the answer is that Jewish violence in Judea and Samaria is politically inconvenient for both major blocs. On one side stands Prime Minister Benjamin Netanyahu’s coalition. On the other stands the loosely aligned “change bloc” seeking to replace it. That bloc includes parties with markedly different ideologies: Naftali Bennett’s B’Yachad, Avigdor Lieberman’s Yisrael Beiteinu, Gadi Eisenkot’s Yashar and Yair Golan’s Democrats. They agree on the need for political change, but they do not share a common position on the future of the settlements, Palestinian statehood or the long-term status of Judea and Samaria.
The reason settler violence has not become a defining campaign issue becomes even clearer once two different questions are separated. The first is straightforward: How should Israel deal with violence committed by Israeli Jews against Palestinians? The second is much broader: What should Israel do about the settlements, its control over Judea and Samaria and the long-term future of the territory? These are not the same question.
Distinguishing between these two lines of thought matters because the Israeli opposition may be united in its condemnation of settler violence, but it remains deeply divided over the settlements themselves. Yashar does not advocate for a general evacuation of settlements. B’Yachad supports Jewish settlement and opposes the establishment of a Palestinian state. Yisrael Beiteinu supports strengthening Jewish settlement and Israeli control in parts of Judea and Samaria. The Democrats take a substantially different position, including opposition to illegal settler outposts and an explicit commitment to fighting what they call “Jewish terrorism.”
There is, however, potentially a much broader consensus around law, order and state authority. That is where the political framing becomes important.
The Netanyahu camp does not entirely deny the existence of Jewish violence. After recent incidents in Samaria, Netanyahu condemned what he called a “handful of rioters” and called on law enforcement authorities to prosecute them. Foreign Minister Gideon Sa’ar described those responsible as criminals who should be dealt with severely.
This framing treats the problem primarily as one of law enforcement: Extremists are committing crimes, and the state must enforce the law against them.
That approach is also reflected in a significant proposal by Defense Minister Israel Katz. In August, Katz instructed the IDF to prepare a plan for transferring civilian enforcement involving Israelis in Judea and Samaria to the Israel Police, in part to reduce the military’s involvement in civilian law-and-order incidents.
This position is coherent: If Israel regards itself as sovereign over the territory, Israeli civilians who violate the law should be dealt with by the police, while the military should concentrate on security threats.
But this logic is not inherently a right-wing argument. It can serve the change bloc just as well. The change bloc can describe Jewish violence as evidence of governmental failure, loss of control and the erosion of state authority. That allows parties with very different views about the future of Judea and Samaria to agree on an immediate principle: The state must enforce its laws.
For politicians such as Bennett, Lieberman and Eisenkot, this is a much easier political proposition than making the future of the settlements and their legal status the central issue.
This is where Yair Golan, leader of the Democrats, stands out. Golan does not limit himself to terms such as “rioters,” “criminals,” “extremists” or “lawlessness.” He repeatedly uses the term “Jewish terrorism.” While the change bloc party leaders have on occasion used that phrase in English, they do not often use it in Hebrew. Golan is the one who uses the term repeatedly.
In August, Golan said explicitly: “What we are seeing today is Jewish terrorism that is receiving legitimacy from the Israeli government.” He has also presented the fight against Jewish terrorism as one of the issues on which he believes the change bloc can agree.
This choice of language is more consequential than it may initially appear. Once the phenomenon is called terrorism, difficult questions follow: If this is terrorism, should Israel not fight it with some of the tools it uses to fight other forms of terrorism? If Palestinian terrorism is understood as a national security threat requiring intelligence, organized investigation and preventive measures, what should happen when the perpetrators are Jewish Israelis?
Israel has developed extensive counterterrorism mechanisms for dealing with Palestinian terrorism: intelligence gathering, investigations by the Shin Bet internal security and counterintelligence service, administrative detention, military and security operations and other exceptional legal tools.
That does not mean those tools should automatically be applied identically to Israeli citizens. There are important legal and practical differences. But calling settler violence “Jewish terrorism” inevitably raises the question of whether it should be treated as more than ordinary criminality, and is important to harnessing the attention and power of the state to address it even as it labels it something that is an outlier.
The future of Judea and Samaria may be one of the most consequential questions facing Israel, but voters appear to be focusing more immediately on security, the economy, military service and Netanyahu’s political future. Here’s the dilemma all the parties are facing: The issue of settler violence can be important enough to condemn, but too politically complicated to campaign on.
For the Netanyahu bloc, emphasizing the systemic nature of settler extremism risks highlighting failures within a political constituency that is central to its coalition. For the change bloc, emphasizing it as a distinct political problem risks reopening the much larger argument over the settlements — an issue on which the change bloc itself remains divided.
Nevertheless, ahead of the elections, politicians can demand vigorous enforcement against violent settlers without supporting the dismantling of settlements. One can oppose illegal outposts without opposing the settlement enterprise as a whole. And one can regard Jewish violence primarily as a security, governance and even terrorism problem without having a position on the ultimate political status of Judea and Samaria, as important as that may be.
This article originally appeared on JTA.org.
The post Why both sides are ducking settler violence ahead of Israel’s elections appeared first on The Forward.
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How a Jewish play from 1908 enshrined the idea of America as a cultural ‘melting pot’
It’s long been unfashionable to refer to the United States as a “melting pot.” Identity politics and multiculturalism have undermined the ideal of an assimilation so complete that it obliterates ethnic distinctions. Now the persistence of difference is hailed, at least in some quarters, as enriching rather than estranging, even if the associated metaphors — “salad bowl,” “kaleidoscope,” “mosaic” — lack poetic vigor.
The first reference to the U.S. as a melting pot is said to date to J. Hector St. John de Crèvecoeur’s 1782 Letters from an American Framer, in which he wrote: “Here individuals of all nations are melted into a new race of men.” Similar notions surfaced in the writings of Ralph Waldo Emerson, Henry James and the historian Frederick Jackson Turner. But it was Israel Zangwill’s 1908 play, The Melting Pot, that injected that industrial metaphor into the national consciousness.
Set in New York City, the play is a love story between a musically gifted Russian Jewish immigrant of Sephardic extraction and a gentile settlement house worker from the pogrom-wracked city that he fled. Its backdrop is the turmoil of an early 20th-century America trying to make sense of massive waves of Eastern European, and particularly Jewish, immigration. The playwright was an English Jew, a disillusioned Zionist who had begun looking to the U.S. as the promised land.
After its debut in Washington, where it was praised by President Theodore Roosevelt, The Melting Pot moved to Broadway in 1909 and has since enjoyed occasional revivals. Crescendoing debates around immigration, antisemitism and who deserves to be an American seem to lend it renewed currency.
So, at least, was the reasoning of Jesse Bernstein, producing artistic director of Philadelphia’s Theatre Ariel, whose focus is Jewish-themed work. Bernstein adapted and directed Zangwill’s play, and has teamed with the Philadelphia Artists’ Collective, which produces rarely seen classics, to mount it. Their streamlined, modern-dress version, part of the America250 celebration, opened Wednesday at Philadelphia’s historic Arch Street Meeting House.
Bernstein said in an interview that he pruned as much as half an hour from the original (it now runs about 95 intermission-less minutes) with an ear to modern sensibilities. He also has made some additions that undercut the play’s triumphalism. The Melting Pot nonetheless remains an odd fusion of melodrama and polemic, interesting mostly as an historical curiosity.
Bernstein’s direction does the piece no favors with a stiff, presentational style, in which characters frequently address the audience rather than one another. On the other hand, when they turn away, the meeting house’s unfavorable acoustics make them more difficult, sometimes impossible, to hear. Offstage characters sit in chairs behind the action awaiting their cues. Meghan Jones’s spare set, representing both the Quixano family home and different locations within the settlement house, is draped with oriental rugs and strewn with steamer trunks and valises.
The protagonist, David Quixano, played with endearing sensitivity by Adam Galloway, survived the infamous 1903 Kishinev pogrom, in which all his immediate family were murdered and he himself was shot and left for dead. After that trauma, America has become both his dream and his salvation. In New York, he lives with his cynical uncle, Mendel, also a musician; his Yiddish-speaking grandmother; and an Irish American housemaid, Kathleen (Jessy Gruver), who wrestles comically with Jewish customs and dietary laws.
Through a violin concert, David meets and falls for the lovely Vera (Lexi Thammavong), a former Russian “revolutionist” who now combats poverty through settlement house work. David is composing an American symphony that will convey his rapturous views of his adopted homeland. He finds a ready admirer in the German conductor Herr Pappelmeister (Adam Pelta-Pauls, speaking convincing German).
Standing in David’s way, personally and professionally, are two villains — the wealthy, unscrupulous nativist Quincy Davenport (Eli Lynn), a married man who lusts after Vera, and Vera’s estranged father, Baron Ravendal (Brian McCann), a reactionary Russian military commander who turns up unexpectedly. McCann brings a strangely mannered intensity to a role that is already a caricature.
Zangwill’s characters represent a spectrum of early 20th-century attitudes. Ravendal and Davenport, brutal in different ways, both give free rein to their antisemitism. Frau Quixano (played by a bewigged McCann) and Mendel Quixano (J Hernandez, appropriately world-weary) reflect the resistance of older immigrants to assimilation — and especially to its culmination in interfaith romance.
The Melting Pot is deadly serious at times, larded with apocalyptic symbolism and images of Jewish suffering. But it also has its share of comedy, including the maid Kathleen’s gradual embrace of Jewish traditions and some playful digs directed at critics.
It is up to David, the musical prodigy, to articulate the famous message at the play’s core. Early on, he declares his fealty to a new American ideal:
America is God’s Crucible, the great Melting-Pot where all the races of Europe are melting and re-forming! …A fig for your feuds and vendettas! Germans and Frenchmen, Irishmen and Englishmen, Jews and Russians—into the Crucible with you all! God is making the American. The real American has not yet arrived. He is only in the Crucible, I tell you — he will be the fusion of all races, perhaps the coming superman.
David returns repeatedly to this soaring rhetoric, lauding American greatness born of industrial-grade homogenization, and seeking to embody it in his symphony.
The original play ended exuberantly, with both love and David’s melting pot vision of “the glory of America” conquering all. Bernstein’s adaptation, with its insistence on relevance, duly complicates that vision. He wraps the action with supporting characters challenging David’s view of American harmony, and with the future of the betrothed couple clouded in doubt.
The Melting Pot runs at the Arch Street Meeting House, 320 Arch St., Philadelphia, through Nov. 8.
The post How a Jewish play from 1908 enshrined the idea of America as a cultural ‘melting pot’ appeared first on The Forward.
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‘I wanna blow up a synagogue’: Online posts lead to hate crime charge against Utah man
(JTA) — A Utah man accused of possessing explosive devices, searching online for nearby synagogues and making online threats to kill Jews is due in court Friday to face charges including attempting to commit a hate crime.
A federal grand jury indicted Skyler AJ Rose, 22, on Wednesday, the Department of Justice said in a release.
Rose allegedly made threats on social media, including “I wanna blow up a synagogue,” leading the FBI to join the Ogden City Police Department in a search of his home, where they allegedly discovered six pipe bombs, two rifles and ammunition.
A review of a cellphone seized from the home allegedly showed that Rose had searched online for a nearby synagogue, according to the Department of Justice.
The charges Rose faces include possession of an unregistered destructive device, threats to kill and injure people and to destroy a building, and attempting to commit a hate crime.
This article originally appeared on JTA.org.
The post ‘I wanna blow up a synagogue’: Online posts lead to hate crime charge against Utah man appeared first on The Forward.
