͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌    ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­


Thanks for the warm welcome!

It was great to receive emails from so many of you last week. I really enjoyed reading your feedback on the newsletter, please keep it coming. This week, you’ll hear from Talya Zax on The 2000 Year Old Man and Mel Brooks, who turns 99 tomorrow. Let us know what you think.

– Julie Moos, interim editor-in-chief  

P.S. We’ll be off next Friday for the Fourth, we’ll see you again on July 11.

One great Jewish thing: The 2000 Year Old Man


My late Grandpa Mel was a taciturn man, not prone to sharing details about his life. So when I used to ask him what it was like to be a psychologist — he worked until he was 92 — he would always give the same answer: a paraphrase of a sketch from Mel Brooks’ and Carl Reiner’s The 2000 Year Old Man:


“Clients come to me and say, doc, something's wrong, I can’t stop cutting paper. So I tell them: Don’t cut paper!”


There’s an ancestral quality to the routine, which I first heard as a teenager, when my dad, Grandpa Mel’s eldest son, would play CDs of it during road trips in the family minivan. That quality isn’t just due to the fact that the titular gerontological miracle, played by Brooks, claims to have more than 42,000 children, none of whom ever come to visit. It has, instead, something to do with the way in which Brooks, who turns 99 on Saturday, gives voice to a very Jewish kind of ancient wisdom: cockeyed and often unhelpful — “I’d rather eat a rotten nectarine than a fine plum, whaddyathinkofthat” —  but reliably excellent at establishing a sense of proportion.

Uriya Rosenman, an Israeli Jew (left), and Sameh Zakout, who is Palestinian, bonded over music. (Gili Levinson)

Mel Brooks speaks onstage during the 2024 TCM Classic Film Festival on April 21, 2024 in Hollywood, California.Photo by Presley Ann/Getty Images for TCM

Brooks makes it easy to believe that a certain recognizable type of Jew could easily have seen all of modern history unfold, and come away blithely unimpressed. Robin Hood? “He stole from everybody and kept everything.” Joan of Arc? “Ah, what a cutie.”


I’ve been thinking a lot about that sense of proportionality, recently. As the Forward’s opinion editor, my inbox often reflects a feeling — coming from across the political spectrum — that the state of the world could not be more dire. I get it. The post-World War II international order is fragile; the Middle East is mired in war; the climate is changing; the future of the United States seems, for many different reasons, uncertain.


But feeling constant desperation doesn’t necessarily help things get better. When I succumb to that habit — when I begin to see every single news item as an emergency — I increasingly hear my grandpa’s voice, telling me not to cut paper. It doesn't mean there are no emergencies. It just means, respectfully, get over yourself.


The 2000 Year Old Man comes from a time during which — in markedly different ways from today — the stakes of human existence, and Jewish existence, seemed uncomfortably high. Brooks and Reiner — who plays the straight man, interviewing Brooks about the many wonders he’s seen — began crafting the routine in the 1950s, publicly debuted it in the ’60s and eventually turned into a set of hit records and, in 1975, a television special.

Carl Reiner and Mel Brooks, performing The 2000 Year Old Man in Los Angeles, California in 1967. Photos by Martin Mills/Getty Images

In 2009, revisiting the routine’s glory days, Reiner told The New York Times that when the duo first came up with it, they agreed, “we can’t do it for anybody but Jews and non-antisemitic friends.”


“The Eastern European Jewish accent Mel did was persona non grata in 1950,” he said. “The war had been over for five years, the Jews had been maligned enough.” 


By the time the television special came out, the Cold War was at its height; the Vietnam War had killed thousands of American soldiers and millions of Vietnamese civilians; and Watergate was remaking American politics. The specific traumas had changed; the fact that the world is traumatizing had not.  


And yet there was Brooks, in that special, solemnly informing Reiner that he credited his longevity to one simple habit: “I never, ever touch fried food.” The 2000-year-old man exists, stubbornly, in a world in which no problem is so gigantic that it cannot be overcome by a healthful diet. (And, he later adds, a determination to never run for a bus.) He survives not because of his wits or his strength, but because he watches his waistline and lets history gently glide right by him.


Of course, this may be only partially reasonable advice for how to actually, practically live. But it’s reassuring to encounter someone so radically free from the burdens that characterize the lives of those afraid of what the world has in store. It’s a reminder that no matter how much we worry about it, history is going to pass us by, too, and eventually leave us behind, with our concerns making little if any mark on its progress.


In the TV special, Brooks patiently explains to Reiner that pretty much every joyful human behavior is rooted in fear — including singing, dancing, and falling in love. He doesn't put it quite this way, but it's clear that one thing his long life has taught him is that things never work out quite the way you might predict. You check a foe for weapons, and then, boom, you’re dancing the Charleston together. You ask one woman to watch your back for a while, to see if there’s an animal behind you, and suddenly, you’ve invented marriage.


Most of us won’t have multiple millennia through which to develop such matter-of-fact sagacity. But it’s a joy that Brooks and Reiner gave us a sense of what it might be like if we did. As the former turns 99 — about 4.95% of the 2000-year-old man’s lifespan, for reference — it’s worth revisiting, and enjoying, the fruits of their labor. After all: “Fruit is good,” the 2000-year-old man once wisely said. “Fruit kept me going for 140 years.”

Pick-and-deli-roll?

Brooklyn Nets fans will eat up this Jewish duo in an NBA first.

❤️ Love this newsletter? Check out what else the Forward has to offer!

YOUR WEEKEND READS

Brooklyn voters cast their ballots in the New York City mayoral Democratic primary. Photo by Christian Monterrosa/Bloomberg via Getty Images

New York’s Democratic mayoral primary captured the country’s attention this week, and our coverage of Zohran Mamdani’s surprising dominance built on months our senior political reporter Jacob Kornbluh spent covering the race,  including a sit-down over chicken soup with the now-presumptive nominee. A few highlights from the last few days:


If you’re looking for something different this Shabbat, these stories will be a welcome break:

WHAT WE’RE WATCHING

Nora Berman, deputy opinion editor, previews the Dyke March.Courtesy of Forward

This weekend, tens of thousands of queer women will march down 5th Avenue from Bryant Park to Washington Square Park for the New York City Dyke March, which has been around for over 30 years. Yes, march participants wear the term dyke as a point of pride and a distinct identity. But one identity they won't be proudly supporting: Zionist. Deputy opinion editor Nora Berman explains why.


Related opinions:

WHAT WE’RE READING

Antisemitism is on the rise, the economy is jumpy and war seems imminent. It is, in other words, Warsaw in the 1930s – were you picturing something else? — where Isaac Bashevis Singer grants a striving young Hasid creative dreams and a crush on his childhood neighbor in Shosha, a novel originally serialized in the Forward.


Though I’m relatively new to Singer’s work, reading Shosha — which I discovered in a pile of my grandma’s old books — has felt like unexpectedly running into an old friend.


“Today’s Jews like three things: sex, Torah, and revolution, all mixed together,” waxes the protagonist’s jaded mentor. Some truths are eternal.

Louis Keene, staff reporter

Support Independent Jewish Journalism

Become a member and ensure the Forward’s journalism remains free for all.