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A Jewish expert on monuments on what Philly’s famous Rocky Balboa statue can teach us about memory
(JTA) — Paul Farber was shocked when he first watched “Rocky” and saw a Star of David on the grave of Rocky Balboa’s coach, Mickey Goldmill.
As a Jew and as the founder of the Philadelphia-based Monument Lab, which has explored collective memory through art installations across the country for over a decade, Farber was well positioned to think about the deeper meaning of that brief shot.
“Anytime I see a Jewish funeral in a film, there’s some kind of call to attention. And I always want to know what that means, especially for a Hollywood production, especially when it may not be branded as a Jewish story,” he told the Jewish Telegraphic Agency.
“We’re not there in a prolonged series of mourning, but in a split second, seeing a Jewish site of a memory is really fascinating,” he added.
That outlook lies behind Farber’s work as the host of the new NPR podcast “The Statue,” a deep dive into Philadelphia’s famed statue of Rocky Balboa, the fictional prizefighter at the center of “Rocky.” The series delves into what sports and society can convey about memory, and in his research, Farber discovered a few Jewish nuggets found in the film series — including the fact that Rocky’s love interest was originally supposed to be Jewish.
“They made an actual gravestone [for her character] and it’s in Philadelphia’s most famous cemetery, Laurel Hill. And you can go there and see this gravestone where a movie character is ‘buried,’” he said. “People leave offerings on the gravestone, including small pebbles as if it’s a Jewish site of memory.”
In an interview with JTA, Farber shared his inspiration for the series, how his Jewish upbringing informed his life’s work and the role statues — such as that of Jewish baseball legend Sandy Koufax — do, and should, play.
This interview was lightly edited for length and clarity.
Jewish Telegraphic Agency: To start off, I’d love to hear about how you first got interested in studying monuments.
Paul Farber: I’m really interested in the ways that, in cities, we innovate toward the future, and also come to terms with our past, and it happens often in the same exact places. That could be a statue, a street, a corner store. And so that’s a big part for me.
What really inspired this project is a conversation I had with my mother, quite a few years ago. My mother is a lifelong Philadelphian. Her parents were Jewish immigrants in South Philadelphia. And when I told her I was teaching a class at the University of Pennsylvania about Philly neighborhoods, she asked me if I was covering Rocky. When I said, “Oh, it’s not on the syllabus” — and I may have said it in a way that felt dismissive — she gave me this look that I think a lot of us know: “How could you.” So for her birthday, we watched “Rocky” and we went to see “Creed.” My grandfather went to South Philly High and was in the boxing club. He shared stories in our family about what it meant to have sport and culture and belonging go together in South Philly. I started to see that across generations, from long before “Rocky” to this moment now, almost 50 years after the release of the film, many people’s family stories could be channeled through this statue, including my own, and that was enough of a prompt to go dive in.
“Rocky” is obviously not a Jewish story, but there are some nuggets. There’s the funeral scene, and you mentioned something about Adrian almost being Jewish. I’m curious what you think about the little Jewish pieces you can pull out of this famous story, and what those mean to you as a Philly sports fan.
It blew me away that Rocky’s coach, Mick, passes away and the character Rocky goes to his funeral, and you see a Star of David. Anytime I see a Jewish funeral in a film, there’s some kind of call to attention. And I always want to know what that means, especially for a Hollywood production, especially when it may not be branded as a Jewish story. And it just opened up a whole set of questions for me that blurred between art and life, between the film series and the city of Philadelphia.
In episode two, we showcase this monumental art book that Sylvester Stallone [who played Rocky] created. There was this passage in it that just blew me away, about the first draft of “Rocky,” where he says, “As for Adrian, she was Jewish in the first draft.” And he got feedback and cut that character. We never hear about Mickey’s Judaism. We never hear about Rocky’s bond across culture. But the fact that the first scene in the “Rocky” series is in a place called Resurrection Gym — that is obvious Christian iconography — and to put Jewish characters in is really fascinating to me.
There is another famous grave that is involved in the series. The character Adrian eventually passes away, and like the statue, which was made as a bronze sculpture, for the “Rocky” film series they made an actual gravestone and it’s in Philadelphia’s most famous cemetery, Laurel Hill. And you can go there and see this gravestone where a movie character is “buried.” People leave offerings on the gravestone, including small pebbles as if it’s a Jewish site of memory.
People talk about representation on screen, and I’m not sure a Jewish funeral necessarily does that, but I would imagine for some people, seeing Rocky Balboa say the “Mourner’s Kaddish“ was maybe their first interaction with Judaism in some way. What do you make of that?
Every shot is deliberate. And it’s actually that kind of attitude and outlook that created the Rocky statue, because Sylvester Stallone was the director of that film, and they could have made a styrofoam version or a temporary one, but they spent over a year making a bronze version so that when the camera faced it, it would make contact. I think very similarly, this is part of the artistry of Stallone that plays out in our podcast series. We’re not with him when he sits shiva. We’re not there in a prolonged series of mourning, but in a split second, seeing a Jewish site of a memory is really fascinating. And to see the coach Mickey, to have his Wikipedia page say he’s Jewish, all that we have is mourning.
I think about how for immigrant Jewish communities, there are gaps in our narratives. Throughout the series, and one of the reasons I wanted to share my perspective as a queer Jewish person who grew up loving sports in Philly, I’ve been informed by my own family’s history, and what we’re able to recall and what gaps there are. And I see that being echoed for so many people in the Rocky story.
It’s clearly a very personal story for you. Why did you think it was important to start the podcast with your own identity, and to include your Jewish mother?
I think it’s important that when we talk about sites of memory, we understand that there are shared and collective ways that we bring the past forward, and there are others that are incredibly personal. My hope was to find, in this case, to spotlight, a significant site of memory in the city, but ask questions about it. And I think it was important to note what position I would take, because I don’t believe there’s one story to the Rocky statue. To tell a biography of a statue, you actually have to tell it of the people who make meaning from it. So in the series, we do a lot of work where we want to know other people’s stories and backgrounds, whether they are refugees from Afghanistan, or community organizers in Kensington [a neighborhood of Philadelphia]. My hope was by positioning this from my perspective, almost as a memoir in a way, that it opened up space for others to have their experiences be valued and made meaning of.
The official artwork for Farber’s podcast. (Courtesy)
Both with the podcast and in your work with the Monument Lab, how do you feel that your Jewish identity informs what you do? Do you see overlap between your Jewish values and the values you work on in your organization?
I absolutely think so. I grew up in a Jewish community in Philadelphia, and tikkun olam was a constant refrain. The work of tikkun olam meant a worldview that necessitated building coalitions and understanding across divides, to not diminish or under-emphasize them, but to appreciate how we work in solidarity, whether that’s around racial justice, gender justice, in various struggles. I am a co-founder and director of an organization that focuses on memory, and that I really get from the stories of growing up in a Jewish household, in a Jewish community, where memory lived in different ways. We were always aware of the stories of trauma and loss, as well as reconciliation and transformation, and how you work with the gaps that you have, and you listen, and you learn and you carry the story with you. Because that is the way to bond generations. Jewish memory really grounds what I do, and I seek to use it as a tool to learn more and to feed connection across divides.
Rocky takes on this almost mythical, godlike status, and his statue in Philadelphia is a bit of a pilgrimage site. Do you see any tension there as a Jew, given the prohibition against idol worship?
I think about the importance of memory, against forces of violence and erasure. I also understand that, in a world that is full of pain and difficulty and loss, we seek places to release that. And so I understand the pull to monuments. What I would like to see, and what we try to do through this series, “The Statue,” and also with the work of Monument Lab, is to look on and off the pedestal, and really think about how history lives with us. As we say in the series and other places, history doesn’t live inside of statues, it lives with people who steward them, who create other kinds of sites of memory, who are vigilant in their modes of commemoration. What I try to do in this work is understand the ambivalence around monuments, the pull to try to remember and be enduring through time, and just that constant reminder that whenever you try to freeze the past, or freeze an image of power, you cut out the potential to find connection and empowerment, and thus forms of survival.
In sports, there are so many ways to honor people, especially different ways that, like a statue, take on the idea of permanence. When Bill Russell died, the NBA retired his number 6 across the league. On Jackie Robinson Day, every April 15, the whole MLB honors Jackie Robinson by wearing his uniform number. But statues just have a different level of oomph. Sandy Koufax has a new statue in Los Angeles that was unveiled last year; Hank Greenberg has one. What do you think it should take for an athlete to reach that status?
The pinnacle in sports is to have a statue dedicated to you outside of the stadium. And I do believe the cultures of social media have amplified that, because we grew up with the story of Sandy Koufax not pitching in the World Series during the High Holy Days, and that wasn’t because we learned it from a statue or a plaque. We learned it because it was carried forward and put into different forms of remembering and recalling its importance. I went to several Maccabi Games in the U.S. — I used to be a sprinter. And the culture of memory and sport, they were one in the same.
In professional sports, the pinnacle is the statue, but I think you brought up other really important ways of remembering that operate in non-statue forms that feel like they are living memorials. The idea of retiring someone’s number, and keeping their number up, is a way to acknowledge, in this really public of all public spaces, an intimacy and a care, and especially when an athlete passes away, how that transcends the lines of city geography. Jackie Robinson Day is something that did not occur immediately after Jackie Robinson was the first Black player to play in the major leagues, but was a product of a later moment when people around Major League Baseball sought to activate his memory. So yes, a statue outside of a stadium is like a particular kind of professional accolade. But the other forms are really meaningful.
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Remains of Jewish American WWII Pilot Return to US for Burial 82 Years After Death in Combat Mission Over China
US Army honor guard members begin to settle a casket into a grave at a cemetery in Greenville, South Carolina, Dec. 14, 2025, of 1st Lt. Morton Sher served with the 76th Fighter Squadron. Photo: Air Force Senior Airman Savannah Carpenter
The remains of a Jewish American fighter pilot in the US Army Air Force, who was shot down over China and killed in World War II, have been identified more than 80 years after his death and now buried in South Carolina, the US Department of War announced this week.
Army Air Forces 1st Lt. Morton Sher was killed in action on Aug. 20, 1943, when his P-40 Warhawk fighter-bomber aircraft crashed and burned in a rice paddy in the Xin Bai Village during a combat mission over Hunan, China, during World War II. He was 22 years old. Sher’s remains were accounted for this summer and have since been buried at a cemetery in his native town of Greenville, South Carolina. A memorial was held for him that included remarks by his nephew and a flyover conducted by the Air Force’s 476th Fighter Group, according to the Department of War.
Sher escorted bombers and flew dangerous combat missions in the 76th Fighter Squadron, 23rd Fighter Group, 14th Air Force. His unit was part of the famed Flying Tigers, a name given to a small group of American pilots who flew combat missions in China during World War II to help Allied forces.
“We never knew Morton, but he was larger than life in the stories our family told us, his photos, and his writings,” said Bruce Fine, Sher’s nephew. “He was certainly a man who filled his pages of life with meaning, and he lived every day to its fullest. In fact, the day before he died, on Aug. 19, 1943, he wrote a letter home telling his parents, ‘I let another pilot take that instructing job, for I find things too exciting here to leave right now,’ and the very next day, he was gone.”
Sher as a “real hero,” Fine added, “the kind you read about and see on the big screen, except he was real. We hope his bravery and his courage will inspire the family members who follow us to believe anything you can dream can be truly possible if you’re willing to commit to it and work hard to achieve it.”
During a mission in October 1942, Sher’s aircraft was forced to go down in a Chinese village because of engine damage. Grateful for American protection from Japanese forces, villagers embraced Sher as a hero and welcomed him with food and a celebration. He “entertained 15,000 with songs and a story, received a silk banner for his missions and was warmly escorted through nearby mountain villages back to his base,” according to the Department of War.
“Lt. Sher was shot down on Oct. 25, 1942, and returned to the 76th Fighter Squadron to fly, fight and win another day,” said Mark Godwin, a historian of the Air Force’s 23rd Wing. “He had an opportunity to return home and become an instructor pilot but chose to stay and continue the fight. He personified the last two core values: service before self and excellence in all we do.”
“[He] spent just over a year in China during World War II,” Godwin said. “He racked up three aerial victories before his untimely death. … He gave his life to protect his fellow Flying Tigers. He should forever be remembered for his courage and sacrifice.”
Following Sher’s death, local Chinese villagers placed a memorial stone at his crash site. He was posthumously awarded the Purple Heart in September 1943, which was presented to his mother in Greenville. The US conducted post-war search and recovery efforts, but a board of review concluded on Sept. 8, 1947, that Sher’s remains had been destroyed in the crash. They officially declared that he was killed in action and his body was unrecoverable, the Department of War explained.
After a private citizen contacted the US government’s Defense POW/MIA Accounting Agency (DPAA) in 2012 with a photo of Sher’s memorial site in China, the government agency visited the site in 2019. They initially found nothing but, following a more extensive search in 2024, recovered the plane wreckage and Sher’s remains, which were transferred to a lab in Hawaii. The remains were positively identified using DNA samples from Sher’s nephew and more than eight decades after his death, Sher’s remains were returned to his family.
“This was through team effort,” said Air Force Col. Brett Waring, 476th Fighter Group commander. “The teams that continue to scour the earth for our missing and KIA are beyond impressive. They’re part of that American commitment to individuals that endures across generations … when he was shot down, the local populace protected him when he survived the first [crash], and then prevented the enemy from taking his aircraft and body when he was killed in action. That speaks to the humanity that connects us all, even when other circumstances point towards adversarial actions.”
The Department of War also honored Sher’s bravery and sacrifice.
“Sher loved what he did and created a legacy that endures,” said the department. “His story, once unfinished, now stands a complete testament to service, sacrifice, and a nation’s promise to remember those who gave everything. That enduring legacy, woven from history, heroism and personal courage, continues to inspire both the families who remember him and the generations who follow.”
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New Cooking Show Competition ‘The Great Bubby Cook-Off’ Celebrates Jewish Food, Family Recipes
The four contestants on “The Great Bubby Cook-Off.” Photo: Manischewitz
An original cooking show competition that celebrates Jewish home cooking and family recipes premiered Friday on Kosher.com.
The four finalists on “The Great Bubby Cook-Off,” presented by the famous Jewish food brand Manischewitz, include a “bubby” from Delray Beach, Florida, and another from Manhattan, New York, and two contestants from Flushing, New York, and West Hartford, Connecticut, who were competing with “bubby-inspired recipes.”
The contestants were selected to compete on the show following a nationwide casting call. Home cooks submitted videos of themselves preparing their favorite Jewish dishes, including family recipes passed down through generations and personal twists on classic dishes. After online voting that was open to the public, four finalists were chosen to advance to a live cook-off in New York City in November.
The winner, to be revealed exclusively on the show, will be crowned “Bubby 2025” and receive a $5,000 cash prize, a featured appearance on the Manischewitz Food Truck as it tours the New York City area, and other prizes. The show is hosted by chef and cookbook author Naomi Nachman.
“‘The Great Bubby Cook-Off’ celebrates exactly what Kosher.com is all about — honoring tradition while inspiring a new generation of home cooks,” said Goldy Guttman, director of Kosher.com, in a released statement. “These bubby recipes carry stories, memories, and culture, and bringing them to life on screen allows us to share the heart of Jewish home cooking with audiences everywhere.”
“‘The Great Bubby Cook-Off’ is about so much more than cooking,” added Shani Seidman, chief marketing officer of Manischewitz. “It’s about honoring the women who shaped our traditions, our tables, and our memories — and celebrating the dishes that bring families together.”
More episodes of “The Great Bubby Cook-Off” will be announced throughout 2026. The show is free to watch, and an additional episode is under consideration that will include a behind-the-scenes look into the competition and judging, according to Manischewitz.
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On Instagram, ‘Rabbinic Fit Check’ is a look book for Jewish clergy
Rabbi Rafi Ellenson was getting ready for a full day of rabbinic duties in September when he jokingly asked a colleague, “What do I wear that’s appropriate both for religious school and a shiva?”
After some light-hearted deliberation, Ellenson, who works as an assistant rabbi for Congregation Shir Hadash, a Reform synagogue in Los Gatos, California, said they realized his wardrobe dilemma might deserve a spotlight on social media.
“We were like, oh, this would be a really fun idea for an Instagram account,” said Ellenson. It would show what rabbis are wearing and “the absurd things they have to do every day, dressing for 20,000 occasions and for 50,000 people.”
For help turning his idea into reality, Ellenson called Rabbi Arielle Stein, an assistant rabbi at Congregation Rodeph Sholom, a Reform synagogue on the Upper West Side of Manhattan, whom he had met in Jerusalem in 2019.
After some deliberation, the pair created Rabbinic Fit Check, an Instagram account billed as “a style diary for the rabbinate and beyond.”
“We’re trying to show diversity of rabbis, diversity of genders, diversity of expression,” said Ellenson. “There’s no one model, and there’s no one model in the real world, so we don’t want to feature only one model on the account.”
So far, Rabbinic Fit Check has featured 57 rabbis, clergy members and students from a range of denominations and garnered over 1,300 followers. The outfits range from cozy sweaters and “sensible” office wear to zebra-print skirts and a fashion-forward Delfina Balda pant suit.
“It’s nice to see that rabbis look like more than just that old oil painting of someone in a black coat,” said Rabbi Allison Poirier of the Conservative synagogue Temple Aliyah in Needham, Massachusetts. “It’s nice to see that we’re out here as new people, as colorful people of all ages and shapes and sizes, which I think in the world I work in, most people know, but it’s just nice to uplift that.”
Indeed, a new national study of the American rabbinate released last month by the Atra Center for Rabbinic Innovation found that 51% of the rabbinical students surveyed identified as LGBTQ+. According to the Atra report, 58% of rabbis surveyed identify as women, 30% as men, and 12% as nonbinary.
But the diversification of the rabbinate has also underscored a broader trend, with rabbis more often taking on an engaged, hands-on role rather than the old model of the “sage on the stage.”
Stein, who had already gone viral for her rabbinic style videos on social media and was featured in Vogue last month for her videos on clergy-friendly shoe choices, said the pair’s Instagram account has also come to serve another purpose: showing the rabbinate in a more intimate light.
“I think especially for our generation of rabbis, we’re real people, these are important ways that people can connect with us and build trust and understanding,” said Stein. “We’re not pretending that we’re somebody at work and somebody at home.”
Rabbinic Fit Check posted its inaugural outfits from Stein and Ellenson in mid-October. The pair then reached out to their colleagues for submissions, and users soon asked to be featured.
Poirier said that she had been drawn to post her style (J. Crew blazer, Birdy Grey dress, her sister’s thrifted sweater) because of the account’s “diversity and also the light-heartedness,” which she said offered a contrast to reality.
“Everything is so, so heavy right now, and a lot of our day is rightly dealing with some of the heaviness, and it’s nice to just have something that also uplifts rabbis as fun, joyful people, kind of expressing ourselves in this cute, silly way,” said Poirier.
“Rabbis are kind of in the zeitgeist in a lot of different ways, and there’s a lot to say about that both positive and negative, and certainly we’re tapping into some of that,” said Ellenson. “But I think we’re approaching an angle of we’re humans who have these cool jobs, and we want to show parts of ourselves through our clothing and express ourselves more fully and completely, and not bifurcate these two segments of our lives.”
Einav Rabinovitch-Fox, a professor at Case Western Reserve University who wrote a history of women’s fashion, said that she viewed the Rabbinic Fit Check account as part of a “new phenomenon” in which the public image of the rabbinate was shifting. She pointed to Nobody Wants This, the Netflix show starring heartthrob Adam Brody as a young Los Angeles rabbi that first aired in September 2024. The Amazon series Transparent, Extrapolations on Apple TV+ and the 2023 film You Are So Not Invited to My Bat Mitzvah all featured what Hey Alma, JTA’s sister site, called “hot rabbis.”
“It’s kind of like a sign of our times,” said Rabinovitch-Fox. “Not all of them are like Adam Brody, but I think it’s a depiction of a trend, and I think that Instagram account is part of it, like, ‘oh, look, Judaism is cool.’”
Rabbi Jamie Field, the director of education at Beth El Temple Center, a Reform synagogue in Belmont, Massachusetts, was featured on Rabbinic Fit Check shortly before her appearance on the Netflix show Squid Game: The Challenge. She said it was a “really beautiful that there is an increase in rabbinic visibility.”
“We have a really sacred responsibility to show that rabbis are real people, and that we are engaged and part of the world and being responsible for being part of that conversation, not just witnessing it through Netflix shows about rabbis,” said Field.
While Rabinovitch-Fox said religion does not always “celebrate the individual,” she added that “fashion is a really a great and simple way to make your own statement.”
“People want to find somehow to relate, and I think with this Instagram generation, fashion is something that is important to people, so it’s just another way to relate to that,” said Rabinovitch-Fox. “If you can talk with your rabbi about style, you have a cool rabbi.”
Rabbi Andrea London, the leader of Beth Emet The Free Synagogue, a Reform congregation in Evanston, Illinois, said she submitted a photo of herself and Cantor Natalie Young on Parashat Noah after Ellenson, who is a family friend, mentioned it to her in conversation. For her cameo, she wore a white button-down shirt with a gold necklace and slacks.
London, who was ordained in 1996, said that she had submitted the photo to offer the account “a little diversity of age.” She recalled that early in her career, “as a woman, you wouldn’t dare to be on the bimah without a skirt.”
“One of the things that was annoying in the rabbinate was that people would comment on my clothing a lot, and it was just tiresome and men didn’t get that,” said London. “And now, I think Rabbinic Fit Check is trying to turn it on its head, like let’s have fun with it as opposed to seeing this as somehow discriminatory or sexist in any way.”
So far, Ellenson and Stein said the response to the account from their congregants and colleagues had been positive. Looking ahead, Ellenson said they hoped to feature leaders from other faiths.
“I think it’s about joy, showcasing diversity, showcasing the personal, and showcasing that all of these pieces can be a part of cultivating rabbinic and cantorial and clerical work,” said Ellenson. “We can bring ourselves into the work, and that makes the work better when we’re being ourselves with our communities.”
This article originally appeared on JTA.org.
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