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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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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.
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Hamas Invokes Oct. 7 Conspiracies Blaming Israel in English — While Openly Taking Credit for the Attack in Arabic
The personal belongings of festival-goers are seen at the site of an attack on the Nova Festival by Hamas terrorists from Gaza, near Israel’s border with the Gaza Strip, in southern Israel, Oct. 12, 2023. Photo: REUTERS/Ronen Zvulun
As the US-backed peace plan for Gaza moves toward reconstruction, members of Hamas have invoked conspiracy theories to blame Israel for the Palestinian terrorist group’s Oct. 7, 2023, invasion of the Jewish state — a different story than the one that Hamas has told in Arabic celebrating its role in leading the massacre.
In a Feb. 9 interview, Hamas media representative Osama Hamdan alleged that “the real attack was by the Israeli forces, and they were shot by the helicopters, and there were missile strikes against them under the slogan that there were Hamas militants [among them].”
The interview was conducted in English for the Norwegian Broadcasting Company (NRK) by Afghan-Norwegian anchor Yama Wolasmal. Following Hamdan’s comments, Wolasmal appeared in disbelief, pressing Hamdan in connection to videos published by Hamas’s armed wing, the Qassam Brigades, that show insignia-wearing militants shooting civilians at the Nova music festival in southern Israel.
“If these [Palestinian men donning Qassam Brigades headbands] were not your fighters, then who were they?” the anchor asked.
Hamdan repeatedly claimed they were Israeli forgeries, even when asked to clarify for the record.
The comments echo conspiracy theories that have circulated primarily in English-language activist spaces, which claim that most Israeli civilian casualties in the Oct. 7 onslaught were either self-inflicted or the result of Israeli fire, while Hamas fighters targeted only soldiers.
Coming from a senior Hamas official, the claim marks a departure from the organization’s usual messaging. In Arabic media, Oct. 7 is a major source of pride for Hamas’s leadership, and one of the main triumphs of its ruling tenure in Gaza. In video of a speaking engagement commemorating the one-year anniversary of the Oct. 7 attack, Hamdan himself commended the “1,400 fighters who chose to enter” and attack Israel.
Other prominent Hamas officials have referred to the success of the Oct. 7 invasion and used the attack as a rallying cry. In one of many such instances, the chairman of the Hamas Political Bureau, Khalil al-Hayya, bragged that the Islamist group was planning a “new Oct. 7” against Israel. In a propaganda pamphlet published by Hamas titled “Al-Aqsa Flood: Two Years of Perseverance and Wishing for Liberation,” the Oct. 7 massacre was described as “a blessed moment of rebirth.”
In contrast, the message that Hamas and allied militant factions were responsible for few civilian casualties is far more prevalent among Western pro-Palestinian audiences. While Hamas attempts to project an image of military might, daring, and resilience to its domestic and Arab audience —positioning itself as the leader of a historical assault and ensuing national war — it has also made use of the media to project weakness and victimization to its Western audience.
In order to sustain the latter image in Western media spaces, Hamas has denied or recast documentation of its fighters’ actions on Oct. 7. To this end, Western sympathizers of the organization have pushed claims that minimize and deny the actions of Hamas terrorists and attribute them to Israeli misinformation. They insist that Qassam Brigades fighters killed only Israeli military personnel and did not participate in wanton violence and sexual cruelty, despite extensive documentation from Israeli investigations, survivor testimony, and statements by Hamas fighters themselves.
Proponents of this narrative, including Hamdan in his interview earlier this month, frequently point to an article published in Haaretz in November 2023, which claimed that Israeli helicopters accidentally opened fire on some festivalgoers at Nova amid operational chaos. Another line from the investigation mentioned that pilots at one point “fired indiscriminately,” although this referred to shooting at the gap in the border fence to prevent the passage of fighters to and from Gaza.
Even as the initial report was preliminary, it was quickly picked up by numerous anti-Israel media figures and decontextualized to imply that Israeli helicopters had been the chief killers at Nova and elsewhere — committing a “false flag” massacre that could then be blamed on Hamas to justify the ensuing Israel–Hamas war in Gaza.
Some proponents of this theory often invoke the so-called “Hannibal Directive” — an Israeli military protocol introduced in 1986 to prevent the capture of Israel Defense Forces personnel by terrorist groups. It was abandoned by the military’s top brass in 2016. The protocol reportedly sanctioned use of force to prevent soldiers from being taken hostage, even if it resulted in increased civilian and military casualties.
Critics of Israel have cited the Hannibal Directive to falsely imply that Israeli forces deliberately fired on kidnapped civilians to prevent them being taken hostage. Figures across the political spectrum, from far-left journalist Max Blumenthal to far-right internet personality Nick Fuentes, have amplified such claims. Variations of these arguments have also appeared in coverage by outlets such as Al Jazeera and Middle East Eye, which have highlighted the helicopter-fire allegations and questioned Israeli casualty narratives.
Hamas diplomat Bassem Naim made similar claims to Hamdan’s on Oct. 9, 2023, when he alleged that “Hamas have not killed any civilians” in an English interview with Sky News.
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U2’s New EP References Holocaust, Hitler, Women’s Rights Protests in Iran, Deceased Palestinian Activist
The Irish rock band U2. Photo: BANG Showbiz
The Irish rock band U2 released an EP on Wednesday titled “Days of Ash” that addresses a wide range of topics, including the “Women, Life, Freedom” uprising in Iran, the Holocaust, the killing of a Palestinian activist, ICE raids in the United States, and the Russia-Ukraine war.
“Days of Ash,” which was released on Ash Wednesday and is now available on all streaming platforms, is the first time U2 is releasing a collection of new music since 2017. The EP features five new tracks – “American Obituary,” “The Tears Of Things,” “Song Of The Future,” “One Life At A Time,” and “Yours Eternally” (ft. Ed Sheeran & Taras Topolia) – and the recitation of the poem “Wildpeace,” written by Israeli poet Yehuda Amichai. The poem is read on the EP by Nigerian artist Adeola Fayehun. It begins with the following lines: “Not the peace of a ceasefire / not even the vision of the wolf and the lamb / but rather as in the heart when the excitement is over / and you can talk only about a great weariness.”
In a new interview with the U2 fanzine “Propaganda,” which is being relaunched as a one-off digital zine to accompany the new EP, lead singer Bono talked about the music referencing Nazi leader Adolf Hitler, concerns about antisemitism, his condemnation of the Hamas-led terrorist attack in southern Israel on Oct. 7, 2023, and his criticism of Israeli Prime Minister Benjamin Netanyahu for how he is managing the Israel-Hamas war.
The title for “The Tears of Things” is a reference to the 2025 book by Richard Rohr titled The Tears of Things: Prophetic Wisdom for an Age of Outrage. The book is about the Jewish prophets and imagines a conversation between Italian sculptor and artist Michelangelo and his marble statue of the Bible’s King David.
“If you put a man into a cage and rattle it long enough/A man becomes the kind of rage that cannot be locked up … The tears of things/Let the desert be unfrozen,” Bono sings in the track. He also sings about “six million voices silenced in just four years,” which is a reference to the six million people killed in the Holocaust. Bono told “Propaganda” the same song includes a reference to a true story about Mussolini and Hitler meeting. Hitler’s name in the song is replaced by the word “shadow,” Bono explained.
“Mussolini came to see me/A shadow by his side,” Bono sings. “Church bells ring, a vanishing/Then the vanishing denied/Six million voices silenced in just four years/The silent song of Christendom/So loud everybody hears.”
The track concludes with the lyrics: “River, sea and mountain/Desert, dust and snow/Everybody is my people/Let my people go.”
Bono told “Propaganda” it is “the moral force of Judaism that helped shape Western civilization.”
“Some of my favorite bits … some of the greatest hits of Western civilization … were gifted to us by brilliant Jewish minds … mathematicians, scientists … writers … not to mention singwriters,” added the singer-songwriter, who said he comes from a “Judeo-Christian tradition.”
“There has never been a moment when we have needed the moral force of Judaism more than right now,” he explained. “And yet, it has rarely in modern times been under such a siege. From where I stand, as a person with a limited view, Judaism, one of the great and noble religions, is being slandered by far-right fundamentalists from within its own community … I could argue the same about Christianity or Islam.”
Antisemitism “has been a scourge for millennia,” and “was rising long before Oct. 7 and the resulting war in Gaza,” Bono said. “As with Islamophobia, antisemitism must be countered every time we witness it. The rape, murder, and abduction of Israelis on Oct. 7 was evil, but self-defense is no defense for the sweeping brutality of Netanyahu’s response,” he continued.
The musician also talked about how the Israel-Hamas war has resulted in “deep knock-on effects for the Jewish diaspora and their safety … As if all Jews are to blame for the actions of Netanyahu, Smotrich, and Ben Gvir.” He was referring to Israel’s Finance Minister Bezalel Smotrich and National Security Minister Itamar Ben Gvir.
When asked later on in the interview about criticism he has faced, especially in Ireland, for not speaking out enough against the conflict in Gaza, Bono said, “I’ve written on Israel and Gaza, but in terms of actions I’ve been focused on the things I know more about.”
Bono also told “Propaganda” that the song “One Life at a Time” on the new EP is inspired by Palestinian activist and filmmaker Awdah Hathaleen, whose was killed last year by an extremist Israeli settler in the West Bank. Hathaleen was featured in the Oscar-winning documentary “No Other Land,” which focuses on Israel’s demolition of Palestinian homes in the West Bank village of Masafer Yatta and criticizes Israel’s military actions. The lyrics of “One Life at a Time” do not reference Hathaleen by name, but the band’s lyric video for the track features a picture of Hathaleen’s face, as well as image of Israel’s West Bank security barrier and the Dome of the Rock.
“Song of the Future” honors the 2022 Women, Life, Freedom movement and uprising in Iran as well as the protesters killed, including 16-year-old Iranian Sarina Esmailzadeh, who was beaten to death by Iranian security forces. Esmailzadeh is the “star of our song,” Bono told “Propaganda.”
“This new EP is a response to current events, inspired by the many extraordinary and courageous people fighting on the frontlines of freedom,” U2 said. “Four of the five tracks are about individuals – a mother, a father, a teenage girl whose lives were brutally cut short – and a soldier who’d rather be singing but is ready to die for the freedom of his country.”
The first track of the EP, “American Obituary,” is dedicated to Renee Good, a mother of three and protester who was fatally shot on Jan. 7 in Minneapolis, Minnesota, by a US Immigration and Customs Enforcement (ICE) agent during a protest.
The track “Yours Eternally” is about the war in Ukraine.