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20 years ago, Marvel introduced a Jewish Black Panther

(JTA) — Like some Jewish baseball fans, many dedicated Jewish comic book readers keep a running roster of Jewish heroes that have appeared in the “major leagues” of the comic world: Marvel, DC and some independent publishers’ titles.

Many know the handful of often-discussed Jewish characters: The Thing, whose adult bar mitzvah and Jewish wedding were major storylines; the Jewish star-wearing X-Men character Kitty Pryde; one-time Batwoman Kate Kane; and the popular supervillain Harley Quinn, to name a few. Moon Knight recently became the first overtly Jewish character to appear in the so-called Marvel Cinematic Universe, with his own show on Disney+ starring Oscar Isaac.

But not many readers are aware that, for a brief period exactly 20 years ago, the most overtly Jewish of all mainstream superheroes was the Black Panther.

Marvel’s original Black Panther character debuted in the summer of 1966, coincidentally just months before the launch of Bobby Seale and Huey Newton’s political party of the same name. Like Superman, Batman, Spider-Man and Captain America, the first mainstream Black superhero was created by Jewish comic book legends, in this case the dynamic duo of Jack Kirby (born Jacob Kurtzberg) and Stan Lee (born Stanley Lieber).

The Black Panther first appeared in a “Fantastic Four” issue, and is also known as T’Challa, the king and protector of the fictional African nation of Wakanda, a technologically advanced society hidden from the world. T’Challa possessed superhuman abilities, advanced technology and unmatched combat skills, and was considered one of those most brilliant men alive. The character and his storylines explored themes of identity, heritage and the responsibilities that come with power.

At the time of its creation, a strong, positive portrayal of an African superhero that defied stereotypes was a significant milestone in representation and diversity in the comic book industry. The Black Panther’s impact has been far-reaching, inspiring generations of readers as an enduring symbol of Black empowerment and pride.

Flash forward several decades after the character’s debut, and comics creator Christopher Priest was nearing the end of a transformative 60-issue run at the helm of the Black Panther title. Priest was the first Black writer to work full time at either of the big two studios, and his trailblazing reinvention of the character served as the primary inspiration for the two blockbuster movies that have earned acclaim in recent years.

In the final dozen issues of Priest’s “Black Panther” series, the story took a surprising turn. T’challa had vanished and was presumed dead. In his stead, a new Black Panther appears mysteriously on the scene: Kevin “Kasper” Cole, a narcotics officer in the NYPD’s Organized Crime Control Bureau.

Cole’s father was born in Uganda, but Kevin lives in a tiny apartment in Harlem with his Korean girlfriend, Gwen, and his Jewish mother, Ruth. Kevin is known as “Kasper” — after the well-known Casper the Friendly Ghost cartoon — because, as he puts it:

There once was the greatest cop who ever lived. A proud and noble warrior, someone to be both feared and respected. Jonathan Payton Cole. “Jack” Cole. Called him “Black” Jack because he was so dark. Just like they called his kid “Kasper,” because I was so light.

Meanwhile, Priest modeled Ruth after the mother on “Everybody Loves Raymond,” played by Jewish comedic actress Doris Roberts.

Cole originally “borrows” the Black Panther costume from the home of his boss, Sgt. Tork, an ally of T’challa who had held on to the costume for safekeeping. Cole’s motives were hardly altruistic, as Priest wrote on his blog at the time: “Kasper’s motive is to wear the costume so he won’t be recognized by the good guys or the bad guys as he goes about cleaning up his precinct so he can get a promotion to Detective so he can make enough money to marry his pregnant girlfriend and move them all out of Harlem.”

But what starts out as a side hustle for Cole soon evolves into a hero’s journey. When Cole is discovered by T’challa’s longtime adversary and half-brother, Hunter — AKA The White Wolf — he provides Cole with training, equipment and mentorship in order to use Cole as a proxy to hurt T’challa, who has resurfaced in New York City. The story soon becomes, in Priest’s words, “a war between The Black Panther (T’Challa) and the ‘white panther’ (Hunter) over the soul of this young kid.”

The story doesn’t end there: Cole decides to pursue official Wakandan acceptance as Black Panther by enduring rigorous initiation trials, and he soon receives support from none other than Erik Killmonger (the villain in the first “Black Panther” movie). Killmonger offers Cole a synthetic version of a heart-shaped herb, giving him T’challa-level powers. The series ends when Cole agrees to become an acolyte of the Panther god, Bast, instead of living as an imitator. He assumes a new title, The White Tiger (thereby becoming the second Jewish Marvel hero after Moon Knight to dress all in white and serve at the pleasure of an African deity).

Throughout the series, Cole’s Judaism is not a mere aside. Priest provides numerous examples of a strong Jewish identity: He dreams of his unborn son having a bar mitzvah (where they will serve “Bulgogi and ribs”). He dons a kippah and recites a Hebrew prayer at the grave of his slain friend and boss, Sgt. Tork. Even Erik Killmonger refers to Cole’s Jewish identity as a reason why Cole would identify with the underdog. Cole also proudly mentions his Jewish identity to several other characters in both Black Panther and in Priest’s short-lived follow-up series, “The Crew.”

(Priest originally envisioned the ensemble for “The Crew,” which wound up being mostly Black heroes, to be a much more diverse group, including not only Cole but also the one-time Avenger and New Warrior, Vance Astrovik, AKA Justice. That would have meant an unprecedented two Jewish superheroes on one team.)

Cole was the son of a non-Jewish African father and Jewish-American mother. (Marvel Comics)

One reason why Priest decided to make Cole Jewish could have been his personal familiarity with Jews. Priest himself went to a primary school in a Jewish neighborhood in New York City, where, he writes, “I had absolutely no sense of racism being directed at me… If I had a beef with another boy, it was about whatever it was about—race played absolutely no role… At least half of my friends were white. Right up through middle school, my girlfriend was a little Jewish girl.”

Fabrice Sapolsky, CEO and Founder of FairSquare Comics — which aims to “promote and give more exposure to immigrants, minorities and under-represented creators of the word” — hopes that Cole will not be the last comic character to represent an understanding of Jewish ethnicity beyond the “Ashke-narrative trope.”

“It is the right time for these kinds of stories to emerge,” said Sapolsky, who recently published a book starring an Asian-Jewish protagonist. He said he is also releasing a title soon that features a Black-Jewish heroine.

Cole’s journey has continued in a new series written by Ta-Nehisi Coates, over a dozen years after his first appearance (or 1-2 years in “Marvel time”). In the Coates narrative, T’challa convinces Cole to come out of superhero retirement and move to Wakanda. T’challa offers to train and outfit him not as The Black Panther or The White Tiger, but as an entirely new hero, simply known as Kevin Cole. In the most recent issues, he defends Wakanda alongside a veritable who’s-who of Black Marvel superheroes.

“One of the prime directives at Marvel has always been to create characters that resemble the world and people we know, that are around us,” Mike Marts, Priest’s editor on “Black Panther,” said about the groundbreaking representation that a Black-Jewish hero represents. “So making Kevin half-Jewish was most likely a result of collaboration between us (Marvel) and Priest… to create a character that our readers could identify with and relate to.”


The post 20 years ago, Marvel introduced a Jewish Black Panther appeared first on Jewish Telegraphic Agency.

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His family was forced to sell their precious Pissarro painting before fleeing Nazi Germany; will he finally see justice?

It has been more than four years since I first reported on the looted art case regarding the Camille Pissarro painting, “Rue Saint-Honoré, Apres Midi, Effet de Pluie,” in The Forward. The painting is part of a series the Jewish artist painted from the safety of his hotel room in Paris at the height of the Dreyfus Affair in France.

The scandal, sparked by the false conviction of a Jewish army office tore French society apart and brought to light the country’s deep antisemitism. “Rue Saint-Honoré” is both an important work of Impressionism and a testament to historical events. If recovered, it may even break records at auction, how rare a Pissarro cityscape comes on the market, and how robust the fine art auction industry is at present. “The painting could “easily break the hundred-million-dollar mark at auction, following its recovery,” says historian and looted art expert, Jonathan Petropoulos.

David Cassirer in his home with a photograph of his family’s Pissarro painting in his great grandmother’s parlor in Berlin. Photo by Michelle Young

The case of this rediscovered Pissarro painting captured my imagination from an aesthetic, legal, and storytelling perspective. It is a saga that has it all — art, war, robber barons, and more — and forces everyone who encounters it to reckon with fundamental questions on morality and humanity — from both a personal and historical perspective.

The case has been in the public consciousness for far longer than my own connection to it, however. In 1939, just prior to the onset of World War II, Lilly Cassirer — who inherited Rue St. Honoré through her husband, a member of a renowned family of cultural patrons in Germany — was forced to sell the painting under duress in order to flee Nazi Germany.

Sixty years later, in December of 1999, Lilly’s heirs discovered that the Pissarro had not been lost or destroyed in the war. In fact, it had resurfaced at the new Thyssen-Bornemisza National Museum in Madrid, a collection belonging to the Kingdom of Spain acquired directly from the Thyssen Steel family, which had financed Hitler’s early rise to power.

The rediscovery kicked off an Odyssean legal journey up and down the federal courts in California, all the way to the U.S. Supreme Court in Washington twice, and back. Now, another ruling is expected from the Federal District Court in Los Angeles this spring, on remand from the U.S. Supreme Court. The Supreme Court has asked the district court to issue a new ruling in light of a new California law regarding stolen and Holocaust-looted art. For its part, the Thyssen-Bornemisza National Museum maintains that it is the legitimate owner of the painting and that “there were no indications of bad faith in the acquisition of the painting.”

Lilly Cassirer and her son Claude Cassirer, David’s father. Courtesy of David Cassirer

A separate, concurrent effort is underway in Congress to update the Holocaust Expropriated Art Recovery Act of 2016 (HEAR Act), a Federal law that enabled Nazi-looted art claims to be submitted within six years of discovery of a work of art, thereby supplanting any state statute of limitations. The law was intended to expire after ten years, but given the enormous amount of looted art still to be found, the proposed update would remove the sunset clause, as well as dismiss defenses not directly related to the merits of the cases. The new act specifically cites this Pissarro painting and the legal case to recover it, seeking to prevent other looted art claims from facing a similar, protracted legal battle. The bill already passed the Senate Judiciary Committee in a unanimous vote and is on the docket for a vote in the House of Representatives.

On the eve of two significant moments in the adjudication of Nazi-looted art, I sat down with David Cassirer, Lilly’s last living heir, and Sam Dubbin, one of his lawyers working on the case.

David, not long from now, there will be a new court decision on the long running case to restitute your family’s Pissarro painting Rue Saint-Honoré, Apres Midi, Effet de Pluie,” which was a prized possession of your great-grandmother Lilly. What are you feeling at the moment?

David Cassirer: I’m pretty excited. It’s been such a long time since we started. This case gets exciting, and then it slows down. This is one of those exciting moments. There’s a lot going on, and we’re feeling pretty confident that we’re close to a recovery, after finding the painting more than twenty-six years ago

And what about you, Sam, how are you feeling?

Sam Dubbin: That’s a great question, because in my profession, you get optimistic, and then you get deflated, and sometimes the deflation takes a long time to get over. But deep down, I’m feeling optimistic, like this could really happen. And the moments when I feel lucky that it’s happening, I say to myself, “That’s ridiculous. It’s so long overdue.” What should have been done, should have been done so long ago. If the Thyssen-Bornemisza museum had given it back when Claude asked for it in 2000, he would have had ten years to enjoy it, to show it to people, to donate it. And it would have been a magnificent event.

This painting is important within the oeuvre of Pissarro’s work, but also historically in connection with the Dreyfus affair. Can you elaborate on its cultural and historical importance?

Dubbin: Pissarro painted this painting from the second floor of the Grand Hôtel du Louvre during the height of the Dreyfus Affair, when he literally feared for his life. He could not be seen on the streets of Paris because the antisemitism was so intense, and it’s considered one of the great works of the Impressionist movement. And so when you think about its origin during the Dreyfus Affair, then being looted by the Nazis during the preeminent human rights war crime in history, and now not being returned by the Kingdom of Spain, it’s just such an egregious, arrogant violation of decency and humanity.

Lilly Cassirer’s parlor in Berlin with Rue Saint-Honoré, Apres Midi, Effet de Pluie on the wall. Courtesy of David Cassirer

And for you David, from a personal standpoint, what does the painting mean to you?  

Cassirer: One of the things I like about the case is that there has been so much extraordinary publicity and interest by the public and by the press that it kind of reconnected the dots between the Impressionists and my family. My father would be very proud to read about the fact that his cousins Paul and Bruno, had championed the Impressionists and responsible for some of their success. There’s a new exhibition that’s starting soon in Berlin all about Paul Cassirer. It’s exciting to see this. It’s exciting in light of all the antisemitism that we’ve seen and the resurgence of it lately, to have some good news about Jewish contributions to culture, not to mention that Pissarro himself was Jewish. I’m delighted when I read stuff that starts to put in perspective this whole concept of our role in culture. It’s not the only thing Jewish people do, but it’s a big part of our culture.

I’d be very happy on behalf of the family and our friends to win the case, but it’s equally important that the case stands for something. And my father would feel that in his bones, especially since he really was there in the Holocaust and watched his family wiped out, watched their fortunes wiped out, watched most of his relatives sent off to the camps and so on. So, he felt it on a level I can only empathize with. It’s different if you’re there at a detention camp in the desert outside of Casablanca, and you’re dying of typhoid fever because there’s no running water and there’s no toilets. So luckily, he was young and strong and came back and survived and got here during the war. And of course, he went in to try to enlist. [The Americans] threw him out. “We’re not taking any Germans. Are you crazy?”  He was very disappointed that he couldn’t join up and fight the Nazis.

The U.S. Supreme Court held in 2022 that California law should apply in this case, which was a big victory.  But then the appellate court ruled against you, once again. What’s at stake with the next court decision? 

Cassirer: I badly need this case to come out right, not just for the family. It’s a very important precedent. My father would have wanted people to be able to cite, to point to Cassirer v. Spain, Cassirer v. Thyssen-Bornemisza. That’s a big deal. We want people to be able to rely on that precedent all over the country and maybe in other countries as well, so I’m watching for that. It isn’t just California law versus Spain, it’s American law versus Spain. Generally speaking, throughout the country, the rule would be that you never acquire good title to stolen stuff. That’s the bigger picture here. The Supreme Court ruling meant that we are going to use good old American law to decide this thing ultimately.

Dubbin: By the way, Spanish law is an outlier. Even in other European countries, you cannot acquire good title even after the passage of time, if you take it in bad faith. Even countries like Germany, France, Netherlands, and Switzerland. Only Spain allows you to get good title after six years of adverse possession if you acquired something in bad faith.

It feels like a case in which, hopefully, common sense and morality can align. I think oftentimes, when the public thinks about the law, there’s sometimes a frustration that can arise, because cases are not always litigated based on what the public thinks is the logical, morally correct outcome. But hopefully, from what you’re saying, this could be one of those cases. David, what have been some of the positive things that have come out of this battle?

Cassirer: Lots of great stuff although it’s been difficult to wait so long and to watch my immediate family pass away in the interim. And as you can see, I’m not getting any younger here. (David is 71). It’s been a long, hard slog. The support from non-Jews has been extraordinary. We would expect, and we did receive, endless support from Jewish organizations and Jewish individuals. It’s been amazing, however, how much support we’ve had from day one in the press and in the public and in government, et cetera. I’ve been very heartened by the fact that we’ve had so much support from people “without a dog in the race,” so to speak, beyond the Jewish community.

I’ve also been very heartened in recent years with Sam’s extraordinary success working with legislatures, both in California and in Washington, and that the support isn’t just from one side or the other. It’s amazingly bipartisan. People who don’t even talk to each other gladly work together on these bills, sponsor these bills, and fend off anyone trying to undo it. Even though we haven’t won yet, we have won many battles along the way.

David, what advice would you give to other families who may be pursuing cases? What do you hope people take away from your experience?

Cassirer: That’s a good question. Assuming that we’re ultimately successful, which I’m still pretty confident with Sam’s help and this extraordinary team that we’ve managed to assemble, that we are going to win this thing. People should be encouraged, in a meta sense, that it’s worth fighting for stuff that’s important, even if the odds are long, even if other people might not be successful at it. But that doesn’t mean you shouldn’t try and you shouldn’t stick with it. I’ve been in the case twenty-six years and counting. If you’re tough enough and dedicated enough and you figure out a way to surround yourself with talented, committed people, there’s very little that can’t be accomplished in this country and in other countries as well. I think for me, that’s a pretty big takeaway.

You’ve just struck me that you’re talking about the American dream.

Cassirer: Yes! My father told me that the greatest day he ever had was becoming an American citizen. After what he had been through and being stateless, having had his government turn against him, it’s interesting that, given his extraordinary life, the greatest day of his life to him was when he became a naturalized citizen; because, to him, that was the American dream.

 

 

 

 

The post His family was forced to sell their precious Pissarro painting before fleeing Nazi Germany; will he finally see justice? appeared first on The Forward.

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Amid antisemitic attacks, Trump has forced an impossible choice on American synagogues

The Thursday attack on Temple Israel in West Bloomfield, Michigan, did not occur in a vacuum.

In the past few months, shots were fired at three congregations in Toronto; an explosion rocked a synagogue in Belgium; and an arsonist caused massive damage to Beth Israel Congregation in Mississippi. Antisemitic incidents in the United States have reached historic highs. The threat is real, it is escalating, and American Jews know it.

Which is why the federal government’s decision to use this moment in history to force Jewish communities to choose between their own safety and that of immigrants is so unforgivable.

That choice is being created as part of the government’s Nonprofit Security Grant Program, which under President Donald Trump has instituted troubling new changes.

The program was established in 2004 to help houses of worship pay for cameras, barriers, armed guards and alarm systems, then expanded after the Pittsburgh synagogue massacre in 2018. It has perhaps never mattered more than it does right now. It provides, quite literally, life-saving money. The demand for grants vastly outpaces the supply, with thousands of organizations competing for a fraction of the security funds they need.

Now, those funds come with new strings attached.

Beginning in 2025, the Department of Homeland Security attached sweeping ideological conditions to new security grants. Recipients of new awards must cooperate with Immigration and Customs Enforcement operations, and must also agree not to “operate any programs that advance or promote DEI, DEIA, or discriminatory equity ideology.” They additionally must not run any aid program which “benefits illegal immigrants or incentivizes illegal immigration.”

When asked to clarify what those conditions mean in practice — whether a synagogue that declares itself a sanctuary for refugees would be disqualified, or whether a congregation offering programming for Jews of color or LGBTQ+ Jews would run afoul of the anti-DEI clause — the federal government’s answer has been months of contradictory guidance and confusion.

The terrifying potential consequences of that muddle were thrown into sharp relief by Thursday’s attack.

A man armed with a rifle rammed his truck through the doors of Temple Israel, driving down a hallway before being killed by the synagogue’s security staff. Thankfully, no congregants were hurt, and the children in the preschool run by the synagogue all made it home safely.

Many congregations do not have the independent resources to support security protocols as effective as Temple Israel’s proved to be. Instead, they rely on the government to help bridge the gap.

But under Trump’s second administration, security funding — the money that pays for the tools that may one day save lives — is now a lever to use to force political compliance.

This is of particular significance for Reform Judaism, the largest Jewish denomination in the U.S. and that to which Temple Israel belongs. The movement’s commitment to welcoming the stranger, hachnasat orchim — stemming from the commandment to love the stranger, repeated no fewer than 36 times in the Torah — is core to its identity. It is no coincidence that many Reform congregations have declared themselves sanctuaries for refugees.

And it’s of particular significance because antisemitic violence is often linked to anti-immigrant sentiment. The deadliest act of antisemitic violence in U.S. history, the 2018 Pittsburgh synagogue shooting, was motivated by hatred toward immigrants, and toward Jewish programs that aid them.

The Trump administration’s demand that liberal American Jews choose between a foundational Jewish value and basic safety from violence is heartbreaking. One anonymous rabbi described the dilemma with devastating clarity to JTA: “Money is being given to us on condition that we violate a specific mitzvah. I don’t see how we can possibly accept that money.”

Rabbi Jill Maderer in Philadelphia put it even more bluntly, saying “Jewish safety requires inclusive democracy and inclusive democracy requires Jewish safety. We do not comply so we will not apply.”

These are communities under armed threat — as Thursday clearly reminded us — forced to choose between their physical safety and their moral integrity. That is a choice that no American religious community should ever have to make. The government’s obligation to protect its citizens, especially its most targeted minorities, must not come with an ideological price tag.

What makes this especially galling is the timing. A government shutdown of the Department of Homeland Security, born out of a political standoff over immigration enforcement, is currently halting the review of security grant applications. Synagogues that applied for funding months ago are waiting for approvals that may not come.

They are waiting, in many cases, to find out whether the security upgrades that might have made the difference under circumstances like those that unfolded in Michigan will be funded or not.

There is a word for demanding that a persecuted minority community abandon its values in exchange for protection: extortion. The Trump administration would no doubt dispute that framing. After all, the administration claims to care deeply about Jewish safety. Thursday’s attack makes clear that it is not enough for the administration to make that claim; it must prove its commitment through action.

It must remove the political conditions from the Nonprofit Security Grant Program. It must let houses of worship be what they are: sanctuaries, not instruments of federal policy.

The post Amid antisemitic attacks, Trump has forced an impossible choice on American synagogues appeared first on The Forward.

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‘For As Long As Necessary’: Katz Says Campaign Against Iran Entering Decisive Stage

Israel’s Defense Minister Israel Katz and his Greek counterpart Nikos Dendias make statements to the press, at the Ministry of Defense in Athens Greece, Jan. 20, 2026. Photo: REUTERS/Louisa Gouliamaki

i24 NewsIsrael Katz said Saturday that the confrontation with Iran had entered a “decisive phase,” as US and Israeli strikes on Iranian targets continued and regional tensions escalated.

Speaking after a security assessment at Israel’s defense headquarters alongside Eyal Zamir, chief of staff of the Israel Defense Forces, and senior military and intelligence officials, the Israeli defense minister said the campaign against the Islamic Republic would continue “for as long as necessary.”

“The global and regional struggle against Iran, led by American President Donald Trump and Israeli Prime Minister Benjamin Netanyahu, is intensifying and entering its decisive phase,” Katz said.

Katz also praised US strikes on Kharg Island, a key Iranian oil hub, describing them as a “severe blow” to the Iranian regime. He said the attacks were an appropriate response to Iranian threats against the strategic Strait of Hormuz and to what he called Tehran’s attempts to pressure the international community.

At the same time, Katz said the Israeli Air Force was continuing a “powerful wave of attacks” against targets in Tehran and other parts of Iran.

He accused the Iranian leadership of using “regional and global terrorism” and strategic blackmail in an effort to deter Israel and the United States from pursuing their military campaign, warning that such actions would be met with a “strong and uncompromising response.”

Katz added that the outcome of the conflict would ultimately depend on the Iranian population. “Only the Iranian people can put an end to this situation through a determined struggle, until the overthrow of the terrorist regime and the salvation of Iran,” he said.

According to the minister, the confrontation now pits the Iranian regime’s determination to survive against growing military pressure from Israel and its allies.

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