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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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Waiting on line on Christmas is a time-honored New York tradition — was it ever thus?
At 6 a.m., the morning before Christmas, Charles Licata was waiting outside the door of Russ & Daughters, two hours before the century-old Manhattan appetizing store opened. Each Christmas Eve for the past 42 years, Licata, jones this time by a family member and a friend, has made the hour-long drive from central New Jersey. “I like to be first in line,” he told me.
Licata, who manufactures granite countertops, told me he was hosting 40 for a traditional Italian feast of seven fishes on Christmas Eve, and on Christmas Day, his family had plans to devour another seven fishes and then some. “We got sable, lox, caviar, the spreads, pickled herring, tuna fish salad, hot and cold smoked salmon,” he started to list, before adding, “we got everything.”
Nikki Russ Federman, the fourth-generation owner of Russ & Daughters, instantly greeted Licata who she recognized from years past. By 9 a.m., she was hustling off to the shop’s Brooklyn bakery because they were already running out of bagels.
The Christmas Eve crowds rival Erev Yom Kippur and they grow throughout the day.
“Christmas is a Jewish holiday,” Russ Federman quipped.
For Licata, the line itself, with its banter and camaraderie is part of the ritual, except queuing at Russ & Daughters isn’t traditional. Lower East Side Jews didn’t wait in line; they jostled at deli counters and mobbed pushcarts.
“When I arrived on the scene in 1978 to take over the business,” third-generation owner Mark Russ Federman recounted in his 2013 book Russ & Daughters, “I discovered that there had never been a real attempt to implement a method to maintain crowd control and customer flow.”
First, the lox slicers behind the counter would pick out their regulars from the crowd, and then call “Who’s next?” To which, according to Mark Russ Federman, several elderly women would yell in their Yiddish-inflected English, “My next.” Mayhem would ensue.
“Grandpa Russ, my parents, and my uncles and aunts,” wrote Mark Russ Federman, “felt that having customers take a number from a machine and wait their turn was insulting, impersonal, and too ‘uptown.’”
It was during the Yom Kippur rush of 1978 that Russ Federman established a numbered ticketing system, turning the huddled mass of customers into an orderly line — something he saw as both more efficient for business and fairer for the customers. Since then, the appetizing store’s line has only grown, as have lines throughout the city.
Weathering the wait for Russ & Daughters seems more legit than camping out for the latest TikTok trend. Since the pandemic, lines in New York have become ubiquitous — for oversized pastries, for stunt croissants, for hype pizza. This past spring, a Saturday Night Live skit joked that a New Yorker’s favorite pastime is to “wait in a big dumb line.”
Waiting on line for West Village brunch often feels performative, but for Licata at Russ & Daughters, it isn’t about clout, it’s about continuity. It was a Jewish friend who first brought bagels and lox over for Christmas breakfast at Licata’s home decades ago. “I’m just carrying the tradition forward,” he said.
Down the block, most every year, Jeremy Kahn and his family make a pilgrimage from Washington, D.C. to Katz’s Deli. This past week, he was shocked to find that, even at the off-time of 4 p.m., the line still stretched to the corner. He speculated that there were more tourists. “I thought we’d be able to just walk right in,” he said.
After the 30 minute-plus wait at Katz’s, customers hungry for pastrami take a ticket at the door; they must sort into new lines to wait their turn with a cutter at the counter. And before leaving, customers must again wait their turn at the cashier’s line.
For Kahn, the wait is worth it. “This is where my grandfather would come to eat,” he said, and now he was taking his two young children and his father. “It means something that there is a line to get in. People are willing to wait in the cold.”
Katz’s with its shared cafeteria tables is known for its hustle and bustle, but things feel orderly compared to how it once was. In 1966, the iconic cheap eats guide, Underground Gourmet, deemed Katz’s “the largest, nosiest, busiest, and sloppiest delicatessen in Manhattan.” The guide’s authors, the illustrators and graphic designers Milton Glaser and Jerome Snyder, described ordering as a “struggle” that involved having to “muscle your way up to the endless serving counter and try to make yourself heard.”
Standing on line was foreign enough to Jewish immigrants that the Forverts mostly referred to queues, not by the Yiddish word “rey” (meaning row), but with the English “line,” spelled out in Hebrew letters. In 1930, the Forverts reported that boxing fans were waiting on long lines in the cold and rain to watch a Jackie Kid Berg lightweight championship bout at Madison Square Garden, but Jews at the time mostly seemed to be lining up at Depression-era soup kitchens and unemployment lines in the U.S. or, worse, for handouts at refugee centers in Europe.
It’s not just Jews who were late to line up; lines are actually a fairly modern phenomenon. Often cited as containing the first description of a queue in English is Thomas Carlyle’s 1837 book The French Revolution, which described Parisians lining up at bakers’ shops during a famine. By World War II, queuing had become commonplace in rationing-era Britain.
Lines were then associated with shortages and bureaucracy; now they represent wealth and leisure. There are still long waits at the DMV and over-burdened food pantries, but today, many lines are fueled by social media. A long line at a bakery signals that their $8.50 pistachio rose croissant is popular; joining the line gives you online bragging rights, not joining risks FOMO.
My friend Miriam Berger, a 91-year-old Manhattanite, says she has no memory of these types of lines in the 20th century. “I have no patience to stand on a line for anything,” she told me, “probably because such behavior didn’t exist in my growing-up environment.”
We still manage to do much without lines. We squeeze into rush hour subway cars, flag down bartenders at crowded pubs, and hail cabs. At times, it feels cut-throat, but there’s an unspoken etiquette — someone waves you into a lane, a stranger holds the door.
Lines promise efficiency and equity, but the first-come-first-serve system easily breaks down. There are cutters, professional line waiters, and ways to pay your way to the front of the line with priority passes and VIP options for most anything.
And very often, there are ways to avoid lines altogether. At the end of his book, Mark Russ Federman writes that when his daughter Nikki and his nephew Josh entered the business in 2001, they started online ordering. “This wasn’t the way the Russ family did business,” he initially thought before he accepted the idea. “If you wanted to buy our fish, you came to the store. If you wanted to place an order over the phone, we had to recognize your voice or know your family.”
Now, Russ & Daughters ships nationwide, and with delivery apps, lox and herring can be ferried almost instantly to your door on an electric moped.
That’s too uptown for my tastes. I’d rather take a number.
The post Waiting on line on Christmas is a time-honored New York tradition — was it ever thus? appeared first on The Forward.
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The data is in: For many in the Northeast, Christmas isn’t Christmas without Chinese food
It’s not just a myth that Jews head to Chinese restaurants on Christmas. It’s science!
Sort of. A new report from the financial services company Coventry Direct claims to have quantified the trend. The report analyzed search data for “Chinese food near me” during the week of Christmas from 2020 to 2024, and found that the Northeast dominated the results.
The top five states included Delaware, Rhode Island, Connecticut, New Jersey and New Hampshire, while New York, which is home to the largest Jewish population in the country, came in seventh place. Under the assumption that Jews are overrepresented in the Northeast, the study confirms that Coventry Direct is not peer-reviewed.
The study also analyzed Google search trends over the past year to find the top-searched Chinese food dish in each state. While Szechuan chicken was the most popular dish, taking first place in eight states, New York’s most searched item was Buddha’s Delight, a — IYKYK — vegetarian stew.
The Jewish Christmas tradition was famously referenced during Elena Kagan’s United States Supreme Court confirmation hearings in 2010 when she was asked where she was on Christmas day:
“You know, like all Jews, I was probably at a Chinese restaurant,” replied Kagan.
In recent years around Christmas, social media has also been flooded with images of a sign where the seemingly fictional “Chinese Restaurant Association” of America thanks its Jewish diners for their patronage.
“The Chinese Restaurant Association of the United States would like to extend our thanks to the Jewish people,” the sign reads. “We do not completely understand your dietary customs … but we are proud and grateful that your GOD insist you eat our food on Christmas.”
Two men enjoy Chinese cuisine prepared by Chinese chefs within the guidelines of kosher food preparation at a restaurant. (Getty Images)
But the now-ubiquitous tradition of Jews eating Chinese food on Christmas traces back to the early 20th century, when Jewish immigrants began carving out distinctly American rituals of their own. If for no other reasons, Chinese restaurants were more likely to be open on Christmas.
A classic 1993 study on the tradition, “New York Jews and Chinese Food: The Social Construction of an Ethnic Pattern,” by Gaye Tuchman and Harry Levine, traced the Jewish affinity for Chinese food to a few factors: Chinese restaurants at the time “welcomed everyone,” offered flavors familiar to an Eastern European Jewish palate and were considered a “sophisticated” dining experience for new-ish, Jewish Americans stepping outside their comfort zones.
While Chinese restaurants do not typically offer kosher fare, Tuchman and Levine also argued that Chinese restaurants were viewed as “safe treyf” because Chinese cuisine rarely mixes milk and meat and ingredients like pork and shrimp are chopped into hard-to-identify pieces.
To celebrate the longstanding tradition, a comedy club in New York’s East Village is set to host “Kosher Chinese: The Comedy Show,” with patrons enjoying kosher dumplings and an “unapologetically alternative holiday spirit we all secretly love.” In San Francisco, the 33rd Annual Kung Pao Kosher Comedy show kicks off tonight, and runs through Friday, Dec. 26.
From Massachusetts to Ohio, Jewish delis have also planned their own Chinese-inspired menus to mark the tradition.
This article originally appeared on JTA.org.
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StopAntisemitism names Tucker Carlson ‘Antisemite of the Year’ as 2024 winner Candace Owens ramps up anti-Jewish rhetoric
(JTA) — The activist group StopAntisemitism has awarded the conservative personality Tucker Carlson its ignominious honor of “Antisemite of the Year,” citing his frequent invocation of classic antisemitic stereotypes.
The announcement comes as Carlson sits at the center of controversy on the American right about whether extremists should be welcomed in the Republican Party. It also marks the second year in a row that StopAntisemitism has selected a right-wing figure for its accolade, after years of awarding the mantle to mostly left-wing figures.
“Carlson mainstreams antisemitism by platforming and praising Holocaust revisionists and Nazi apologists, while hiding behind irony and plausible deniability,” the group said in a statement. “By legitimizing extremist voices and weaponizing conspiratorial imagery at massive scale, he has helped drag antisemitic ideas back into the mainstream.”
A watchdog presence with more than 300,000 followers on X, StopAntisemitism regularly mobilizes against activists and social media posts. The group has faced criticism for what some perceive as an inordinate focus on Muslim personalities, pro-Palestinian actions and non-prominent individuals. Its defenders deny that, pointing out that StopAntisemitism also regularly spotlights neo-Nazis and Holocaust deniers on the right.
Its finalists for Antisemite of the Year included pro-Palestinian celebrities Ms. Rachel, Cynthia Nixon and Marcia Cross; mixed-martial-arts athlete and Holocaust denier Bryce Mitchell; two personalities associated with left-wing network The Young Turks; and social media personalities on both the far left (Guy Christensen) and far right (Stew Peters).
Carlson received the accolade on Sunday night, at the end of a weekend in which he was a keynote speaker at the convention of Turning Point USA, the young-conservatives group founded by Charlie Kirk, who was assassinated this fall. In its announcement, StopAntisemitism noted Carlson’s speech at Kirk’s memorial service, in which he described the murder of Jesus in a way that both his critics and fans interpreted as implying that Jews or Israelis had been behind Kirk’s assassination.
At the convention, the Jewish pundit Ben Shapiro continued his campaign against Carlson and Carlson declared himself to free of the anti-Jewish animus that he has long been criticized as propagating.
“Let me just affirm one final time. Not only am I not an antisemite — and I would say so if I was — I’m not an antisemite for a very specific reason,” Carlson said in his speech. “Not because it’s unpopular or my donors don’t like it. I don’t have any donors. I’m not an antisemite because anti-semitism is immoral in my religion. It is immoral to hate people for how they were born.”
It was the same explanation that Vice President JD Vance offered earlier this month when he said in an NBC News interview that he believed antisemitism is wrong.
In his own speech to Turning Point USA’s AmericaFest, Vance again refrained from criticizing extremists in the Republican Party, saying that he opposes “purity tests” for inclusion in the conservative movement. He also said he believed that antisemitism in the United States was being fueled by “a real backlash” against U.S. aid to Israel..
As the convention was underway, last year’s “Antisemite of the Year,” the right-wing streamer Candace Owens, embarked on a four-hour broadcast eviscerating Shapiro; amplifying antisemitic theories, including that Jews controlled the slave trade; and promoting a classic work of antisemitism by August Rohling, a German Catholic who believed in the blood libel and argued that the Talmud is a secret guide used by Jews for nefarious purposes. Rohling died in 1931.
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