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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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Bob Dylan is changing his lyrics and his set list; what is he trying to tell us?
Nobel Prize-winning rock poet Bob Dylan once famously wrote, “You don’t need a weatherman to know which way the wind blows” (in his 1965 song “Subterranean Homesick Blues”). That may have formerly been the case, but it didn’t stop Dylan from kicking off his “Lights of Autumn Tour” in Oslo on Saturday, Oct. 17, with a setlist chock full of warnings about floods and extreme weather — a veritable apocalypse of natural disasters. He even rewrote some lines in one of his most famous and beloved songs, “Tangled Up in Blue,” to make the weather a new character in the song.
Playing “Tangled Up in Blue” in concert for the first time since 2018, Dylan revised a few verses. Where he originally sang “I had a job in the great north woods working as a cook for a spell” to kick off the third verse, Dylan instead sang “Way up in the frozen woods, teardrops touch the sky / The leaves are falling one by one, and the moments passing by,” in keeping with the “Lights of Autumn” theme. (It should be noted that Dylan has been rewriting and changing the lyrics to “Tangled” at least since 1984, when he also included the song on his opening concert of a European tour.) “Way up in the frozen woods” may also refer to Dylan’s hometown of Hibbing, Minnesota, which is so far north that you can practically see Canada from there.
On Saturday, Dylan continued to rewrite that third verse with the line “Sometimes I get so tired, sometimes I’m getting away / Lucky you found another, tomorrow’s another day.” In a clever twist, Dylan inserts the new word “lucky” into the number, which recalls the phrase “I can’t help it if I’m lucky” from the song “Idiot Wind,” also found on the 1975 album Blood on the Tracks where “Tangled Up in Blue” originated. “Lucky” also resurfaced as a cryptic moniker for Dylan himself when, in the superstar group the Traveling Wilburys that included George Harrison, Tom Petty, and Roy Orbison — all of whom took new names ending in “Wilbury” — Dylan opted for “Lucky Wilbury.” He can’t help it, indeed!
Dylan kicked off another rewritten verse with the phrase, “Things were gettin’ to cost too much,” leaving one to wonder if this was a pre-midterm election reference to the state of the U.S. economy and therefore an implicit criticism of the MAGA leader and his acolytes. Dylan also revised the music somewhat, slowing the tempo of what was once a mid-tempo rocker to a rubato ballad; he also inserted a minor chord that doesn’t exist in the original.
As noted, Dylan’s 19-song setlist included copious references to weather disasters. “The Man in the Long Black Coast” opens with the line “Crickets are chirpin’, the water is high,” and refers to trees that are “bent over backwards from a hurricane breeze.” The aptly titled “Crash on the Levee (Down in the Flood),” which he performed for the first time in over two decades, includes the lines:
Crash on the levee, mama
Water’s gonna overflow
Swamp’s gonna rise
No boat’s gonna row….
If you go down in the flood
It’s gonna be your own fault…”
Even Dylan’s choice of cover tunes seemed oriented toward the apocalyptic theme. For the first time ever, Dylan sang a Randy Newman song in concert. Keeping with the flood theme, he chose Newman’s “Louisiana 1927,” which recounts one of the worst floods ever to strike the U.S.
What’s happened down here is that the wind have changed
Clouds roll in from the north, and it starts to rain
Rained real hard, it rained for a real long time
Six feet of water in the streets of Evangeline
River rose all day, the river rose all night
Some people got lost in the flood, some people got away all right
Dylan also covered “Share Your Love” — originally recorded by Bobby “Blue” Bland in 1963 but also recorded and performed by Dylan’s former backup group, The Band — which kicks off with the line “Well, it’s an ill wind that blows no good.”
But Dylan didn’t have to go far from his own catalog to rack up mentions of climate insanity. He performed “Tryin’ to Get to Heaven,” which includes the lines “The air is getting hotter, there’s a rumbling in the skies / I’ve been wading through the high muddy water, with the heat rising in my eyes.” In “You Ain’t Goin’ Nowhere,” Dylan sang, “Clouds so swift, rain won’t lift / Gate won’t close, railings froze / Get your mind off wintertime, you ain’t goin’ nowhere.” And on “I’ve Made Up My Mind to Give Myself to You,” the seasonally appropriate narrator says, “I saw the first fall of snow, I saw the flowers come and go.”
Dylan’s tour continues tonight (Oct. 19) in Gothenburg, Sweden, before making its way through Denmark, Germany, Belgium, Switzerland, Italy, Slovenia, and Austria, and concluding in the UK in November and early December. The forecast for Sweden tonight is clear, but later in the week, the weather report says there’s a chance of a hard rain.
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Argentina’s Jewish gauchos museum vows to stay open amid leadership feud
(JTA) — BUENOS AIRES – A museum dedicated to the history of Argentinian Jewish ranchers, farmers and the cowboys known as gauchos remains open and operating despite months of tension between its former director and the local government, the head of the Entre Ríos Jewish community confirmed to the Jewish Telegraphic Agency,
The Villa Domínguez Jewish Museum about the Jewish Colonies drew international attention late last year after visitors reported water damage affecting walls, documents and historical objects. The concerns arose months after the resignation of Osvaldo Quiroga, the local historian who had led the museum for nearly 40 years and was widely associated with its preservation.
In an interview, community head Marina Garber acknowledged the tensions that led to Quiroga’s resignation in January 2025, and that since then a successor has not been named.
“We are resolving the situation with an agreement in which the building belongs to the municipality, while the Jewish community is in charge of safeguarding the objects. The museum is still operating,” Garber told JTA, and the partnership between the local municipality and Jewish community would continue.
Villa Domínguez is a rural town of around 2,000 inhabitants located 225 miles north of Buenos Aires, where international tourism centered on the country’s earliest Jewish agricultural colonies brings considerable visibility to the area.
The fate of the museum matters far beyond Villa Domínguez’s nine remaining Jews. The Jewish agricultural colonies of Entre Ríos are a defining chapter in Argentine Jewish history, tracing how immigrants from Eastern Europe built new lives as farmers and gauchos. Its future is a test of whether a legacy that belongs to Argentine Jewry as a whole can be safeguarded.
Although its director was a municipal employee, the museum itself belongs to the Jewish community. This hybrid arrangement, with no clear responsibilities divided between the two, created tensions when the images of damage were spread online. Suggestions that the Jewish museum had fallen into a state of neglect circulated online as far as Europe.
According to some sources, tensions appear to stem from a combination of the government’s limited attention to the site and the apparent resentment by some government officials that Quiroga had received inordinate media attention.
The Jewish colonies of Entre Ríos, established in the late 1890s by Jewish immigrants mostly from Eastern Europe, represent one of the largest waves of Jewish agricultural settlement in the Americas.
The Jewish Colonies Museum was founded in October 1985 to safeguard the region’s documentary and material heritage. Since 1996, it has been housed in the town’s former pharmacy building.
The museum attracts Argentine and international visitors interested in the stories of the Jewish gauchos — the immigrants who blended their Jewish and Eastern European roots with Argentine ranching culture. Heritage tours, family-history trips, academic researchers and Jewish community groups contribute to a steady flow of visitors exploring the landscapes where the Jewish gauchos built their rural lives, a journey that began more than a century ago.
For the descendants of the gauchos — many now scattered across Argentina, Israel and beyond — the institution serves as a touchstone for genealogical research and family history. Its stability is also of concern to Jewish communal organizations and Argentine officials who have promoted the Jewish colonies circuit as a pillar of religious and cultural tourism in the province.
The first ship carrying Jewish immigrants from Europe to Argentina, the SS Weser, arrived in 1889 after sailing from Hamburg to Buenos Aires. Its arrival inspired Baron Maurice de Hirsch, a German Jewish financier and philanthropist, to recognize the potential of agricultural migration and, in 1891, to create the Jewish Colonization Association (JCA) to institutionalize, fund and organize the colonies.
A tourist trail linking the various Jewish settlements has been operating for more than 20 years, made up of four communities: Basavilbaso, Villa Domínguez, Villa Clara and Villaguay. Two- and three-day tours of the area’s main Jewish sites include visits to synagogues, cemeteries, cooperatives, and local museums. Villa Clara — or simply Clara — is a small town founded in 1892 and named after Hirsch’s wife. Its Jewish museum is located inside an old railway station. Another settlement, Lucienville, is named after the couple’s son, Lucien.
The last agricultural colony founded in Entre Ríos by the JCA is Colonia Avigdor, visited regularly by students of Fundación Judaica, a major Buenos Aires network of schools and synagogues, which brings groups there for educational programs, supports local schools, and works on community development.
The national government includes the tourist trail as part of a religious tourism program, and the Buenos Aires Jewish center AMIA has a site dedicated to the colonies’ history in Entre Rios, including Villa Domínguez.
The national government and some local municipalities also include the Jewish colonies among their cultural offerings.
According to Pablo Soskin, the representative in Entre Ríos of the Argentine Jewish political umbrella organization DAIA, the museum’s director stepped down on Jan. 24, but municipal officials initially declined to accept his resignation. He subsequently took an extended leave to use up a large balance of accrued vacation days, with the municipality’s approval. When that time ran out, he was reassigned within the museum to a different, non-directorial role. The director position has remained vacant since then.
“We maintain a close relationship with the government, which has expressed its commitment to making the museum and the Jewish circuit part of the province’s tourist attractions for locals and foreigners,” Soskin told JTA. “We will continue to coordinate community, public, and private mechanisms to ensure the preservation of our heritage sites.
“This is key to understanding the contributions that the Jewish community has made to Argentina,” he added.
This article originally appeared on JTA.org.
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Israeli police arrest suspects in Washington Post journalist attack
(JTA) — JERUSALEM – Israel Police arrested 10 people on Monday on suspicion of involvement in violent acts over the weekend against journalists, foreign diplomats and Palestinians in the West Bank during the annual olive harvest.
The arrests came after international condemnation of the attacks, including by U.S. Ambassador to Israel Mike Huckabee, who is generally supportive of the current Israeli government. Prime Minister Benjamin Netanyahu has insisted it is just a handful of individuals and not representative of Israelis who live in the West Bank settlements.
“Following reports of acts of violence over the weekend, including the suspected assault of a foreign journalist and the suspected assault of foreign diplomats, the Judea and Samaria District and the Israel Security Agency (ISA) carried out a pre-dawn arrest operation as part of the ongoing investigation,” the police said in a statement, referring to the West Bank by its biblical name.
The statement said the suspects were arrested during a special pre-dawn operation conducted by the district’s Central Investigations Unit and transferred to police stations in the area for questioning.
“Following questioning, and subject to the findings of the investigation, they will be brought before a court for a hearing,” the police statement said.
The arrests come after Heidi Levine, a veteran photojournalist for The Washington Post, was attacked on Friday while photographing Palestinians harvesting their olive trees in the West Bank, an annual event that often sees violent clashes between Palestinian farmers and Israeli settlers who have increasingly moved into the same areas.
Video footage from the scene shows a group of masked settlers surrounding and attacking Levine before ripping off her camera and other personal gear. Palestinians can also be seen throwing stones at the settlers before another journalist arrives to help Levine leave the area.
The photographer was taken to a Palestinian hospital near Ramallah and later transferred to Beilinson Hospital near Tel Aviv, which reported that she was in moderate condition with lacerations across her body, a broken rib and four broken vertebrae. She also underwent surgery on her finger, the hospital said.
On Saturday, European diplomats from France, Belgium and Poland came under assault by masked settlers who forced their convoy off the road in the area of Taybeh, near Ramallah. Bernard Baudoux, a leftist mayor of Aulnoye-Aymeries, a town in northern France, was beaten, according to witnesses who spoke to international media.
Data collected by Israeli human rights organization Yesh Din and published on Sunday showed some 538 alleged incidents of settler and soldier violence over the 20-day period from Sept. 27 to Oct. 16, across 181 Palestinian communities in the West Bank. Some 269 of the incidents were directly related to the olive harvest, the organization said.
Israeli right-wing legal-aid organization Honenu confirmed the arrests on Monday and said its criminal law department would be providing the suspects with “initial legal assistance.”
“At this stage, it is unclear what the detainees are suspected of,” the organization said in a statement.
The Israel Police said that “items linking the suspects to the alleged offenses were seized, and several vehicles were confiscated.”
“The law in Judea and Samaria applies to everyone, regardless of identity or affiliation. The Israel Police is committed to professional, equal, and impartial law enforcement, based on evidence and in accordance with the law,” Israel Police Commissioner Daniel Levy said in the statement.
The issue of settler violence in the West Bank falls into a gray area of law enforcement between the Israel Police and the Israeli military, the latter of which is responsible for civilian matters in parts of the territory that are not legally under Israeli sovereignty. Israel’s police force is under the authority of the National Security Ministry headed by Itamar Ben-Gvir, a far-right nationalist who has not made clamping down on settler violence a priority.
Levy said that the ambiguity over which agency is responsible for what must be addressed.
“At the same time, a distinction must be made between responsibility for preventing incidents in the field and responsibility for investigating and enforcing the law after they occur,” Levy said.
“We will continue to coordinate with all security agencies to strengthen security and the rule of law and ensure that anyone found to have violated the law is brought to justice,” he added.
Huckabee on Saturday called for a full investigation into the attack against Levine and for the perpetrators to be prosecuted “to the fullest extent of the law.”
“Attacking a female photographer is a despicable act of terror carried out by masked cowards. Dishonorable act of senseless violence,” he wrote on X.
Israeli President Isaac Herzog also condemned the “shocking violence” and said he had called Levine to apologize.
“I expressed my deepest sorrow to Heidi and apologized for what she went through. The despicable behavior of the perpetrators of this attack does not represent the citizens or the values of the State of Israel,” he said in a statement.
Netanyahu, who is in the midst of a closely contested election campaign to retain power, condemned violence generally, but also stated that the circumstances of the attack “remain unclear.”
“We will not allow disputed incidents to be exploited to demonize the hundreds of thousands of law-abiding Jewish residents of Judea and Samaria,” he said in a statement, using the biblical names for the West Bank.
Israel’s Ambassador to the U.S. Yechiel Leiter, however, stated on CNN on Friday “unambiguously and unequivocally, that gratuitous violence perpetrated by anyone, be they Jews or Arabs, is completely unacceptable.”
He added, “If we have not yet reached a passing grade to bring Jewish vigilantes to justice, then we’ve got to do a better job. But I’m convinced that we are going to do it. I’ve been in government meetings. I’ve heard the prime minister speak emphatically about putting a stop to this.”
In a statement Monday following the arrests, Defense Minister Israel Katz said that it was time for the Israeli police to handle such crimes.
“The IDF should not and cannot be engaged in civilian law enforcement. Its role is to fight Palestinian terrorism and defend the country’s borders and the Jewish communities in Judea and Samaria and along the seam line,” he said, adding that he was preparing, in coordination with the prime minister, “a comprehensive plan to regulate civilian law enforcement activities in Judea and Samaria.”
“The plan distinguishes between the IDF’s authority in the field and the transfer of responsibility for carrying out civilian law enforcement in practice to the Israel Police’s Judea and Samaria District,” Katz said.
This article originally appeared on JTA.org.
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