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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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What I learned from 180 pounds of Yiddish books, one ‘interesting and complicated’ Jewish man, and Jorge Luis Borges
I’ve never met Harris Saltzberg, but one day last summer, I went to his house to abduct 180 pounds of his Yiddish books. He lived in a sturdy brown-brick co-op in Chelsea. In the lobby, there was Roz Chastian aroma of long-simmered onions and mothballs, with a subtle undertone of feet.
I took the elevator to the eleventh floor. Once I’d infiltrated Harris’ apartment, I began to get a sense of his personality. From the posters on the kitchen walls, I deduced that Harris liked Van Gogh and Martha Graham. From his box of cassette tapes, I got a taste of his cultured, klezmer-forward musical palate: Puccini Famous Arias sat next to Miriam Kressyn’s Yiddish Folk Songs. Pavarotti and Marilyn Horne kept company with Sidor Belarsky and Jennie Goldstein.
Before I go further, I should clarify: I did not burglarize Harris’ house. I was there as a “zamlerin,” a volunteer collector and schlepper of Yiddish books for the Yiddish Book Center in Amherst, Mass. I joined the international legion, some 160-zamlers-strong, at the end of a summer internship at the Center two years ago. Since then, every few months or so, I get a call or an email from an older Jew. Some Yiddish books have fallen into their hands, or maybe the books have been in the family for a long time. We tend to meet at their houses. (Once, though, I met a guy at his synagogue and sat through a full service for the first time in Hashem-knows-how-long.)

Wherever we meet, the pass-off process always feels ceremonial, more like the adoption of a child than the transfer of objects. We schmooze a bisl in Yiddish, a bisl in English while we load up the books, stacking them inside cardboard boxes like a game of 3D tetris. Sometimes, like a Yiddish-speaking Neanderthal, I’ll sound out the title of a book, and my host will light up like an electric menorah, turn the book over, rub its spine up and down, and tell me all about it. This? Oh, that’s Di Yeshiva. See, you can even see Chaim Grade’s autograph on the inside flap. That? Oh, that’s the Yiddish Kalevala. Naturally.
But zamling for Harris was different from zamling for other people, because for one thing, Harris was dead. His niece told me that Harris’ close friend, Andy, would be there to help me pack up the books. Andy was waiting in the lobby when I got there. He was a tall and weathered man of Irish extraction, about 75. His hooded blue eyes and the smoke on his deep, gravelly voice gave me the impression that he’d seen a lot in his time, like a hardbitten reporter in a noir novel. Except, Andy clarified, he was actually in publishing.
He didn’t say much after that.
Harris’ Yiddish bookshelf was right by the front door, so while I did a preliminary inventory, ooing and cooing in a way that would have annoyed me if another person were doing it, Andy shuffled through Harris’ living room and kitchen, shifting his chairs, stacking his dishware, emptying his cabinets. Even with Harris gone for months, the apartment hadn’t lost the ascetic spareness that only monks and longtime bachelors seem capable of cultivating. Dust had already settled over the few wooden tables and shelves. The rugs looked frayed, and a thin white light seeped into the room from in between the vertical blinds. There was a bottle of Cinzano Rosso sitting on the kitchen counter, forever half-finished. It seemed like a place Bernard Malamud might have cooked up for a story about an erudite bachelor character.

But what sort of erudite bachelor, exactly? Before I’d come over, I’d found a few clues on the internet. A Facebook obituary from Camp Kinderland described Harris as “an interesting and complicated person,” adding that he was “often very funny, often thoughtful and generous and warm.” He sounded prickly-sweet, not unlike a jackfruit. I’d also found a LinkedIn profile for one Harris Saltzberg who described his job as “Observer of aging,” employed at “Life.” That sounded about right.
But it was the books that brought Harris into focus. On the shelf, I found at least three Yiddish textbooks. “Harris was insecure about his Yiddish,” Andy told me later, when we were lugging boxes to the lobby. But from the looks of it, he shouldn’t have been. He had the big names on his shelf — Y.L. Peretz, Mendele Mocher Sforim, Sholem Aleichem (who, by the way, is so abundant at the Yiddish Book Center that you can sometimes get a copy of his collected works for free). But Harris was hardcore. He was a proper Yiddish junkie; he’d bought books that would have been challenging to get through even in English, like Klassenkamfn in Altertum, Class Struggles in Antiquity, by a man named Kalman Marmor. He’d collected landsmanshaft periodicals from tiny Besarabbian shtetls, school almanacs from 1929, an instructional book on Yiddish stenography, song books, and one baffling, proto-woke rhyming tale about a white thug with notably sharp elbows (“sharfn elboygn”) who torments a Black boy with sad eyes (“troyerike oygen”).

Sometimes, I would find signs of a bygone reader— maybe Harris, maybe somebody else —scrawled on a book’s inside cover, or tucked away on a scrap of paper. “To Rivke with Love — May you two get well acquainted!” wrote Manya on Jan. 30, 1959. I found grocery lists, and one detailed pencil sketch of a dog. I found a scrap of paper where Harris had scrawled in cursive ciphers, “Tammy Baker,” “Uniforms,” and something that might have been “human want,” or maybe “human meat.”
I had never met Harris and never would. But even as I stuffed the boxes to busting, I felt reluctant to throw anything out. When somebody is alive, odd bobs like scratch paper are replaceable junk. But when somebody is gone, everything becomes evidence that they lived. Maybe that is why Harris saved all those periodicals from towns that could no longer be found on any map, advertisements for pamphlets of essays and satire by long-dead Jews in the Bronx, stenography manuals, children’s books. So long as even one witness to a fading world remained, that world wouldn’t truly be gone.
There is a story by Jorge Luis Borges called “The Witness,” or “El Testigo” that I have thought about several times since visiting Harris’ apartment. It is about the last pagan in England. As church bells ring, he lies dying in a stable in the shadow of a new stone church. This man is the last living person to remember worshipping the wooden idol of the pagan god Woden. “Before dawn he would be dead and with him would die, never to return, the last firsthand images of the pagan rites,” Borges writes. “The world would be poorer when this Saxon was no more.”
In the moment, though, I was not thinking much about books beyond how many of them I could cram into one box. As Andy and I hauled the book boxes down to an extremely patient Uber driver — six boxes total, around 30 pounds each — he told me how Harris had loved opera. He talked about his own two brothers, and about his upcoming trip to the motherland, Donegal, which he taught me to pronounce “Don-ee-GAL.” In the car to the UPS store, we kvetched about how hungry we were. At the curb, he helped me unload the boxes. Then he bent down and hugged me goodbye. I was sorry to see him go. I wondered if we would ever see each other again.
It’s been over a year since that day. Harris’ apartment probably belongs to someone else now, and as for the books, they are living a literally chilled-out retirement in the temperature-controlled vaults of the Yiddish Book Center. I wonder whose fingers will touch those pages next. And whose will be the last. After all, Borges muses, there is a last for everything. There was a day when the last eyes to see Christ closed forever. When the last man to have loved Helen of Troy died. When the last person to remember the Battle of Junín was buried. “Something, or an infinite number of things, dies in each death,” he writes. “What will die with me when I die?”
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With Marine Le Pen on the right and Defiant France on the left, French Jews face an impossible choice
Marine Le Pen is back. And once again, the French Republic and the democratic values it represents, has its back against the wall.
On Wednesday, the judges of a French appeals court reached something of a Solomonic decision. On the one hand, they confirmed the ruling of a lower court that Le Pen, for more than a decade, oversaw the funneling of several million euros, meant for her European Parliament staff, to her political party, the extreme-right National Rally. On the other hand, they shortened the length of her ineligibility to run for political office, thus allowing her to join the fray for next year’s presidential election.
Much can be said about the consequences of this decision. First, there is the stunningly brazen legal dimension. Just as Donald Trump was the first convicted felon to be elected president of the United States, Le Pen — who leads other announced candidates by at least 10% in opinion polls — stands a very good chance to be the first convicted felon, on far more serious charges than Trump’s, to become president of France. (Two earlier presidents of the Fifth Republic, Jacques Chirac and Nicolas Sarkozy, were also found guilty of embezzlement, but only after their presidential terms ended.)
No less significant are the political ramifications. Le Pen’s announcement that nothing will stop her from running in turn stopped Jordan Bardella, her young protégé and president of the National Rally, dead in his tracks. Dismissed as an empty, though always svelte and shiny suit, Bardella proved to be, to Le Pen’s growing discontent, more popular in opinion polls than his mentor. Poised to run in her stead, this young man in a hurry, and with neither practical experience nor university education, was suddenly benched.
It is too early to predict how this will play out. On Wednesday, in their first public appearance together since the court’s ruling, Bardella, standing a few steps behind Le Pen, looked less like a partner than a prop while she bathed in the crowd’s attention. Adding to the tension are policy differences that had begun to appear between Le Pen and Bardella, with the former hewing to her populist image and Bardella leaning towards the traditional right. Tellingly, Le Pen supports the recent rollback of the retirement age to 62, while Bardella seems, like others on the traditional right, to prefer raising the age as high as 67.
More important, Le Pen’s entry may well turn the 2027 election into a choice between equally dismal options. For months, Jean-Luc Mélenchon, the turbulent tribune of the extreme-left Defiant France, has portrayed himself as the one figure who can save the republic from Le Pen. In the latest IFOP poll, Mélenchon stands an even chance to finish in second place in the first round of the election. This will mean that for the two-thirds of French voters still allergic to Le Pen, they will have nowhere to go after the second round except to the leader of a party that has repeatedly flirted with antisemitism.
This brings us, finally, to the historical significance of this event. The National Rally is, of course, the party formerly known as the Front National. Equally obvious, the latter, founded by Marine’s father, Jean-Marie Le Pen, was a gaggle of goose-steppers, antisemites, and apologists for Vichy, the collaborationist regime which did its bit for the Final Solution. (By the time he died last year, Le Pen père, who coined the infamous line that the Final Solution was a “detail of history,” had racked up multiple guilty verdicts for Holocaust denial and inciting race hatred.)
Her father’s notorious verbal dérapages, or excesses, finally led his daughter, who had slapped a new coat of paint on the party by renaming it soon after her father gave her the keys, to banish her father from its fold. Undeniably, Le Pen’s relentless pursuit of a policy of “dédiabolisation” or “detoxification,” has largely rid the party of its Nazi-adjacent followers. (As part of this renovation, the more than one hundred National Front representatives who sit on the far-right in the National Assembly — by far the largest parliamentary party — always wear business attire. This makes for a striking contrast with their Defiant France colleagues, who tend to dress as my students do.)
But a bespoke suit does not mean one is not still beholden to racism. Le Pen and Bardella have labored to distance their party from its rancid and racist origin, most recently reflected in the latter’s controversial visit last year to Israel, where he spoke at a sparsely attended conference on antisemitism. (Many of the invitees, upon learning that Bardella would attend, snubbed the event.)
No less contentious was Le Pen’s decision for her party to join the march against antisemitism two years earlier in Paris, along with her vow that the National Rally would serve as the “bouclier,” or shield to protect French Jews. She did not say against whom her party would shield French Jews, but there was no need to: All of France understood who she meant. For her party, the Jew is no longer, if only for now, the dreaded other who threatens the unity and purity of the French people. The Arab or Muslim now fills that role. Hence the party’s insistent demand for a constitutional amendment for “la préférence nationale,” which would limit an array of social privileges to French citizens, as well as the consistent drumbeat of racist and xenophobic declarations on the part of its rank and file.
Apologists for Marshal Philippe Pétain, the leader of Vichy France, insisted that he too served as his nation’s shield against Nazi Germany. They conveniently forgot, of course, that this shield was used to separate French Jews from their non-Jewish compatriots. Between now and next year’s presidential election, the French will have time enough to reflect on the promise, or threat, of a party whose origins warn us against those who use shields to clobber those they decide do not belong to a nation.
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Graham Platner may be gone, but his Nazi tattoo is not fading away
(JTA) — Why did it take sexual assault allegations to collapse Graham Platner’s Maine Senate campaign when the Nazi-linked tattoo was there all along?
Progressive lawmakers, Jewish leaders and conservative commentators posed the question in dozens of exasperated iterations in the hours after Platner announced Wednesday evening that he would suspend his race amid allegations reported by Politico Monday that he had raped a former girlfriend.
“Graham Platner has dropped out of the Maine Senate race amid serious sexual assault allegations,” the CEO of the Anti-Defamation League, Jonathan Greenblatt, wrote in a post on X. “But leaders should not have needed another scandal to act. The Nazi tattoo should have been enough.”
Platner, who won his Democratic primary in June on an anti-Israel progressive platform, faced mounting calls to leave the race after the Politico story ran from Democratic groups and progressive leaders who had formerly supported him, including Vermont Sen. Bernie Sanders. (Platner has denied the allegations.)
But others argued that those backers should have pulled their endorsements months earlier after it surfaced in October that he had a chest tattoo of a Totenkopf, a Nazi-era skull-and-crossbones design favored by SS officers.
At the time, Platner claimed that he had gotten the tattoo while “inebriated” as a young adult when he was on shore leave from a tour of duty in Iraq, without knowing what it meant. A number of people who knew him before his political ascent, including at least one of the women who accused him of sexual misbehaviour, said he had been aware of the symbol’s provenance. When the revelations emerged, he covered up the skull with a Celtic knot.
His campaign had dismissed as irrelevant noise the backlash the tattoo revelation received, as well as criticism over allegations that he had deployed race and gender stereotypes in the past as irrelevant noise.
“I said, ‘None of this will or should stop him from becoming a U.S. senator,’” Daniel Moraff, a progressive strategist who had headhunted Platner, told The Wall Street Journal last month, before the Politico revelations, about Reddit posts that included homophobic and ableist epithets unearthed in the vetting process. The firm that vetted Platner did not uncover anything about his Nazi tattoo, Moraff said.
The tattoo didn’t seem to be a dealbreaker for voters, either, since he coasted to victory in the June primary after his primary opponent, Gov. Janet Mills, suspended her candidacy in late April, saying her campaign could not afford to continue.
Now the Maine Democratic Party is considering replacements for the disgraced candidate, but the question of why his backers ignored warning signs still looms.
Brian Romick, the president and CEO of the Democratic Majority for Israel, told JTA in a statement that he didn’t understand why progressives had supported “a candidate with so many obvious red flags, including an allegation of sexual assault and a Nazi tattoo.”
And Halie Soifer, the CEO of the Jewish Democratic Council of America, which did not endorse Platner, told the Forward ahead of Platner’s exit that “a lesson for Democrats is that we shouldn’t compromise.”
“There were red flags about Platner from the outset,” Soifer said. “They just continued to compound on each other as more stories came out. But the Nazi tattoo for us alone was one too many.”
On Tuesday, New Jersey Democratic Rep. Josh Gottheimer argued that warning signs had been apparent long before the latest allegation.
“I said it in June: Nothing about this guy was right. From the first abuse allegations to his Nazi tattoo, the red flags were there. His endorsers just chose to accept them,” Gottheimer wrote in a post on X.
New York State Sen. Julia Salazar, a Democratic Socialist, also argued that supporters had made a mistake by overlooking Platner’s tattoo.
“Sorry to the well-intentioned people who made the mistake of supporting this guy. But: having a Nazi tattoo doesn’t pass the sniff test for running for US Senate, nor did his excuses. And far worse that he faces a credible allegation of rape,” Salazar wrote in a post on X.
Jewish Republicans said the Democratic response to Platner’s campaign was too late.
“I didn’t support Graham Platner as soon [as] we all learned he’s a Nazi,” Republican Max Abrahms, a political scientist focusing on terrorism, wrote in a post on X. “For the Democratic Party his being a Nazi wasn’t disqualifying. They viewed it as an asset. Platner matters politically for what he says about mainstream Democrats.”
The Republican Jewish Coalition also took aim at Democratic leaders who had stood by Platner earlier in the race.
“American Jews will never forget that leading Democrats chose to stand with Graham Platner KNOWING FULL WELL THAT HE HAD A NAZI SS CONCENTRATION CAMP GUARD TATTOO,” the group wrote in a post on X. “There is only ONE party where American Jews can be proudly Jewish and loudly pro-Israel: @Republicans.”
This article originally appeared on JTA.org.
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