Uncategorized
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.
—
The post A Jewish expert on monuments on what Philly’s famous Rocky Balboa statue can teach us about memory appeared first on Jewish Telegraphic Agency.
Uncategorized
Why is the biggest soccer team in the world talking about Joseph Goebbels?
The biggest rivalry in international soccer — between Real Madrid and FC Barcelona — has erupted in recent months, as Madrid pushes the Spanish soccer federation to punish Barca for alleged referee bribery.
But the ugly sparring between the clubs took an unexpected turn last week when Spanish league president Javier Tebas entered the fray with a shocking comparison.
“Real Madrid’s management directs an orchestra of mouthpieces and Real Madrid TV leads the singing,” Tebas wrote Oct. 15 on X. “Their score is always the same: select the plays that suit them, repeat the grievance, feed the suspicion, and point fingers at the enemies.
“That method recalls propaganda mechanisms exploited by Goebbels, Nazi Germany’s minister of propaganda: systematic repetition, construction of an enemy, and subordination of facts to the narrative.”
Real Madrid, which has employed such stars as Cristiano Ronaldo and David Beckham, condemned the remark with a statement calling for Tebas’ resignation both from the Spanish league, La Liga, and the Royal Spanish Football Federation, where Tebas serves as vice president.
“Real Madrid C. F. considers it absolutely intolerable and extraordinarily serious that someone holding two positions of utmost responsibility in Spanish football resorts to a comparison with the propaganda methods of the Nazi regime to discredit our club, its management, and its television,” the club wrote Oct. 16.Tebas has thus far refused to resign or even take down the post, and has defended his critique by pointing to other Spanish leaders who have made similar comparisons in the past.
The Goebbels controversy comes amid growing concerns about antisemitism in Spain, including in sports, where thousands of protesters blocked an Israeli-branded cycling team from competing in the Vuelta race last year.
The bribery accusations against Barcelona first surfaced in 2023, when it was revealed the club had paid millions of dollars to companies linked to the former vice president of the Spanish refereeing body, José María Enríquez Negreira. A Spanish court dismissed the bribery charges in 2024, but the investigation continued, and earlier this month Madrid submitted a tranche of documents it said proved the bribery claims.
The conflict between the club and Tebas dates back at least to 2021, when Madrid club president Florentino Perez spearheaded a breakaway international league that would have threatened Spanish competition. Barcelona had also agreed to join the so-called Super League, but the plan was scuttled after enormous backlash from fans across the continent.
Joseph Goebbels, one of Hitler’s most devoted followers, led the German Propaganda Ministry after the Nazi party came to power in 1933. He and his wife died by suicide in 1945 after killing their six children with cyanide.
The post Why is the biggest soccer team in the world talking about Joseph Goebbels? appeared first on The Forward.
Uncategorized
Israel’s election may hinge on whether Netanyahu’s opposition will accept Arab support
Israel’s approaching election is developing into an extraordinary paradox: Prime Minister Benjamin Netanyahu, whose government presided over the catastrophe of Oct. 7 and whose record since has been a succession of security failures, assaults on democracy, capitulations to Haredi interests and international embarrassments, may yet survive politically because his opponents cannot bring themselves to accept the parliamentary support of Israel’s Arab citizens.
The polls have tightened, the opposition has conducted a strangely timid campaign, and U.S. President Donald Trump’s endorsement of Netanyahu over the weekend introduces an unpredictable element into a contest that should by any reasonable accounting be a referendum on utter failure. Yet given the picture emerging in the polls, the decisive question is whether the opposition’s leaders possess the courage to reach out to the one-fifth of Israelis who are Arabs – who are expected to vote in very high numbers on Oct. 27.
Since 1973, Israel’s classic center-left has never secured an election-day parliamentary majority without the seats of Arab parties. Yitzhak Rabin’s victory in 1992, for example, depended on a parliamentary balance that included Arab representatives, whose support later became essential to his government’s survival. By most credible polls, that is the picture that emerges now, and with that support, the opposition could become a comfortable majority of close to 70 of the 120 Knesset seats.
But things are not so simple. In 2020, most of the Joint Arab List – an alliance of Arab parties in Israel – recommended opposition leader Benny Gantz for prime minister, producing a numerical majority that collapsed because several opposition lawmakers simply could not stomach the prospect. But the Naftali Bennett-Yair Lapid government that removed Netanyahu in 2021 included the Arab party Ra’am, demonstrating that cooperation across this divide was possible even among politicians with profound disagreements about national identity and the question of a Palestinian state.
Throughout these episodes, the challenge was the elementary democratic principle that the votes of Arab citizens should carry precisely the same weight as those of Jewish citizens. And yet there are complications with these political alliances: the Arab parties are not “Zionist” – and more relevantly, they have real difficulty in a situation that involves conflict with the Palestinians, who are their non-citizen brothers and sisters.
Netanyahu has spent years exploiting the discomfort of his opponents with this reality, transforming the prospect of Arab political influence into a weapon against anyone seeking to replace him. During this election, his campaign has placed particular pressure on Gadi Eisenkot, the former IDF chief of staff, portraying any government of his, if it’s dependent on Arab parties, as compromised from the outset.
Eisenkot, Naftali Bennett and other opposition leaders are trying to win over former right wing voters who may have tired of Netanyahu’s endless scandals and failures – but those voters also have serious reservations about the Arab parties. So their prevarications are not hard to understand.
There is, of course, a double standard: Netanyahu routinely counts on the ultra-Orthodox parties, whose demands for military exemptions, public subsidies and educational autonomy have profound consequences for Israel’s security, economic resilience and civic solidarity. Their representatives are treated as legitimate negotiating partners whose seats belong automatically in the right-wing bloc, even when, indeed, they call themselves non-Zionist.
Arab political leaders are now offering the opposition passive support in parliament for free, meaning they do not even demand a seat at the government table. According to all credible polls, the opposition plus the Arab parties should have a comfortable majority after the Oct. 27 vote.
Mostly Muslim, with Christian communities and the distinct Druze population, these citizens share aspects of the language, culture and historical grievances of the surrounding Arab world while participating in the institutions, economy and daily life of the Jewish state. Two stories convey this complexity.
The first: A wounded Jewish reservist, a new immigrant and Technion engineer, was driving toward a hospital for treatment of a hand injured during service in Lebanon when police stopped him for speeding last year. As the Maariv newspaper’s columnist Ben Caspit reported, the reservist presented documentation of his medical circumstances, yet the officers, who were Jewish, issued a fine and delayed him despite the potential danger to his injured finger, behaving at times with an astonishing lack of consideration.
The case eventually reached a court, where the fine was canceled in a ruling that criticized the enforcement as falling short of reasonable, proportionate and fair administrative discretion. The judge was Rasha Saadi Atamna, an Arab woman whose decision recognized the wounded soldier’s service and circumstances while holding an institution of the Israeli state accountable to its own standards. It was a recognition denied by fellow Jews.
The second: On the morning of Oct. 7, 2023, Youssef Ziadna, a Bedouin minibus driver from Rahat who had dropped off a group of young people at the Nova music festival, showed extraordinary courage.
When Hamas launched its massacre, one of his passengers called desperately for help, and Ziadna drove toward the festival, entering an area where gunmen were murdering civilians and vehicles were fleeing in panic. Near the Gaza border communities, a man running from the slaughter warned him to proceed no further, and moments later gunfire sent Ziadna and others diving into a roadside ditch.
The danger was clear, the route home was available, and every ordinary instinct of self-preservation pointed toward escape. Ziadna instead continued toward the festival, found the people who had summoned him, collected other terrified and wounded Israelis and eventually squeezed roughly 30 passengers into a minibus designed for 14. Drawing on his knowledge of the terrain, he drove across fields and away from the gunmen, with other fleeing Israelis following behind him.
The people Ziadna carried to safety were Jewish Israelis, while his own Bedouin community was suffering murder and abduction in the same assault. Speaking to Israel Radio during Oct. 7 commemorations, he explained his decision in words that deserve to resonate far beyond the immediate story of his heroism: “I could have turned around and did a U-turn, but my conscience wouldn’t let me. I am a human being first. We have to live together in this very fine country of ours.”
The election, of course, will be decided by parliamentary arithmetic rather than inspiring anecdotes, and the stakes extend well beyond the composition of the next coalition.
Consider the government’s continuing failure to confront Jewish terrorism in the West Bank, where extremist settlers have now assaulted an American journalist and European diplomats in successive days. Heidi Levine, a Washington Post photographer whom I have known for decades, was brutally beaten while covering the Palestinian olive harvest, suffering injuries requiring surgery.
The following day, settlers attacked European diplomats and a French mayor near the Christian village of Taybeh. Netanyahu’s response was to question the evidence, emphasize the diplomats’ failure to coordinate with the army and suggest a campaign to smear settlers. Such indulgence of violent extremists disgraces Israel and accelerates its international isolation.
Trump’s endorsement this weekend of Netanyahu may influence some voters, but the fundamental choices belong to Israelis.
Let’s hope they are more thoughtful than to listen to the U.S. president and reelect a leader who would endanger lives by continuing to block an Oct. 7 inquiry, redouble efforts to instill an elected dictatorship, continue to absolve the Haredim of military duty, do nothing to stem the disgrace of Jewish terrorism, and hasten the onset of global economic sanctions upon the Jewish state.
The post Israel’s election may hinge on whether Netanyahu’s opposition will accept Arab support appeared first on The Forward.
Uncategorized
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.
The post Bob Dylan is changing his lyrics and his set list; what is he trying to tell us? appeared first on The Forward.
