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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Who is Gadi Eisenkot, the Israeli politician who could dethrone Netanyahu?
Until recently, former Prime Minister Naftali Bennett appeared to be the opposition figure best positioned to challenge Benjamin Netanyahu in Israel’s election this fall. But a new contender has emerged: Gadi Eisenkot, a former Israel Defense Forces chief of staff, whose newly formed Yashar! (“Straight!”) party is rapidly gaining popularity.
According to Israel’s public broadcaster KAN, Eisenkot’s party currently projects to win 21 Knesset seats, trailing Netanyahu’s Likud at 23. Bennett and Yair Lapid’s joint slate, Together, the duo that managed to win the 2021 elections, is polling at 17 seats. Several other major Israeli polls reflect a similar or even stronger position for Eisenkot. As of this writing, Eisenkot and Netanyahu are neck and neck on Polymarket as the most likely politician to become the next prime minister.
Amid Trump’s Iran deal, which left Netanyahu in the lurch and has been widely unpopular among Israelis, Netanyahu’s appeal as a prime minister who can ensure Israel’s security is beginning to slip. Only 11% of Israelis feel Israel won the war, and 52% feel Netanyahu’s conduct harmed Israel’s interests in the U.S.-Iran deal. A recent Channel 12 survey found that 58% of Israelis believe the country’s next prime minister should not be Netanyahu.
After Bennett and Lapid joined forces to run together this April, their popularity has been steadily decreasing. Since they announced their joint run, Eisenkot has been gaining roughly one seat per week in Israeli polling.
This reflects an important theme in Israeli politics: combining politicians does not necessarily combine their voters. Bennett, a right-wing Orthodox nationalist who has long opposed a Palestinian state, appeals to a different constituency than Lapid, a secular centrist who has expressed support for a two-state solution.
Some right-wing voters who have supported Bennett now may view him as too left-leaning for their tastes because of his alliance with Lapid. For Bennett, who was seen as someone who could take right-wing voters from Netanyahu, this is a real problem.
Enter Eisenkot: a security-focused centrist with an untraditional background. He grew up in Eilat as the son of Moroccan immigrants. If elected, he would be the first ever Mizrahi Prime Minister in Israeli history.
He did not serve in Sayeret Matkal, the elite special reconnaissance unit in the IDF that cultivated many future Israeli politicians, including Bennett and Netanyahu. Rather, he got his start in Golani, the IDF’s oldest unit. He slowly climbed through the ranks, spending his career within the security establishment before eventually becoming the chief of staff of the IDF in 2015.
His political career is relatively new. Eisenkot entered politics in 2022 as part of Benny Gantz’s National Unity party before breaking away to launch Yashar! in 2025. His time in politics, though short, has been free of scandal or feuds — beyond, of course, his frequent disagreements with Netanyahu.
Service for all
For many Israelis, Eisenkot’s public image is inseparable from personal loss. His son, Gal, was killed fighting in Gaza in 2023, and two of his nephews also died during the war. Their deaths have given Eisenkot a unique standing in a country where military service has profoundly affected many Israeli families in the last few years, especially following the Oct. 7 attacks.
This experience also resonates amid one of the most contentious debates in Israeli politics: whether ultra-Orthodox yeshiva students should continue receiving exemptions from military service. As reservists have been called up repeatedly since Oct. 7 and the IDF has faced manpower shortages, many Israelis have argued that the burden of military service is being shared unequally. Roughly 80,000 men aged 18 to 24 who are currently exempt are eligible to serve in the IDF.
According to the Israel Democracy Institute, only 9% of the Israeli public supports exempting the ultra-Orthodox from mandatory military service. Netanyahu’s coalition, which depends on ultra-Orthodox parties, has sought to preserve some form of exemption system.
Eisenkot not only faced profound personal sacrifice for his family’s military service, but he also runs on the platform “service for all,” which hopes to reform broad military exemptions for the ultra-Orthodox.
In May 2025, he shared his thoughts for the first time on a two-state solution, telling Channel 12, “I always speak in favor of a Jewish, democratic, strong, and powerful state, and from that, we should derive our decisions. I think a Palestinian state is not relevant after October 7.” He added, “We need to be very measured, build it from the bottom up, and certainly not talk about a state and a prize after this murderous event,” he said, referring to the Oct. 7 attacks. “Instead, we should make our considerations from a position of strength, take our time, and not decide from one moment to the next, certainly not talk about it now.”
One of the most visible criticisms of Eisenkot has been his lack of command of the English language. Eisenkot speaks English, though certainly not to the level of fluent proficiency of MIT-educated Benjamin Netanyahu or Naftali Bennett. Last week, a top Netanyahu aide, Jonatan Urich, posted a viral video on X splicing clips of Einsenkot speaking heavily accented English with Nethayahu’s major speeches at the UN and Congress.
Eisenkot responded to the video on a popular Israeli podcast, stating, “Where was Netanyahu’s excellent English on October 7?” he asked. “Where is his excellent English in strengthening the relationship between Israel and the United States, which this morning is at rock bottom?”
While Eisenkot’s party continues to soar in the polls, he has a long way to go before he will be able to dethrone Netanyahu, who has won six Israeli elections since 1996.
Israel’s next prime minister will not simply be the person who secures the most votes for their party. To govern, a coalition must command at least 61 of the Knesset’s 120 seats. To do this, political parties – though often ideologically different – must come together in the hopes of securing a majority number of seats in the Knesset.
Eisenkot’s principal rival for leadership of the anti-Netanyahu camp is Bennett. Still, both Bennett and Eisenkot have emphasized that their primary goal is to take down Netanyahu. When asked whether he would step aside for Eisenkot if that were necessary to form a government, Bennett replied: “I will do anything in the world to replace this very bad government. I will not let ego be a factor.”
The post Who is Gadi Eisenkot, the Israeli politician who could dethrone Netanyahu? appeared first on The Forward.
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My father was my hero and, when he was dying, I wrote this song for him
I was 18 when my dad discovered a lump on his neck. He’d been doing sit-ups with my mom in their bedroom.
He was 49 years old.
First, a word about my dad. It’s sad when anyone’s parent dies, more so when they are still young. Tragic when your dad is your hero.
If I had to describe my dad in one word, I’d say he was strong. Not only was he an Eagle Scout, a United States Marine, not only was he once a deputy sheriff at Medicine Lake with his own rifle, and not only did he have huge arms and could rip a phone book in half; my dad was strong enough to be self-effacing and terrifically kind. He was not didactic in the least. He taught his curricula in one way only, by example. The lessons I learned from him about the nature of strength, real strength, are ones I try to carry with me each and every day.
At the conclusion of every marital spat he’d have with my mother I used to hear him say, “Ok, Bevy, you’re right and I’m wrong.” I never knew what that meant. Was he folding, caving in? Where was his spine? His balls? I was never quite sure if there was just a trace of contempt or anger in that statement of his, or was it, as I’d learned much later, really a pure recognition that he’d seen things her way and that her way was just better?
It strikes me now that the essence of his strength, his manliness if you will, was a sense of self-effacement and humor that bordered on genius.

At 17, I took the liberty of hosting my girlfriend in my parents’ bed while they were away on a trip to Chicago. They’d come home a day earlier than expected and caught the two of us, just moments… afterwards. My dad was standing behind my mom, trying to bottle up his laughter. It was especially difficult for him to keep from laughing after my mother said in her serious voice, “Peter, I would hope that in the future you’d entertain your guests in your own room.” In my defense, my own room did not have a color TV set.
All of my cousins, even the ones that weren’t my dad’s blood relatives, were crazy about him. They sought his counsel like he was a tribal sheik. I remember many nights where one cousin or another would be huddled around our kitchen table with him. He wasn’t doling out advice. Advice is overrated anyway. Any asshole can give good advice. It’s the way my dad made you feel that made him so special.
At the time, I was playing in a calypso and reggae band with five grown men, and one woman, Cheryl, who played the Hammond organ. She’d come from Jamaica, the others from Trinidad. But that’s for another story.
I was also writing pop songs with my band Sussman Lawrence, supposedly having the time of my life. But I was in deep emotional pain.
My dad discovered a lump in the back of his neck in the autumn of 1979. It took the doctors a week to determine that he had stage-four lymphoma. They figured he had six months, tops. They were wrong by almost three years.
At the time I barely reacted to the news. I told myself it was strength, composure. I understood later it was something else entirely — a tendency to go inside myself, to stay as far away from my feelings as possible. It was as if I’d been playing a sort of double role. In some moments I was hypersensitive and deeply connected to the grief. In others, I was completely divorced from it. Some four years later, toward the end of my dad’s life, those two halves would finally collide.
It was 1983 and our band was in Amery Wisconsin, finishing our last set at a bar called The Country Dam. It was late and the crowd was so drunk they were falling over one another, screaming for one more chorus of “I’m Your Fireman.” At four in the morning I pulled up to my parents’ house behind my dad’s white ’83 Chrysler LeBaron. He’d gone all the way to Mankato with my mother to buy it.
Tired as I was, I couldn’t stop looking at that car, wondering how I’d feel about it when he died.

It was Father’s Day, and my mom had planned a big brunch for him in just a few hours. Cousins, aunts, and uncles — everybody wanted to be there to cheer him up. Even though my dad had outlived the doctors’ dire predictions by four years, we knew that the disease had progressed to the point where this was very likely his last Father’s Day.
I was pretty wound up from the performance the night before and since the sun was coming up anyway, I couldn’t see any reason to try and sleep. I picked up a guitar. It was an old acoustic that hardly played in tune. I started picking through some chords in a half-trance and singing softly to myself, just thinking about that LeBaron and how my dad really liked that car. The words came fast and the melody started to take on a shape. Each new line generated more melody, and the melody inspired more words.
“When no one is forgotten and nothing goes to waste, when sadness turns to laughter, when anger is defaced, you’ll start to know the way I feel about you.”
When a song comes to you like that, it’s best to get out of your own way — to be as detached as possible — and yet I couldn’t help feeling excited that this was a song for my dad. I thought, “At least now I won’t be the only fool at the brunch without a Father’s Day present.”
“And if I could, I’d run out into the world and tell every boy and girl to love before love takes itself away… just like I’m loving you this Father’s Day.”
I made a quick recording of the song, and I was so tired and so emotional that I started crying in the last chorus. I didn’t want to let everyone hear me blubbering on tape, so I reached over to erase it and sing it again, but at the last second I decided to leave it as was, tears and all.

The next morning I brought the cassette upstairs. The brunch was in full swing: The lox and the smoked whitefish had been taken out of the refrigerator and arranged on platters. The scrambled eggs and onions were warming on the stove. The cinnamon rolls and the cartons of Minute Maid were on the table, and the brunch-goers were trying their best to slap on their happiest faces.
I put the cassette in the stereo, and I swear it took no more than ten seconds for everyone to break down in tears and exit the room.
Now it was just my dad and me — both of us staring out the big picture window of our den, listening as the song played.
As it ended, we held each other and cried. Whatever façade of normalcy we’d been putting up over the last few years washed away in the emotion of that song. I’d wanted to say so many things to him, and for so long. Somehow the song expressed everything so well.
From that morning on, my dad carried the cassette around with him in his breast pocket.
He died a few months later on Thanksgiving night. We got a call from the hospital as we were sitting at the table; the turkey had never even been carved.
As tragic and sad as his death was, I’ve never felt remiss for not expressing how I felt.
This, I think, is not only the utility of music (a harsh word, I know), but its spiritual power — to say what cannot otherwise be said, and to leave nothing essential unspoken.
The post My father was my hero and, when he was dying, I wrote this song for him appeared first on The Forward.
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Trump nominee defends college cartoon of Jewish student with devil horns at Senate hearing
(JTA) — President Donald Trump’s pick for general counsel of the agency that oversees federal workers’ labor rights testified in Congress on Wednesday that he does not believe a cartoon he published in college that depicted a Jewish student with devil horns was antisemitic.
Charlton Allen appeared at the Senate Committee on Homeland Security and Governmental Affairs for his confirmation hearing Wednesday afternoon. There, Sen. Ruben Gallego, the Arizona Democrat, pressed him about the cartoon.
“If you look behind me, you’ll see the front cover of an edition of the Carolina Review depicting Aaron Nelson, a Jewish candidate for student body president. Your magazine altered Nelson’s photo depicting him with the horns and a pitchfork. Inside the article says, ‘The difference between Aaron Nelson is simple. He’s Jewish.’” Gallego said. “Yes or no, Mr. Nelson. Do you stand by this depiction?”
The cartoon ignited a firestorm when it was published in the Carolina Review, a campus conservative magazine that Allen founded as an undergraduate at UNC. The magazine’s faculty advisor said he resigned after it went to print against his advice, and nearly two dozen Jewish faculty members pressed UNC’s chancellor to denounce the cartoon and censure the magazine, which he did.
Allen fended off allegations of antisemitism at the time and again during a 2014 hearing to confirm him for a position in North Carolina. He did so again on Tuesday.
“I would not say that it’s antisemitic,” he said. “We were the group that was calling for the equal treatment of all student religions.”
“If I were 30 years ago advocating for The Review, I would say, ‘don’t run that cover,’” he testified. “I think it was a mistake.”
According to reports from the time, Nelson had been accused by the Carolina Review of discriminating against a Christian campus group by voting not to fund it. He had voted in favor of funding a “majority” of other campus Christian groups while he was a representative in the student congress.
Facing backlash, Allen denied at the time that the depiction of Nelson with horns was meant to channel longstanding antisemitic stereotypes.
“Our cartoonist lampooned [Nelson] as such because her perception was that Aaron was evil,” Allen told the Duke Chronicle in April 1996. “Newspapers in the past few weeks have run cartoons lampooning public figures such as Gingrich, Pat Buchanan and even myself as ‘devils’ with horns and pitchforks. Where’s the public outcry over these cartoons?”
On Wednesday, Allen offered a slightly different explanation. He said the picture was meant to channel UNC’s historic and enduring rivalry with nearby Duke University, whose mascot is the “Blue Devil.”
“The cartoonist’s intention was to make an analogy to that,” he said.
In 2014, during his confirmation hearing ahead of his appointment for commissioner of the state Industrial Commission of North Carolina, Allen addressed criticisms of the cartoon by saying his grandfather had helped to liberate Jews in Europe from concentration camps during World War II, the Indy Week reported at the time.
Trump nominated Allen to the Office of the Special Council — the agency that protects whistleblowers from unlawful conduct — in May 2025 but withdrew the nomination less than a week later. In September, he nominated Allen to the Federal Labor Relations Authority.
Nelson, meanwhile, won the election handily to become UNC’s student body president. Now president of The Chamber, Chapel Hill’s chamber of commerce, Nelson did not respond to the Jewish Telegraphic Agency requests for comment.
The post Trump nominee defends college cartoon of Jewish student with devil horns at Senate hearing appeared first on The Forward.

