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Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.

Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.

But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
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House Democratic leader Hakeem Jeffries calls for ‘dramatic change’ in Israel policy
(JTA) — U.S. House of Representatives Minority Leader Hakeem Jeffries, a New York Democrat poised to become the chamber’s speaker in January, called for a significant shift in the U.S.-Israel relationship but stopped short of opposing defense partnerships.
“The status quo is unacceptable, and we need dramatic change,” Jeffries told reporters at a Thursday press conference.
Jeffries expressed a need for such change with respect to the West Bank, to Gaza and to a memorandum of understanding with Israel over military aid set to expire in 2028. That agreement, signed by the Obama administration in 2016, pledged $38 billion in military aid for Israel from fiscal years 2019 through 2028.
President Donald Trump has said he will wind the aid down before it is set to lapse, citing Israel’s unpopularity, and Israeli Prime Minister Benjamin Netanyahu also backs ending military aid and replacing it by strengthening U.S.-Israel military cooperation.
But when asked about recent demands from Sen. Chris Van Hollen to remove provisions on defense collaborations with Israel from the National Defense Authorization Act – the model of what Netanyahu hopes to sustain – Jeffries responded that he hadn’t spoken with the senator. Van Hollen, a Democrat from Maryland, plans to challenge Senate Minority Leader Chuck Schumer leadership of the Senate Democratic caucus when Democrats take over the chamber in January.
Instead, Jeffries said that “things have to dramatically change over in the Middle East,” without elaborating on the details of such changes. He stressed the importance of ensuring “a safe and secure Israel living side by side as a Jewish and democratic state with an independent Palestinian state that provides dignity and self-determination for the Palestinian people.” Netanyahu and much of the Israeli public oppose the establishment of a Palestinian state.
While Jeffries noted that he wasn’t saying anything he hasn’t “previously said publicly,” his decision to reiterate this need for change following the election as Democrats are set to seize control of Congress demonstrates how the party is adopting a more critical posture on Israel.
This past summer, Jeffries wrote to colleagues urging them to reject an amendment proposed by Rep. Thomas Massie, a Republican from Kentucky, that would have cut military aid to Israel. While a slight majority of Democrats voted in favor of the measure, it was defeated after getting no Republican support aside from its sponsor.
Jeffries had argued at the time that “there are more decisive ways to achieve the urgent change necessary when it comes to the far-right Netanyahu government,” warning that Massie’s amendment would have restricted Israel’s ability to confront Hamas, Hezbollah and other terror groups.
Nonetheless, Jeffries also noted in the letter that the Obama-era memorandum of understanding “expires imminently,” and that “a meaningful change in direction is needed.” Writing that Israel has a robust economy and is capable of paying for its own weapons, he said that future security arrangements “should be structured consistently with defense agreements that exist with our other Western allies.”
Since writing that letter in July in the lead-up to the midterm elections, Jeffries focused primarily on domestic issues and didn’t often address the Israeli-Palestinian conflict. On Thursday, however, the topic was back on the table.
“We’ll work as a caucus to make sure that we can bring about the just and lasting peace that Israelis and Palestinians deserve,” Jeffries said.
This article originally appeared on JTA.org.
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Ahmed Moor, John Fetterman’s first challenger, envisions ‘Palestine-Israel, from the river to the sea’
(JTA) — When Ahmed Moor started his freshman year at the University of Pennsylvania in 2002, he remembers navigating an atmosphere of Islamophobia around the one-year anniversary of Sept. 11.
He recounted how as he was exiting a derelict math building known for what Moor described as its “dungeon-like” interior, he overheard a kippa-clad student commenting on the grossness of the neighborhood, noting that “it’s not like Ramallah or anything.”
“It was a tough environment,” Moor said, recalling that during a campus protest in 2003 against the Iraq war, he was met with “Go home, terrorist” and other such slogans. “You kind of build a muscle around that early on.”
More than two decades later, the 42-year-old Palestinian American writer is now Pennsylvania’s first candidate to announce a 2028 bid for Democrat John Fetterman’s U.S. Senate seat – running on a platform of dignity, equal rights and affordability.
Though still two years away, this high-stakes race could change how much support Israel gets from the Democratic Party. Fetterman, who hasn’t declared if he will run again, has irked many fellow Democrats by joining Republicans on certain issues, particularly in defending Israel, but has also maintained a powerful voice in a caucus that has held just 47 seats for the past two years. But that influence may soon dissipate, with the Democratic caucus poised to have at least 55 out of 100 seats when Congress convenes in January.
Regardless of whether Fetterman chooses to run, for Moor – a Democratic Socialists of America member from Philadelphia – to secure the seat would require a dramatic shift in voter trends across purplish Pennsylvania.
Moor enters the playing field with radically different stances on Israel and foreign policy from those that Fetterman has espoused. Moor’s priorities include stopping the funding of wars and trimming the military’s budget in general, as well as many domestic issues that Fetterman has historically supported, such as universal healthcare and childcare and affordable housing.
“The DSA presents a really good opportunity for the Democratic Party to re-energize, reinvent itself,” Moor said, describing the DSA as “a blood transfusion.”
An avowed anti-Zionist, Moor wants economic sanctions against Israel and to hold the country’s leaders accountable for what he alleges are war crimes. Ultimately, he said he hopes to see the development of one “Palestine-Israel” state that has equal rights for all — a dream that he said is rooted in American principles of emancipation.
Born in Gaza, Moor moved to Philadelphia as a child and went on to earn degrees from both Penn and Harvard, and started a career in finance. He then switched to journalism, reporting in Beirut and Egypt for The Guardian and other outlets, and co-editing the book “After Zionism: One State for Israel and Palestine.” He also spent many years in Jordan, where he launched a peer-to-peer lending organization, before returning to Philadelphia in 2021.
Looking back at his years as a college student, Moor recalled experiencing some “ambivalence about being an American, the promise of life, liberty, pursuit of happiness, the equality before the law,” particularly while he felt like people viewed him as an outsider.
But he said that things began to look up when he joined the Free Palestine Action Network, a fledgling campus group that existed before Students for Justice in Palestine.
Turning to the situation in the Middle East today, Moor said he still has family members in Gaza, as well as some in the West Bank. Many of his relatives in Gaza, he added, were killed during the war.
He noted that his aunt “was diagnosed with cancer and died a very painful death shortly after that because the hospital itself was destroyed.”
In the future, Moor said he would envision “all of Palestine-Israel, from the river to the sea” as one state with equal rights for “Jews, Palestinians, Druze” and everyone else, including “all of the East Asians who work there, who built lives there.” Lebanese areas currently under Israeli military occupation would go back to Lebanon, while the Golan Heights, captured by Israel in 1967, would go back to Syria, he added.
The leaders of this hypothetical state, according to Moor, would need “to represent everyone who lives under its authority,” with the Knesset legislating laws, the military serving all the people and Palestinians earning a right of return.
Moor compared the current phase of this conflict to mile 15 of a marathon: “Every footfall from here to the finish, 11 more miles, is painful.” Crossing the finish line, he argued, will require “the emancipation of the Palestinians, the right-sizing of our understanding of equal rights, where Jews don’t have superior rights in that country.”
Whether Moor’s Middle East positions will resonate with Pennsylvania voters when they choose their next senator in 2028 remains uncertain.
“If we look at the surveys leading up to the election, that issue didn’t come up a great deal,” Berwood Yost, a public policy expert at Franklin & Marshall College, told JTA. “It was the concerns about personal finances and economics and affordability that were largely driving voters.”
Daniel Hopkins, a political science professor at the University of Pennsylvania, told JTA that although the conflict is “highly evocative and emotive,” his polls have shown that “relatively few voters rank it as an important issue,” except in deep blue Philadelphia.
Yet even if the conflict doesn’t have a direct influence on most voters, Hopkins said that its divisiveness helps candidates distinguish themselves from rivals. For example, he continued, a stance on this subject can often serve as a shortcut to other views.
“The issue partly functions as a within-party issue that helps certain Democrats differentiate themselves from other Democrats,” he added.
For Moor, the idea of maintaining the status quo, which he described as preserving alliances just “to shore Israeli apartheid” would be inconsistent with American ideals.
He rejected the notion of a possible path forward with Gadi Eisenkot, the leader of Israel’s opposition bloc, who recently received a mandate to form a government to replace Prime Minister Benjamin Netanyahu’s ruling coalition.
“Jewish Israelis are confronted with a difficult frame now,” Moor said. “They don’t have any credible leaders who aren’t also implicated in genocide or massive war crimes.”
Asked if he considered Hamas militants to be war criminals, he responded that “everybody who’s committed a war crime is a war criminal.” But he argued that naming Hamas as such would be irrelevant, as the Israeli military had already killed most Hamas combatants, including former leader Yahya Sinwar.
Fetterman was still posting on X this week about “disarming Hamas,” noting that “this vote and voice will always follow our special ally.” Fetterman’s office did not respond to a request for comment.
Moor characterized the senator as “in the rearview mirror for Democrats,” adding that “Fetterman’s story is finished.”
Hopkins, from Penn, disagreed with that conclusion, pointing out that “no one knows whether Fetterman will seek reelection,” and that if he does so, it’s also unclear “whether he will do that as a Democrat.” Hopkins acknowledged, however, that the senator’s vote would be less powerful when it comes to legislating because of the decisive Democratic majority.
As for other possible candidates, Hopkins is looking at potential contenders such as U.S. Rep. Chris Deluzio, who represents southwestern Pennsylvania residents in Beaver and Allegheny counties, including some Pittsburgh suburbs. He also named Conor Lamb, an attorney who served in Congress from 2018 to 2023.
Yost, from Franklin & Marshall, cited these names as well, while noting that “Fetterman has alienated a number of people in his party.”
“There’s been increasing dissatisfaction among his base, including people who voted for him,” added Yost, who directs the college’s Center for Opinion Research and its Floyd Institute for Public Policy.
But Yost also stressed that “running in a state like Pennsylvania for an office like the U.S. Senate is a significant undertaking” that requires large amounts of travel, networking and fundraising.
“Starting now is not a bad idea,” he said. “Two years will be here before you know it.”
Although voters might not be “dialed in” to the 2028 elections for a while, Penn’s Hopkins added that “now is the period of time when candidates are beginning to jockey.”
“One strategy by declaring early might be to try to tell other contenders who would be in your lane, ‘Hey, I’m in this lane,’” Hopkins said.
As for the chances of a Democratic socialist in a swing state like Pennsylvania, Hopkins didn’t rule Moor out but said that “any such individual would have an uphill climb.”
Another Democratic socialist who Moor said he finds inspiring, Chris Rabb, recently won a U.S. House seat in Pennsylvania, but he did so in a heavily Democratic district of Philadelphia, Hopkins noted.
“Pennsylvania has not often nominated candidates who are on the extremes of their party,” he said.
But Yost also acknowledged that “these days, people want to see non-politicians running,” so Moor’s novice status would not necessarily create a barrier to his success.
Despite his relative inexperience, Moor said he is reaching for the Senate seat due to his passion for foreign policy. He said he has concrete ideas for optimizing the military, by deflating a “bloated weapons program,” focusing more on drones and then reinvesting in both jobs programs and climate resilience initiatives.
Recognizing the mammoth expense that running in a state like Pennsylvania involves, Moor said that his fundraising efforts have started out strong, with a lot of “small-dollar” contributions, including from many Jewish donors.
Asked if he had a message for Jewish voters, Moor said that he would convey that “we’re Americans first” and that he believes “in the dignity agenda for all Americans.”
“Poverty is indifferent about whether you’re Jewish or Palestinian, Black, white, whatever,” he said.
This article originally appeared on JTA.org.
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What Muhammad Ali taught me from his Jerusalem hotel
The one time I got to talk to Muhammad Ali was a summer evening when I was working at one of my favorite college internships — in the McClurg Court newsroom of WBBM Newsradio 78, the Chicago affiliate of CBS Radio.
The scene came to mind earlier this week when I released a new audio documentary called Broken Hologram about Ali and his brief stint as a Broadway star. But back then, I was one of a quartet of interns who included a cool girl from Hyde Park named Gwen Billings with whom I occasionally took lunch at a nearby hot dog stand and discussed important news figures like, say, Depeche Mode and The Smiths. There was also Linda, a hard-nosed news reporter in the mold of Holly Hunter in Broadcast News. Sometimes she came around to my cubicle and took sips of my Dr. Pepper. Not in a flirtatious way, more in a proto-Daniel Day-Lewis “I drink your milkshake” kind of way. There was a fratty guy named Scott who wore a class ring from (redacted). He went on to a lucrative career, just not in journalism. There was one other dude; he was from Crown Point, Indiana, but that’s just about all I remember.
My job consisted of answering phones, ripping wire copy from the AP and UPI machines, getting sources on the phone and calling every major fire and police station every night to see if there was a story to be reported (“Hi, Sergeant Kupka, it’s Adam from WBBM: Do you have anything working in your area?”).
Even though every sergeant told me the same thing every night, I kept calling because that’s what journalists do: You keep making the calls. In fact, I did pretty much whatever was asked of me, and turned feisty only when one of the few asshole reporters tried to get me to run downstairs to the loading area to fetch him a “Green Streak” edition of the Tribune so he could check on his stocks or intimated that my job description should include making him coffee.
“Sure could do with a cup o’ coffee right now, Adam.”
“Cool, why don’t you make yourself one?”
Note: The individual referred to is decidedly not John Cody, a truly great man who remains a friend to this day. (Fun fact: During Vietnam, John worked for Stars & Stripes alongside Seth Lipsky, founder of the English language edition of the Forward)
Nor am I referring to sports reporter Rich King, a prince of a man who always offered to get people sandwiches from the White Hen Pantry (“Anyone need anything from ‘The Hen?’”).
Sometimes, when the news day got super-slow — for example, when Notre Dame football coach Lou Holtz was in the studio doing a live call-in show — I passed the time by trying to guess the usually ridiculously easy passwords for the WBBM staff’s new computers and snooping in the reporters’ early version of email in a futile effort to find anything interesting. Apologies to the late Dale McCarren (DMC123).

I was working the evening shift when the top news story was about Father Lawrence Martin Jenco, a Catholic priest from Joliet, Illinois, who had been taken hostage in Beirut while he was working for a relief agency. Muhammad Ali was part of a delegation that had flown to the Middle East to try to arrange his release.
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My supervisor was a terrific guy named Duane Gray, an African-American Conservative who was big on conspiracy theories (“You should read this book. It’s called The Terror Network.”). He was a great manager and colleague who made sure that we kept to the schedule and that traffic, weather, sports and news headlines always came right when they were supposed to. On this particular night, Duane gave me a mission: “Get ‘The Champ’ on the phone.”
“Uh, how do I do that, Duane?”
“Call every hotel,” he said.
He scrawled a list of hotels in Tel Aviv and Jerusalem on a legal pad and I started calling Information to get their numbers. Advantage of working for a CBS affiliate: You got to make all the long-distance calls you wanted.
How many calls did I make? What were the names of all the hotels? I have no idea. But I do remember that one of them was the King David Hotel in Jerusalem because this time, when I asked to be transferred to Ali’s room, no one said, “Sorry, no one here by that name.”
Ali picked up. His voice had that raspy quality it got after he retired from boxing. “Hullo?”
“Hi, I’m calling from Newsradio 78. I was hoping one of our anchors could speak with you.”
“You’re calling from Chicago?” he asked.
“Yeah.”
“Man,” Ali told me, sounding weary but amiable. “It sounds like you’re calling from right next door.”
Duane could be a wise-ass and a cynic, but now he was star-struck. He sprang to his feet. “Is that the Champ?”
I nodded.
Duane grabbed the phone. “How’re you doin, Champ? You’re gonna be on with Dale McCarren. I’m gonna patch you through, Champ.” He gave me a hearty high-five.
Some time later — perhaps after a week, perhaps after two — when Madonna was in town for some concert, movie junket or photo shoot and Duane told me he wanted to get her on the air, I knew exactly what to do.
After I got her on the phone at her hotel and transferred the call to Duane, he shouted: “This kid,” he said, complimenting both me and his own managerial talent, “has the best news instincts of anyone in this newsroom!”
“Hello, Madonna?” Duane said into the phone. “You’re gonna be on with Dale; let me patch you through.”
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