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Israeli drama film ‘Concerned Citizen’ tackles gentrification and race issues in Tel Aviv

(JTA) — The Israeli satirical drama film “Concerned Citizen” opens with the sacrosanct rituals of a bourgeois Tel Aviv life: a robot vacuum slides gracefully across the floor; lush house plants are watered; vegetables are blended into green juice. The score from the Bellini opera “Norma” plays in the background.

Then a car alarm rudely interrupts the utopia. 

It only gets worse from here for Ben and Raz, a progressive Israeli gay couple (played by actors Shlomi Bertonov and Ariel Wolf, who are also a couple in real life) living in a pristine renovated apartment in a gentrifying neighborhood in south Tel Aviv. When Ben, a landscape architect, plants a tree on their block, his seemingly innocent desire to improve the neighborhood quickly goes awry, and a series of events forces him to face his own repressed prejudices and hypocrisy.

With the tension of a thriller, “Concerned Citizen,” the second feature film by Israeli writer-director Idan Haguel, tackles the universal themes of privilege and multicultural tension in gentrifying cities, using the hyper-specific lens of Neve Sha’anan — the south Tel Aviv neighborhood that’s home to many of the country’s foreign workers and asylum seekers, as well as the city’s notoriously rundown (but culturally vibrant) Central Bus Station. 

After making its world premiere last year at the famed Berlin International Film Festival, the movie debuts in select U.S. theaters on Friday and will also be available to rent on Amazon and Apple TV+.

Ben and Raz’s apartment, a hot commodity in one of the world’s most expensive cities, is the axis around which much of the drama revolves. In one scene, a French-Jewish woman looks into buying the apartment sight unseen. Their neighbors include both the extremely vulnerable and the privileged: immigrants from Eritrea in one apartment, and a writer plotting his move to Berlin with his foreign wife in another. 

Idan Haguel spoke with the Jewish Telegraphic Agency about the film and his personal connections to it. After losing his suitcase, Haguel chatted on his phone from a cafe in Berlin before heading to New York for the film’s American release. 

This conversation has been edited and condensed. 

JTA: Tell me a little about yourself and how you became a filmmaker. 

IH: I was born in the suburban city Rishon LeTsiyon and I always didn’t know what to do with my life. After the army I decided to go to film school. I wanted to be a scriptwriter, to do comedies. I discovered filmmaking, directing, and I gradually fell in love with that part. Then after school, I became a journalist because I couldn’t make a film — it was very difficult for me to get into that world. When my journalism career ended abruptly by the closing of the magazine, I decided that it’s now or never. I made my first feature film, that was a film called “Inertia.” That film is based on childhood memories of my grandparents. My grandparents were immigrants from Lebanon, Romania and Thessaloniki in Greece. 

“Concerned Citizen” is partially about immigration. Why was it important to you to focus on the immigrant experience? 

I was drawn into the irony, and, some may say, hypocrisy of living in a country that historically was formed by the narrative of [the Jew] being the immigrant of the world, not accepted into other countries, that in some ways still holding that grudge against countries that weren’t receptive to the immigrant Jew and pushed immigrants out. Of course, there is the horror story of Germany and the Holocaust and that’s the extreme end of mistreating “the other.” So living in a country formed by immigrants, [contrasted with] the way we behave to immigrants who are not part of the ethos of the Jewish immigrant narrative — I was drawn into that irony, although it wasn’t an intellectual process. It was more based on the experience of living in that neighborhood in south Tel Aviv, being marinated in the dilemmas and the daily complexity of living in Neve Sha’anan as a bourgeois, middle class person. After a few years I wanted to comment on that. I wanted to be brutally honest with myself and about myself. So my daily life and the life of my neighbors and friends became the material with which I wrote this fictional movie.

And you shot the film in your old apartment! 

That was the mindfuck of the whole production, because I made the story close to me but I left a distance. I used my experience but I created these characters who are very close but very different. I shot the therapy scenes in my therapist’s clinic. I shot the building scenes in my building on my street. Everything became very, very close and it was really an “Alice in Wonderland” experience. Looking into a mirror and everything is morphing and making you look different and look differently at yourself and your life.

Can you talk about the south Tel Aviv neighborhood where the film is set, Neve Sha’anan? 

It’s the outskirts of the center of Tel Aviv. It was always an immigrant neighborhood. But it changed over the years, it became working immigrants. In the 90s, there were the Romanian immigrants, and then it was Chinese immigrants who came to work in Israel. And over the last 15 years it has become immigrants from Africa, combined with older people who have lived there years and new people who are the more gentrifiers of the neighborhood, artists and gay people and those who are more economically stable. So now the neighborhood is comprised of sex workers, immigrants, junkies, dealers, and gay people. It’s a mix, but the prices have gone low, and people who didn’t have enough money to buy property in the city center started buying there. So the neighborhood has this tension of people who want to live a more bourgeois life, but they’re in the middle of the neighborhood with people who don’t have rights, who are immigrants, who don’t know if tomorrow the government will kick them out. People from all over the world. But it’s become a haven for investors and the neighborhood is in the middle of being gentrified and changed. 

So it’s a very interesting setting to live in and to make a film in. It’s very dense. It’s one of the less homogenic and more diverse areas in Israel. Israel prides itself on the diversity of Jewish people coming from Arab countries, coming from Europe. But they’re all Jewish and they share a common mentality and they’re all citizens of Israel. Neve Sha’anan is more diverse – it’s people from India, China, Eritrea, Sudan, the Ivory Coast. I feel it’s a missed opportunity by Israeli society that instead of accepting these people legally and into our society, they are trying to hold back and fight against it. It’s also very ironic that Israel is becoming a state that aspires to have a government like this. It’s mind-boggling. It’s like, we learned nothing from history and our own history. It’s like people don’t want to connect dots. They just want to see the cruel history that they experienced as the Jewish people and feel like it was something personal that happened to them, and like they cannot be the victimizers at all. 

You’ve said that this film is very much about the idea of who’s the victim and who’s the victimizer.  

When you raise yourself and your children on the narrative of being a victim and perpetuating historical trauma it’s very hard to notice other people’s traumas, and the fact that you are creating traumas for other people. Because you’re constantly in trauma and you’re always dealing with your own trauma and you’re always the victim and you’re the center of the world, but you are not the center of the world. I think it should change. But no one cares what I think! Sometimes I don’t care about what I think.

What was the casting process like?

The casting process was through meeting people and going to plays. [I turned to] the Holot theater company to cast the Eritrean community in Israel. It was cast mainly by meeting actors from the group, having conversations with them. Basically they wanted to participate in the film and I was very lucky about that. They’re a group that used to be based in Holot outside of a temporary incarceration open prison for immigrants who don’t have permits to stay in Israel. They put them in an open prison in the desert close to the Negev. 

There’s an interesting scene between the French-Jewish woman (played by Flora Bloch) who is trying to move to Israel and Ben that I thought was a very revealing moment about the ways that Jewishness is expressed when Jews are a minority in the country versus when they are the majority in the country. The French woman is concerned by France’s antisemitism and wants to move to Israel, while Ben is tortured by the complexities of living as a privileged Jewish Israeli person. Can you say something about what that scene meant to you? 

One of the things I’m proud about this film is that I feel like it deals with subjects which are not easy subjects to address. But I think we managed to create a balance between comedy and drama that I’m very proud of. I think it allows the film to be self explanatory. It can reveal its deep themes and make you think, in an entertaining way. Again, it’s about irony. It’s about hypocrisy. It’s about human nature. Knowing how to experience your own point of view, and being unable to be in another person’s point of view. It’s human nature, and it’s ever-fascinating to me.

And it also happens to me a lot of times with the fact that I can be in my own shoes and identify my own narrative so much but it’s hard for me to even experience a person who is experiencing the same thing as me but in a different language in different settings. But the resemblance is there so it’s very ironic. And I think that scene is about that.  


The post Israeli drama film ‘Concerned Citizen’ tackles gentrification and race issues in Tel Aviv appeared first on Jewish Telegraphic Agency.

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Garry Trudeau was a prep school kid from New England, but he identified with the Jewish outsider in ‘Doonesbury’

Doonesbury made its debut in Oct. 1970, appearing in 28 newspapers across the nation, including The Washington Post, The Chicago Tribune and The Boston Globe. Just a few weeks later, its creator, the 22-year-old Garry Trudeau, who had received his Yale sheepskin the previous spring, introduced mainstream America to Mark Slackmeyer — the campus radical who happened to be a Jew.

At the beginning of the 20th century, whole strips had sometimes focused on the Jewish experience. Harry Hirschfield’s Abie the Agent chronicled the life of a Jewish car salesman and ran in numerous papers in major metropolitan areas from 1914 to 1940. Likewise, the characters in George Herriman’s Krazy Kat, which flourished during roughly the same period, occasionally lapsed into Yiddish.

But by the 1950s, Jews and Jewish references had all but disappeared. As cartoonist and cartoon historian Brian Walker told me, “Once the power of syndicates such as King Features increased dramatically after World War II, the comics pages became much more homogenized. These national players began fearing that characters that were too specific — say, Jews or Blacks — might alienate readers in one part of the country — namely, the South.”

Garry Trudeau in Washington, DC., 2007. Photo by Katherine Frey/The Washington Post via Getty Images

While the influence of Jews on the cartoon world could still be seen in the 1950s and 60s — consider the popularity of the Superman strip created by Jerry Siegel and Joe Schuster during the Depression — Jewish creators were often forced to operate behind the scenes.

Trudeau’s “Megaphone Mark” — who sported long hair and a bushy beard —was modeled on Mark Zanger, the leader of the Yale chapter of SDS (Students for a Democratic Society). Mark’s first act in the strip is to take over the office of President King, the WASPy president of Walden College, who was based on the actual Yale president, Kingman Brewster. Over the next few months, Trudeau increasingly used Mark’s clashes with his father Phil, a New Jersey stockbroker desperate for his son to “succeed,” to dramatize tensions within postwar Jewish life.

Phil represents a generation of upwardly mobile Jews who believed acceptance in corporate and suburban America required conformity, restraint and the concealing of ethnicity. Mark, by contrast, is openly confrontational, culturally self-aware, and seems uninterested in assimilationist respectability.

Mark’s Jewish identity was not made explicit until the middle of 1971, when he and his college buddy Mike Doonesbury attend a talk by a famous religious crusader. Asked why he has not yet chosen to join the fold and lead a proper Christian life, Mark deadpans, “I’m Jewish.”

At Yale, Trudeau hardly knew Zanger and had much less in common with him than he had with Kingman Brewster, whose ancestors sailed to America on the Mayflower. Trudeau was descended from three generations of Ivy-League-educated physicians. Like his father, the hardworking family doctor Frank Trudeau, the cartoonist attended St. Paul’s — one of the most blueblood of all New England prep schools. And though the young Yalie, like the genteel Brewster, opposed the war in Vietnam, he wanted nothing to do with radical politics.

But Trudeau identified closely with some of the personal struggles of Megaphone Mark. After all, he was also bucking family tradition by becoming an artist rather than a doctor. As Trudeau told me, some of Mark’s quarrels with his father hit close to home. Consider the line that Phil tells Mark in the fall of 1973: “Life is not to be enjoyed, it’s to be gotten on with!” Those words came verbatim from the mouth of Frank Trudeau, though, the younger Trudeau said, “my father and I ended up getting along pretty well and later came to laugh about such harsh comments.”

A ‘Doonesbury’ comic from Oct. 31, 1973 underscores the conflict between Mark Slackmeyer and his dad. Courtesy of Andrews McMeel

A key reason why Trudeau saw a part of himself in his Jewish cartoon character is that this ultimate insider also knew what it felt like to be an outsider. For many American Jews of the postwar era, especially those attending elite institutions historically dominated by WASP norms and values, Jewishness came with a sense of conditional acceptance, of not fully belonging. Trudeau had an emotionally similar experience at St. Paul’s, where he felt deeply estranged from the school’s rigid social hierarchy and its obsessive emphasis on athletic status. As the cartoonist later stressed, his four years there were “a tortured time for me.” He hated the school’s culture and never felt fully at home within it.

At Yale, Trudeau tended to surround himself with other St. Paul’s alums who had felt just as alienated during high school, such as his roommate Charles Pillsbury. Pillsbury, whose family name inspired that of the strip’s protagonist, Mike Doonesbury, told me, “Like Garry, I constantly felt as if I was being ranked by my fellow students on where I stood in athletics or popularity.”

Another aspect of St. Paul’s that completely horrified both Trudeau and Pillsbury was the virulent harassment directed toward its token Jews. “I once saw a classmate approach a Jewish kid and throw some coins in his direction, shouting, ‘Go pick up your shekels.’ I was glad to get out of there,” Pillsbury said.

The emergence in the comic pages of “Megaphone Mark” also reflected the demographic changes that most Ivy League schools underwent in the late 1960s. In Yale’s class of 1968 — which included future president George W. Bush — 40% of students came from public schools and 60% from prep schools. In Trudeau’s class of 1970, the percentages were reversed. And with the elimination of the quota system that had long restricted the admission of minority students, Trudeau’s class contained nearly 250 Jews — more than twice as many as the previous class.

A graduate of a public high school in Queens, biographer Ron Chernow, like Trudeau, started Yale in the fall of 1966. The Pulitzer Prize-winning author told me that, early in his first semester at Yale, he went to an orientation meeting at Yale’s Hillel where the school’s rabbi proudly proclaimed, “’My brethren, it is wonderful to see many of you here! You will hear it said that for the last fifty years, there were quotas on Jewish students. But this is a malicious lie. It’s purely coincidental that between 108 and 110 Jewish students attended Yale every year.’”

Mark’s battles with his father in Trudeau’s 1970s strips also reflect the society-wide divide between the Greatest Generation and the Baby Boomers that defined the decade. Phil can’t seem to understand why his son wouldn’t want to become part of the establishment — say, land a well-paying job and join his suburban golf club. Unfortunately, like many Jews who came of age during the 1950s, Phil feels he needs to pretend not to be Jewish in order to make his way in the world. As Trudeau stressed, Phil is so disconnected from his own identity that he doesn’t even consider himself a Jew.

In a Sunday strip from late 1973, Phil — who, like Frank Trudeau had graduated during World War II from the same college that his son now attended — encourages Mark to join his old fraternity because “those people can help you later on in life.” Mark protests, arguing that “the guys in it are all snobby jerks.” Phil then berates Mark, exclaiming that “you always reject people from your own background,” before adding, “I’ll bet you’re even dating some Jewish girl!” After Mark reminds Phil that they are Jewish, his father is forced to concede, “Oh, that’s right.”

But in the end, it took a preppy WASP to broach the tension between assimilationist anxiety and a self-assured, unapologetic Jewish sense of identity to mainstream America in the funny papers.

The post Garry Trudeau was a prep school kid from New England, but he identified with the Jewish outsider in ‘Doonesbury’ appeared first on The Forward.

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At the edge of America, six Jewish graves endure

A July 1954 funeral in Fairbanks, Alaska, drew unexpected attention from Jewish newspapers across the country. The woman being buried, Lena Ferguson, was laid to rest in what the Fairbanks Daily News-Miner described simply as the “Jewish plot” inside the city’s Clay Street Cemetery — a small, largely forgotten burial ground that many outside Alaska did not even know existed.

Reports in papers from Florida to Chicago described the “discovery” of what was believed to be the only known Jewish cemetery in the Last Frontier. Some emphasized the unusual circumstances of a Jewish burial in the remote Alaskan interior. Others noted that Ferguson had been married to a non-Jew.

Long before Alaska had a purpose-built synagogue, the Jewish plot at Clay Street had already begun preserving the names of Jews who lived and died in the territory.

The six graves within the plot preserve fragments of a largely forgotten Jewish world built around mining camps, frontier trade, military outposts and isolated immigrant lives. Together, they show how Jewish life appeared in one of the most remote corners of the United States, often before the institutions that sustained it elsewhere.

Ferguson’s funeral itself reflected that improvisational frontier Judaism. According to accounts published at the time, her Jewish identity only became widely known after her brother, Joseph Wishengrad of Catskill, New York, contacted a Fairbanks funeral chapel and requested that she be buried according to Jewish law.

Alaska’s only rabbi, military chaplain Jacob Rubenstein, happened to be away visiting Jewish servicemen stationed at remote military installations. In his absence, Jack Frankel — a former Biloxi, Mississippi, resident working for the United Service Organizations-Jewish Welfare Board — helped officiate the service alongside Robert Bloom, a former Klondike Gold Rush miner who later opened a hardware and general merchandise store in Fairbanks.

Jewish newspapers reported that the cemetery plot had not been used for more than 25 years because many Jews who died in Alaska were sent “to the states” for burial instead.

Before Ferguson, the most recent burial there had been Gussie Beckman in 1939. Born in New York in 1882, Beckman operated the Palace Baths and the Palace Liquor Store on Fourth Avenue in Fairbanks. Her obituary noted that “nothing is known in this city of any surviving relatives.”

Her funeral demonstrated how tenuous Jewish communal life in Alaska could be: a Christian minister, Rev. Rudolph G. Fitz, conducted the service, while Leonard Newman, a University of Alaska mining engineering student from New York City, read the burial prayers. Her pallbearers included future state senator John B. Hall, Deputy Marshal Pat O’Connor and other Fairbanks civic figures.

Other graves preserve similar fragments of frontier life.

Thomas Robin, a Romanian-born immigrant who arrived in Alaska in 1893, was buried in 1923 under the auspices of the Pioneers of Alaska, a fraternal organization founded by early settlers in the territory. His obituary identified him as a member of the Iditarod Igloo chapter.

Julia Warren, buried in 1929, lived near the Mason Creek gold mine and died in an automobile accident alongside three others. Her husband worked as a miner.

Anna Marks, who died in 1915, received a public funeral in Moose Hall, reflecting how civic lodges and fraternal organizations often doubled as gathering places in frontier towns where formal Jewish institutions scarcely existed.

Little survives about David Hurvitz, who died in 1920, beyond a brief bankruptcy notice published years earlier.

And that absence itself forms part of the story. The record preserves only fragments: names, occupations, scattered newspaper clippings and weathered gravestones. Yet together they reveal that Jewish life in Alaska did not begin with synagogues or other organized institutions. It began with individuals — merchants, miners, and immigrants — carrying pieces of Jewish identity into an isolated region where religious infrastructure barely existed.

Alaska’s first purpose-built synagogue, Congregation Beth Sholom in Anchorage, would not be dedicated until 1965, more than a decade after Lena Ferguson’s burial and nearly 360 miles south of Fairbanks.

Clay Street Cemetery eventually closed to new burials as Fairbanks shifted to Birch Hill Cemetery after 1938. In 1982, the historic cemetery was added to the National Register of Historic Places.

Today, Jewish life in Alaska is more visible than it once was. Congregation Or HaTzafon was founded in Fairbanks in 1980, and Chabad established a center there in 2024. The closest active Jewish cemetery is now in Anchorage.

The six graves at Clay Street remain among the earliest surviving records of Jewish life at the edge of America.

The post At the edge of America, six Jewish graves endure appeared first on The Forward.

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Texas candidate’s antisemitic rhetoric sparks outrage ahead of Tuesday runoff. Did it fuel her rise?

(JTA) — When Maureen Galindo finished first in a crowded Democratic primary for a newly redrawn South Texas congressional district in March, the result surprised even seasoned observers of San Antonio politics.

With voters set to decide the Democratic nomination Tuesday, as Galindo faces off with sheriff’s deputy Johnny Garcia, local officials and political observers are grappling with how a little-known candidate with a history of inflammatory remarks about Israel and Jews has come within striking distance of a seat in Congress.

The local housing activist went into the race with little political profile, having received less than 3% of the vote in a San Antonio City Council race last year. Local officials familiar with the contest chalked up Galindo’s success to a litany of factors, including low voter awareness of the candidates and a newly drawn Republican-leaning district that attracted few high-profile Democratic contenders.

What they did not credit for her success was her antisemitic rhetoric. While the race heading into Tuesday night’s runoff has been defined by scrutiny and criticism of Galindo’s views toward Zionists, local political analysts and activists told the Jewish Telegraphic Agency that her controversial positions were not widely known ahead of her March win and, if anything, are hurting her chances against Garcia.

Israel is a growing flashpoint in a number of Democratic primaries across the country, and several candidates have drawn allegations of antisemitism as they employ harsh criticism of Zionism. Galindo’s rhetoric has been even more extreme – including vows to turn a local immigrant detention center “into a prison for American Zionists” – but San Antonio political observers caution against lumping her early success in with the recent wins of progressive candidates in urban districts.

Jon Taylor, a political science professor at University of Texas San Antonio, told JTA that Galindo’s antisemitic rhetoric had been largely unknown at the time of the primary.

“What I can tell from previous candidate forums, she talked about the 1%, she talked about going after Trump and ICE,” Taylor said. “None of the stuff on Zionism, from what I could tell, was ever mentioned.”

Now that her antisemitic tirades have received so much attention, Taylor predicted they would turn off voters in the socially conservative district, where elections are usually driven by pocketbook issues.

“To be honest, talking about Israel, talking about some sort of Zionist conspiracy, is not what voters are looking for,” Taylor said.

Galindo has previously told local outlets that it was her “perception that Zionist billionaires run the world” and posted on social media that “ZIOS=GENOCIDAL EUROPEAN COLONIZER FREAKS,” After Texas Senate candidate James Talarico revealed to JTA that he would not back or campaign with Galindo, she told JTA that “coordinated media attacks declaring my anti-Zionist rhetoric as anti-Semitic” were “causing MORE harm to the Jews of San Antonio by playing into all the stigmas that they own the media.”

Galindo, who has raised almost no direct funding for her campaign, has benefitted from an opaque, newly formed Political Action Committee, which Democrats are charging is Republican-backed.

For some Jewish Democrats, the purported GOP-backed funding is evidence that Galindo’s anti-Israel rhetoric is a political liability rather than a strength.

“Republican dark money groups are spending big to elevate anti-Israel Democratic candidates who are out of touch with voters — because they’d rather face a weaker opponent in races that will decide the House majority in November. It’s cynical and it’s disturbing,” the president and CEO of the Democratic Majority for Israel, Brian Romick, said in a statement to JTA.

Taylor noted that the GOP would only be promoting Galindo because the party wants Democrats “to nominate the worst candidate possible,” backing up the notion that her views are not appealing to voters.

The newly launched Lead Left PAC, which has not disclosed its donors, has spent more than $900,000 on ads and mailers promoting Galindo. Campaign finance watchdogs accuse the group of structuring its activity in a way that allowed it to bypass donor disclosures before voters cast their ballots.

Last week, the Campaign Legal Center filed a complaint with the Federal Election Commission accusing the PAC of having “strategically gamed federal reporting deadlines” in order to not disclose the sources of its funds ahead of the primaries.

The alleged GOP interference in the Texas race also spurred a row between the Republican Jewish Coalition and the Democratic Majority for Israel, which, after it called on Democrats to condemn Galindo, asked the RJC if it would “condemn the Republican Super PACs promoting her?”

The RJC, Texas GOP and Winred – a Republican donation platform that reportedly was at one point linked in the metadata for the website of Lead Left PAC – did not respond to a request for comment from JTA.

A local Democratic Party official familiar with the race told JTA in an emailed statement that it was likely voters did not know much about Galindo ahead of the race, but that with “more knowledge and media attention, voters are now much better equipped about their choices.”

The race has unfolded against the backdrop of a major Republican redistricting overhaul. Congressional District 35, where Galindo is competing, was impacted so heavily that the incumbent Rep. Greg Casar is now running for a different seat, while roughly 43% of residents of Bexar Country, which the district partially covers, were placed in a new district, according to the San Antonio Report.

On Wednesday, a host of Texas Democratic Party leaders released a joint statement decrying Galindo’s rhetoric, writing that her comments “do not reflect our values as Democrats or as Texans.”

Casar, who chairs the U.S. House Progressive Caucus and currently represents much of the district, made the unusual move last week of endorsing Garcia, Galindo’s moderate runoff opponent, telling the San Antonio Express-News that Galindo’s “very inappropriate remarks” sealed the deal.

“I’m a progressive Democrat. Johnny has been endorsed by the more conservative Blue Dogs. But we can all agree that he’s the candidate who can win this race,” Casar told the outlet.

Rabbi Mara Nathan, the senior rabbi of Temple Beth El, a Reform congregation in San Antonio, told JTA that she did not think Galindo had drummed up support heading into her campaign from voters over her antisemitic rhetoric, adding that “if that had been the case, we would have heard about it much earlier on.”

She explained, “An alarm would have been sounded pretty early, and not necessarily from Jewish people, but from other people in the San Antonio community who are our friends and allies.”

Looking to Tuesday’s primary, Taylor said he believed the public spotlight on Galindo’s remarks had changed the race by making voters more aware of her record.

“With this animus now out there and highly visible, people are really alerted to the danger of this woman and what her rhetoric could mean,” Taylor said.

This article originally appeared on JTA.org.

The post Texas candidate’s antisemitic rhetoric sparks outrage ahead of Tuesday runoff. Did it fuel her rise? appeared first on The Forward.

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