Features
Remembrance of Rupertsland Avenue – 1950 to 1975
By BRIAN M. GILFIX Cote Saint-Luc, Quebec September 18, 2023 I have read with interest in various past issues of the JP&N (Sept. 16 and 20, 2019, Sept. 30, 2020, and Nov. 10, 2021) descriptions of streets or blocks where all or most of the houses were occupied by Jewish families. (Ed. note: All those stories – about McAdam Avenue and Bredin Drive, can be found on this website. Simply go to “Search archive” and enter the name of either street. The entire issue in which the story about that street appeared will show in the search results.)
This was not all that unique in the 1950s and 60s, especially with the Jewish population of Winnipeg peaking close to 20,000 individuals during that time. During the immediate post-war years, individuals and families were leaving the Magnus and Flora Avenues with their wooden shuls and moving more northward to the then developing West Kildonan and later developing Garden City areas. This was reflected in the establishment of shuls (Rosh Pina, 1952; Bnay Abraham, 1958; Chevra Mishnayes, 1965) and schools (Talmud Torah, 1952) in the area.
Rupertsland Avenue was a new street developed in 1950 by Edward Rosenblatt. The street name obviously echoes the name given to the territory draining into Hudson’s Bay , which was called Rupert’s Land. Looking at the actual mortgage documents, houses cost about $8450 for a bungalow (1 storey) while a cottage (2 storey) cost about $2000 more. By the mid-2010s the value of a bungalow style house had increased thirty-fold in value. The street changed appearance somewhat over the years with some upgrades – paving of the back lane (1950s) and planting trees on the front boulevards (1960s).
I grew up on Rupertsland Avenue in the 1950s and 60s. Then, in the block stretching from McGregor St. to Parr St. and comprising about 50 houses, over a third of the houses were occupied by Jewish families. Most were tradespeople or small business owners. None of that generation were professionals. Then, your neighbours were also your friends with whom you socialized. For example, my parents belonged to a bridge club on the street, comprising amongst others the Stollers, Brasses, Bogaches, and Jacobsons. As few trees were planted, we, the neighbourhood children, played across the front lawns of neighbouring houses, effectively making one long field.
The children (including myself) walked to the local schools regardless of the weather: Victory, what was then known as Jefferson Junior High School, Garden City Collegiate, and Talmud Torah – affecting the school demographics such that on major Jewish holidays the public schools “shut down.”
We had deliveries from the milkman and bread man. The street was visited by vendors selling eggs and, on one occasion early on, vegetables from a horse drawn wagon.
From my memory, I have provided a list of the Jewish families that lived on the street during this period. I have also given a few short vignettes of some families as I remember it from my then youthful perspective aided by information gleaned from the JP&N and Google. I apologize for any errors in advance. I should note that of the families listed here, with rare exception, the parents have passed away. In some instances, I have noted the year of passing.
565 Rupertsland – Stoller. He was an accountant or bookkeeper. He and his wife had a son & daughter, Elaine (?).
517 Rupertsland – Name unknown.
513 Rupertsland – Kesten. Their son Cyril currently resides in Vancouver.
509 Rupertsland – Tennenhouse – Sam (d.2001) and Gertie (d.2014).
They had four children: Karen, Ronnie, Marsha, and Kenny. He farmed with his brothers during the summer and had a small machine shop in the basement in winter where he made house numbers. They were long time friends of my parents. They had a “bogey man” is their basement, actually an old coal style furnace. The oldest daughter would bang on it to make the “monster” noise to frighten the kids. They were perhaps the first family to leave Ruperstland for the then new Garden City. I believe some family members still live in Winnipeg, but the son Ronnie lives in Toronto.
505 Rupertsland – Gilfix (us) – We were Joseph (d.2014), Betty (d.2021), Debbie (Edmonton) and myself (Montreal). My parents moved to a new home on Rupertsland in 1950 from the Carmen Apartments on Burrows, which is still standing, leaving behind a walk up and ice boxes. The years saw a transition for heating the house with coal to oil to gas. My sister left for Edmonton to attend university, later married there, and has lived there since. My journey was more peripatetic, moving in 1975 to London, Ontario to pursue my PhD, followed by a post-doctoral fellowship at Harvard Medical School, and finally returning to Canada and McGill University to pursue my MD degree and specialty training. I married in Montreal and have been on staff at the Royal Victoria Hospital in Montreal since 1993. Due to age and infirmity, my parents finally left Rupertsland in 2014. I believe my parents were the last Jewish family on the block and street when they finally left.
501 Rupertsland – Dutkevich – Ann Dutkevich (d.2000), husband Nick, daughter Sally and son Joe. She was affectionately known to us as “Mrs. D”. She was very kindly. Once, when my sister decided to “run away,” she packed her bags to move to Mrs. D. next door.
I believe the children still live in Winnipeg. Their house was later purchased by another Jewish family, the Greenholtzes (daughter Faye & son Joey). He was a tailor and both he and his wife worked in the garment factories. The parents later relocated to Toronto to be closer to their children.
493 Rupertsland – Gabor. They had a son, Brian.
489 Rupertsland – Name unknown.
485 Rupertsland – Bogach – Frank and Ann, her mother, and son Howard. Frank with his brothers ran Tasty Seeds located on Alfred that they had inherited from their father. Howard was recently profiled in the JP&N (August 16, 2023).
469 Rupertsland – Bogach – Maurice & Goldie Bogach and their daughters, Mindy and Evy. The parents played bridge with my parents and he owned Tasty Seeds with his brothers. I believed their children still reside in Winnipeg.
465 Rupertsland – Rodin. One of their two sons, Greg, is a lawyer in Calgary.
461 Rupertsland – Brass – Abe and Rose Brass and their children. Following his passing she moved to Vancouver to be closer to her children, where she later passed away.
516 Rupertsland – Plosker – Max and Bertha Plosker, daughter, and son Erron. The family owned Direct Home Furniture
512 Rupertslsand – Spiller – Jack and Ailenne and their children, Harley, Susan, Sari, and Deborah. I believe some of the children still reside in Winnipeg.
508 Rupertsland – Terhoch – Kurt & Pearl. He was an electrician. They had two sons, Leonard and Marvin, and a daughter, Cheryl. The oldest son, Marvin, was at one time a producer at CBC Winnipeg.
504 Rupertsland – Jacobson – Anne, Nat (d.2002), son Gary and daughter Arlene. Nat had a part job running the projector in movie theatres. At 106 (!), Ann is probably the last living individual of the generation that first moved onto Rupertsland Avenue. She currently resides at the Simkin Centre. Gary still lives in Winnipeg.
496 Rupertsland – Chodiker. One son, William (Bill), is an allergist, now retired, who lives in London, Ontario.
476 Rupertlsmand – Golubchuk – Samuel (d.2008) and Dora and children, Percy and Miriam. I believe they were the last Jewish family to move on to Rupertsland. Samuel was at the centre of a controversial legal battle dealing with the question of who has the right to make end-of-life decisions. This case was widely written about.
468 Rupertsland – Beloffs
Lastly, at the end of the street, there was a corner store (700 McGregor) run successively by Jewish owners, Mandel and later Slutsky.
Interestingly according to my late mother, Paul Snider of Dorothy Stratton murder fame, apparently lived on Rupertsland Avenue for a period of time.
Rupertsland was not a Jewish island in West Kildonan. Immediately behind my parents’ house across the back lane on Enniskillen Avenue, there were the:
Bokauts with sons, Barrie and Brad. I remember walking back home with Barrie and his father from the Bnay Abraham synagogue on Shabbat mornings. Barrie went on to work for Foreign Affairs Canada. I believe Brad still lives in Winnipeg,
Lezacks whose son, Jack, is a hematologist in Winnipeg, and
Este and Morris Katz. Their sons, David and Philip, tragically past away at early ages.
On Smithfield, there were other Jewish families such as the Senenskys and Gorewiches (my father’s brother-in law and sister).
Over the decades the ethnic and religious composition of Rupertsland Avenue changed as the original inhabitants aged and they and their children moved to other areas. Many of the children left Winnipeg – often to Calgary, Edmonton, or Toronto. Consequently, the demographics and character not only of the street but also of the local schools, institutions, and West Kildonan have changed. On Rupertsland at its peak, probably a third as many Jews lived there alone as compared the number of Jews now living in the entire West Kildonan area (205) according to the latest census. Consequently, many of the local Jewish institutions have moved, closed, or amalgamated. When my parents, being the last Jewish family on that block of Rupertsland Avenue, finally left in 2014, it marked the end of an era for the street.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.