Features
New book looks at the fight by law-abiding Jews to rein in the New York Jewish underworld in early 20th century
The Incorruptibles: A True Story of Kingpins, Crime Busters, and the Birth of the American Underworld
Reviewed by BERNIE BELLAN For those readers who can remember the story of “The Untouchables,” the crime-fighting unit led by Elliot Ness, which was established by the Bureau of Prohibition in the US in the 1930s, tales of shoot-outs between courageous crime-fighting “good guys” and villainous underworld bootleggers and other assorted criminals would probably be thought of as something that wouldn’t have its origin in a Jewish-led crime-fighting unit established several years earlier.
But, would you believe that not too many years before the often bloody events that were depicted in “The Untouchables” came to pass there was another organization in New York City – led by Jewish crime fighters at that time, which had a somewhat tacit affiliation with the New York City Police Department, and whose purpose was to wage war on Jewish criminals on New York’s East Side? That organization was known as “The Incorruptibles” and the story how it came to be created is told in a fascinating new book, titled “The Incorruptibles: A True Story of Kingpins, Crime Busters, and the Birth of the American Underworld,” written by a New York crime reporter by the name of Dan Slater.
As someone who has long had a fascination with shady Jewish characters, I’ve come to realize over the years that a rollicking good story of a Jewish mobster, such as the close friendship a former Winnipegger by the name of Al Smiley had with the notorious Bugsy Siegel, about which Martin Zeilig wrote for The Jewish Post & News in March 2017, resonates with readers in ways that stories about more righteous Jews don’t.
While Martin’s story about Al Smiley was by no means the first story we’ve ever had about Jewish mobsters, a quick search of our online archive would lead you to numerous stories about Jewish gangsters and other assorted criminals.
In the summer of 2023 we ran two stories in relatively rapid succession that elicited a higher than usual amount of interest from readers. One was my review of a book called “Jukebox Empire,” about someone by the name of Wilf Rabin, who actually grew up in Morden, Manitoba. The other story was about bootlegger Bill Wolchock, written by Bill Redekopp, and which appeared in our 2023 Rosh Hashanah edition. Later, when I posted that story to our website it received so many views that I’ve returned it to our home page twice since. (You can now read that story if you missed it by reading it here: “Booze, Glorious Booze”
All this serves as a preamble to my review of “The Incorruptibles.” I have to couch what I’m about to write with an admission: As a youngster growing up in a sheltered environment, and attending the Talmud Torah, where all we were ever told about was Jewish “heroes,” and the only villains were Jews who didn’t lead properly observant lives, reading “The Incorruptibles” came as a real shock to my conception of how much Jews could be associated with the most sordid type of criminal activity.
It’s one thing to realize that many Jews were involved with bootlegging – something that has developed an almost romantic connotation over the years through books, movies and television programs, but to learn that in the latter part of the 19th century Jews in New York were in control of that city’s: prostitution (and most prostitutes were Jewish!); drugs (however, with the understanding that drugs, including heroin and cocaine, were legally available in the U.S. until 1907 and could be readily purchased in pharmacies); gambling; and protection rackets – does come as somewhat of a shock to a sheltered Winnipeg Jew.
Dan Slater’s depiction of life in New York City at the turn of the 20th century is unremittingly harrowing. For the first part of the 20th century the lower East Side of New York was the most densely populated area on Earth. Housing conditions were horrible and the hundreds of thousands of new immigrants arriving yearly – beginning in the 1870s, from what was known as the Pale of Settlement in Eastern Europe – fleeing persecution and pogroms, found themselves being shunted into unspeakably barbaric working conditions in lower East Side factories, predominantly garment factories – owned by fellow Jews. (The author actually spends a considerable amount of time explaining how exactly the Pale of Settlement came into being and how sudden and incredibly violent wholesale persecution of hundreds of thousands of Jews could happen almost overnight – with the death of a particular czar, for instance.)
It was amidst this churning cesspool of a city that Jewish criminal activity of all sorts ran rampant. Two images from “The Incorruptibles” in particular haunted me. One was Slater’s explanation how so many young Russian Jewish women – most in their early or mid-teens, and only recently arrived in New York, were forced into prostitution. Many of these young women would go to a dance – looking to find some relief from the slave-like conditions that permeated the factories in which they worked. While at the dance, they would be approached by a young Jewish man who would offer them a drink. These guys, known in the colloquial as “Alphonses,” or, in Yiddish, as “schimchas,” would lace the girls’ drinks with drugs (a common occurrence to this day) and take the girls home, where they would rape them. But – now defiled, the girl could not possibly return to her family home out of shame; thus, tens of thousands of young Jewish women were forced into prostitution.
The other image that haunts me was the widespread practice of “horse poisoning.” Protection rackets have probably been around from time immemorial, but in this particular incarnation, criminals would confront business owners with a choice: Pay for “protection” or see your means of transportation (and remember, this was at a time when a horse-drawn buggy or carriage was the principal means of transportation) poisoned.
(There is actually a photo in “The Incorruptibles” of a horse lying dead on a New York street after it had been poisoned. Apparently it happened on a regular basis to the point where it didn’t draw much attention.)
While the book chronicles one sordid story after another so that the reader can understand just how tough life was on the lower East Side – often with reference to the colourful names of some of the most famous Jewish thugs who terrorized their fellow Jews, such as “Bald Jack Rose” or “Big Jack Zelig” (no relation to Martin Zelig – I checked), the biggest mobster of them all was the legendary Arnold Rothstein.
Rothstein is undoubtedly most famous for reputedly having fixed the 1919 World Series by bribing eight members of the Chicago White Sox, the overwhelming favourite to defeat the Cincinnati Reds, to throw the series. (It has never been proven absolutely conclusively that Rothstein did that, but as “The Incorruptibles” explains, the evidence points overwhelmingly in his direction.)
Rothstein was the kind of gambler who could lose $350,000 in a single night of playing poker – and not worry about it.
Here is an example of Slater’s ability to describe a character, when he sums up Arnold Rothstein: “Picture in one individual a sentimental and tender lover, a genial and humorous companion, a charitable giver, a loyal friend—and—a wholesale drug dealer, a crooked sports fixer, a welching gambler, a stolen securities fence, a rum-ring mastermind, a corrupter of police, a grafter through politics, a gunman, a judge-briber, a jury-tamperer, a blackmailer, a pool shark, a swindler.”
But, up against the villains of “The Incorruptibles,” Slater also depicts the stories of two very talented – and brave, young Jewish men, who were willing to challenge the criminal class: A lawyer by the name of Harry Newburger and Abe Shoenfeld, the son of a well-known New York reformer by the name of Mayer Shoenfeld.
As Slater explains, it was only when members of New York’s largely German-Jewish upper class began to take note of the horrid conditions in which the vast majority of the Eastern European Jews who had recently immigrated to America were living did an impetus to try and change things develop. Two men, Jacob Schiff (who is described as the J.P. Morgan of his day in terms of his vast wealth), and Felix Warburg, together with the rabbi of the leading temple of its day, Rabbi Judah Magnes of Temple Immanu-El, organized a group known as the “Kehilah.”
The Kehilah mandated Newburger and Shoenfeld to do whatever they deemed necessary to begin cleaning up the lower East Side. Of course, given how corrupt New York officials were at the time – under the control of the notorious Tammany Hall, led by “Big Jim Sullivan,” most of the New York City Police Department was also thoroughly under the control of criminals, which made the challenge set out for Newburger and Shoenfeld all the more difficult.
The book describes, sometimes in painful detail, the difficulties faced by the group assembled by Newburger and Shoenfeld, known, naturally, as “The Incorruptibles.” They weren’t above busting heads themselves, it turns out.
Again, one of the more interesting aspects of history to emerge from this book is that men would often switch sides at the drop of a hat – to go from violently attacking one particular group – at the behest of this or that mobster, to attacking the same group they were supposed to be defending the next day.
As has already been noted, the garment trade played a pivotal role in the development of New York City into becoming not only a magnet for immigrants, it also also played a prominent role in New York’s becoming the vast economic powerhouse that it is today. Slater notes that, at one point, 80 percent of all garments produced in the U.S. came from the lower East Side.
As workers began to organize themselves into unions, garment factory owners hired thugs, known as “shtarkers” (strong men) to beat up workers, occasionally to kill union organizers. In time though, the tide began to turn and, as unions gathered strength, the same tactics of violence and intimidation that had been used against workers began to be employed by unions – with workers who dared to cross picket lines (known colloquially as “scabs”) often being on the receiving end of that violence, occasionally ending with them being killed.
Newburger and Shoenfeld were thrust into the midst of this turmoil, trying to bring some peace to the labour disputes. Ironically, Mayer Shoenfeld (Abe’s father) was a longtime advocate for workers’ rights, but he would not talk to his son, who tried to straddle both worlds – of employers and employees.
“The Incorruptibles” describes the many battles fought to rein in the gambling, prostitution, protection rackets, and what became the illegal drug trade that were part and parcel of life on New York’s East Side. As the years went by, the Jewish dominance of the New York underworld gave way to the ascendance of the Italian mob. (Slater also acknowledges the roles that other groups also played in New York criminal activity, including the Irish), but his main focus is on Jewish criminals.
“The Incorruptibles” is a long and detailed book, drawing upon a great many different sources, and at times, the proliferation of names entering the scene can be more than a little confusing. But, for anyone who has an interest in reading something that peels back the layers of a very disturbing aspect of Jewish history that might not fit all that well with the notion of Jewish righteousness, then “The Incorruptibles” might be of interest.
“The Incorruptibles: A True Story of Kingpins, Crime Busters, and the Birth of the American Underworld”
By Dan Slater
432 pages
Published by Little, Brown and Company, 2024
Features
A People and a Pulse: Jewish Voices in Jazz and Modern Music
By MARTIN ZEILIG Jazz history is usually told through its most iconic names — Armstrong, Ellington, Parker, Davis — yet running alongside that familiar story is another, often under‑acknowledged one: the deep and enduring contribution of Jewish musicians, bandleaders, composers, and cultural intermediaries.
From the moment jazz emerged at the turn of the 20th century, Jews were not simply observers but active shapers of the music and the industry around it. Their influence — artistic, entrepreneurial, and cultural — has been both significant and, in many respects, disproportionately large. Jews and Jazz (171 pg. $18.75 US) a self‑published work by Laurence Seeff, brings this parallel narrative into sharp, affectionate focus.
Seeff is an ideal guide.
Born in London in 1951, he built a career that moved from statistics to energy policy in Paris, from financial markets at Bloomberg to corporate training in the City of London, all while writing poetry, songs, and humorous verse. Today he lives in Israel, where he continues to write, perform, learn Ivrit, and enjoy life with his large family. Through all these chapters runs a constant passion for jazz — a passion sparked more than fifty‑five years ago when he first heard Terry Lightfoot’s Jazzmen in a Bournemouth pub.
His writing blends clarity, humour, and genuine love for the music and the people who made it.
The musicians he profiles often came from immigrant families who brought with them the musical DNA of Eastern Europe — the cadences of synagogue chant, the urgency of klezmer, the cultural instinct for learning and artistic expression. When these sensibilities met the African American genius of early jazz, the result was a remarkable creative fusion.
Some figures, like Chico Marx, are better known for comedy than musicianship, yet Seeff reminds us that Chico was a serious pianist whose jazz‑inflected playing appeared in every Marx Brothers film and whose orchestra launched young talents like Mel Tormé. Others — Abe Lyman, Lew Stone, and Oscar Rabin — shaped the dance‑band era on both sides of the Atlantic.
Canadian readers will be pleased to find Morris “Moe” Koffman included as well: the Toronto‑born flautist and saxophonist whose “Swinging Shepherd Blues” became an international hit and whose long career at the CBC helped define Canadian jazz.
Seeff also highlights artists whose connection to jazz is more tangential but culturally revealing. Barbra Streisand, for example — a classmate and choir‑mate of Neil Diamond at Erasmus Hall High School — was never a natural jazz singer, yet her versatility allowed her to step into the idiom when she chose.
She opened for Miles Davis at the Village Vanguard in 1961 and, nearly half a century later, returned to the same club to promote Love Is the Answer, her collaboration with jazz pianist Diana Krall. Her contribution to jazz may be limited, but her stature as one of the greatest singers of all time is unquestioned.
Neil Diamond, too, appears in these pages.
Though not a jazz artist, he starred — with gusto, if not great acting finesse — in the 1980 remake of The Jazz Singer, 53 years after Al Jolson’s original. The film was not a success, nor was it truly a jazz picture, but its title and its star’s Jewish identity make it part of the cultural tapestry Seeff explores.
Diamond and Streisand recorded together only once, in 1978, on “You Don’t Bring Me Flowers,” a reminder of the long‑standing artistic ties between them.
Mel Tormé, by contrast, was deeply rooted in jazz. Nicknamed “The Velvet Fog,” he was a prodigy who sang professionally at age four, wrote his first hit at sixteen, drummed for Chico Marx, and recorded with Benny Goodman and Artie Shaw. Ethel Waters once said he was “the only white man who sings with the soul of a black man.” His story exemplifies the porous, collaborative nature of jazz.
Seeff also includes non‑Jewish figures whose lives intersected meaningfully with Jewish culture. Frank Sinatra — perhaps the greatest crooner of them all — was a steadfast supporter of Jewish causes, from protesting during the Holocaust to raising funds for Israel Bonds and the Hebrew University. His multiple visits to Israel, including a major concert in Jerusalem in 1975, underscore the depth of his connection.
Danny Kaye earns his place through his close work with Louis Armstrong, his pitch‑perfect scat singing, and his starring role in The Five Pennies, the biopic of jazz cornetist Red Nichols. Though not a jazz musician per se, his performances radiated a genuine feel for the music.
A later generation is represented by Harry Connick Jr., whose Jewish mother and New Orleans upbringing placed him at the crossroads of cultures. A prodigy who played publicly at age five, he went on to become one of the most successful jazz‑influenced vocalists of his era, with ten number‑one jazz albums.
Even Bob Dylan appears in Seeff’s mosaic — another reminder that Jewish creativity has touched every corner of modern music, sometimes directly through jazz, sometimes through the broader cultural currents that surround it.
Taken together, the concise portraits in Jews and Jazz form a lively, engaging mosaic — a celebration of creativity, resilience, and cross‑cultural exchange. They show how Jewish musicians helped carry jazz from vaudeville and dance halls into swing, bebop, cool jazz, pop, rock, and film music.
They remind us that jazz, at its heart, is a meeting place: a space where people of different backgrounds listen to one another, learn from one another, and create something larger than themselves.
For further information, contact the author at the following email address: laurenceseeff@yahoo.co.uk
Features
Jews in Strange Places
By DAVID TOPPER The Jewish contribution to 20th century popular music is well known. From Jerome Kern through to Stephen Sondheim, Jews played major roles as both composers and lyricists in the so-called Great American Songbook. (An exception is Cole Porter.) It continued in Musical Theatre throughout the rest of the century.
One very small piece of this story involves what Time magazine in the December 1999 issue called “the tune of the century.” First recorded sixty years before that, it is the powerful and haunting tune called “Strange Fruit,” which is about the lynching of black people in the southern USA. First sung by Billie Holiday in 1939, it became her signature tune.
So, why do I bring this up? Because there is a multi-layered Jewish connection to this song that is worth recalling, which may not be known to many readers.
Let’s start with the lyrics to “Strange Fruit,” which are the essence of this powerful piece:
Southern trees bear strange fruit,Blood on the leaves and blood at the root,Black bodies swinging in the southern breeze,Strange fruit hanging from the poplar trees.Pastoral scene of the gallant south,The bulging eyes and the twisted mouth,Scent of magnolias, sweet and fresh,Then the sudden smell of burning flesh.Here is fruit for the crows to pluck,For the rain to gather, for the wind to suck,For the sun to rot, for the trees to drop,Here is a strange and bitter crop.
Before becoming lyrics in a song, this poem stood alone as a potent statement about the lynchings still taking place throughout the American South at the time. The strong metaphorical imagery never explicitly mentions the lynching, which adds to the poetic power of this poem. Standing alone, I believe it’s an important protest verse from the 20th century.
Searching it on the internet, you may find the author listed as Lewis Allan. But that’s not his real name. “Lewis Allen” is the often-used pen name of Abel Meeropol, a Jewish High School teacher from the Bronx in New York. He and his wife, Anne (nee Shaffer), had two stillborn children with those names – a fact that adds a poignant element to this story.
The origin of the poem for Abel was a photograph he had seen of a lynching of black men in the South. I have seen such images, possibly even the one Abel saw: for example, a sepia photograph of two black men hanging from a long tree limb, and a large crowd of white people below (men, women and even children!), most seeming dressed in their Sunday best (some men with straw hats) looking up and gawking at the sight, some with smiles on their faces – as if attending a festive spectacle. Like Abel, I felt repelled by the picture: it turned my stomach. This communal display of horrific cruelty gave me a glimpse into Abel’s mind, and I understood how it compelled him to write about it. He thus wrote the poem, and it was published in a teacher’s magazine in 1937.
Being a songwriter too, in 1938 Abel added a melody and played it in a New York club he often attended. But here’s where this story’s documentation gets contradictory, depending upon who is recalling the events. The club owner knew Billie Holiday, and he showed the song to her. What her initial response was, we cannot know for sure. But we do know that in a relatively short time, she added it to her repertoire. It eventually became her signature tune. She initially sang it in public, but because of its popularity among her fans, there was pressure to record it too.
There were initial rejections from recording companies because of the controversial content. But Commodore Records took a chance and pressed the first recording in April 1939. This was the same year the movie “Gone with the Wind” came out; it was steeped in racial stereotyping. It was also sixteen years before Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama.
As a record, the song obviously reached a large audience. Since the content was about racism, the song was seen as politically radical; not surprisingly, many radio stations banned it from the airwaves.
Furthermore, it’s also not surprising that Abel, a schoolteacher, was called to appear before a committee of New York lawmakers who were looking for communists in the schools. Possibly they were surprised to find that the poem and the song were written by a white man – and a Jew to boot. In particular, they wanted to know if he was paid by the Communist Party to write this song. He was not. And, in the end, they let him go. But shortly thereafter he quit his teaching job.
This took place in 1941 and was a precursor to the continued American obsession with communism into the 1950s, under Senator Joe McCarthy.
Indeed, that episode had an impact on Abel and Anne too. In 1953 Julius and Ethel Rosenberg were convicted of giving information about nuclear science to the Soviet Union, and they were the first married couple to be executed in the electric chair. They left two sons, Michael (age 10) and Robert (age 6). Apparently, immediate family members were reticent to get involved with the boys, possibly afraid of being accused of sympathizing with communism.
Enter Abel and Anne. Without a moment’s hesitation they stepped in, taking and raising the boys. As Michael and Robert Meeropol they eventually went on to become college professors – and naturally were active in social issues. Anne died in 1973. Abel died in 1986 in a Jewish nursing home in Massachusetts, after a slow decline into dementia. Long before that, Billie Holiday died in 1959, ravaged by the drug addition that took her life at forty-four years of age.
See why I called this a multi-layered Jewish story that’s worth telling?
To hear Billie Holiday singing “Strange Fruit” click here: Strange Fruit
Features
Is This the End of Jewish Life in Western Countries?
By HENRY SREBRNIK “Globalize the Intifada” has been the chant echoing through streets since October 7th, 2023. It was never a metaphor, and we now see the gruesome results across the western world, from Australia to Canada: the rise of groups of large, active networks of Islamist and anti-Zionist organizations.
Jews in the West are discovering that the nations they defended, enriched, and profoundly shaped have become increasingly inhospitable. After the Holocaust, explicit Jew-hatred became unfashionable in polite society, but the impulse never disappeared. The workaround was simple: separate Zionism from Judaism in name, then recycle every old anti-Jewish trope and pin it on “the Zionists.”
We have seen the full legitimization of genocidal anti-Zionism and its enthusiastic adoption by large segments of the public. The protests themselves, as they began immediately on October 7th, were celebrations of the Hamas massacres. The encampments, the building occupations, the harassment campaigns against Jewish students, the open calls for intifada, the attacks on Jews and Jewish places have become our new norm. History shows us that antisemitism does not respond to reason, incentive or the honest appeals of the Jewish community.
Outside the United States, there is no Western political establishment with either the will or the capability to address this problem, let alone reverse its growth. I’m sorry to say this, but the future of Western Europe, Canada, Australia, and New Zealand is likely to be increasingly Jew-free.
Today, police stand and watch mobs chant for Israel’s destruction, call for the genocide of its people, harass visibly Jewish citizens, and drive antisemitic intimidation deep into urban life. They now believe their job is to enforce the law only if it does not risk upsetting violent constituencies. This makes Jews expendable, because defending them risks confrontation. This was very clear in the Bondi Beach massacre.
Jews are again donning caps instead of kippot, dressing generically with no cultural markers, and avoiding even a tote bag with Hebrew on it. A corrosive creep toward informal segregation in retail and service sectors is occurring, as Jewish customers report being refused service. A mezuzah hanging from a rideshare mirror leads to cancellations. When Jews express frustration, they are accused of exaggeration or attempting to suppress criticism of Israel. Jewish fear is not treated as a real problem.
“Jews Are Being Sent Back into Hiding,” the title of a Dec. 15 article in the New York Free Press by David Wolpe and Deborah Lipstadt, asserts that the attacks on Jews, including physical assaults, social media campaigns and, most tragically, the recent murders in Australia, are part of a purposive campaign designed to make Jews think twice about gathering with other Jews, entering a synagogue, going to kosher restaurants, putting a mezuzah on the doorpost of their apartments or dorm rooms, or wearing a Jewish star around their necks.
“We know of no one who would consider giving a niece, nephew, grandchild, or young friend a Jewish star without first asking permission of their parents,” they write. The unspoken, and sometimes spoken, question is: “Might wearing a star endanger your child’s well-being?”
Recently, a prominent American rabbi was entering a Target store in Chicago with her grandson, whom she had picked up from his Jewish day school. As they walked into the store the 10-year-old reached up and automatically took off his kippah and put it in his pocket. Seeing his grandmother’s quizzical look, he explained: “Mommy wants me to do that.”
Borrowing a phrase from another form of bigotry, they contend that Jews are going “back into the closet.” No public celebration of Hanukkah took place in 2025 without a significant police presence. Some people chose to stay home.
Lipstadt and Wolpe know whereof they speak. They are respectively a professor of history and Holocaust studies who served as the Biden administration’s ambassador tasked with combating antisemitism, the other a rabbi who travels to Jewish communities throughout the world, and who served on Harvard’s antisemitism task force in the aftermath of the October 7, 2023 pogrom.
What the world has seen over the past two years is a continual, often systematic attempt to terrorize Jews. When political leaders fail to condemn rather than merely “discourage” chants of “globalize the intifada,” we are seeding the ground for massacres like the Hannukah one in Sydney.
If each Jewish holiday will now be seen by antisemites as an opportunity for terror, then the prognosis for diaspora Jewry is bleak. There will be fewer public events, more alarms, more bag checks at doors; there will have to be more security and more police. Unless things change, Jewish life in the diaspora will become more sealed off from the larger society.
Why has this failure come about? Confronting antisemitism, stopping the mobs, challenging the activists, and disciplining antisemitic bureaucrats all carry electoral risk for politicians; Jews are demographically irrelevant, especially compared with Muslim voters, with the U.S. being the only partial exception.
There are those who suggest Jews stop donating funds to educational and other institutions that have turned against us. At this point, I doubt very much that withdrawing dollars will have an impact. For every dollar withdrawn, there will be 100 from Qatar and other sources in its place.
Throughout history, the way a society treats its Jews predicts its future with unerring accuracy. If Jews leave, it will be because a civilization that will not defend its Jews will also defend next to nothing and may itself not survive.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island