Features
These children of Jewish mobsters were kept well shielded from their fathers’ affairs
By BERNIE BELLAN
What’s it like growing up the child of a mobster – and a Jewish mobster to boot?
The idea of stringing together various stories about children of Jewish mobsters came to me as I started to read a terrific new book that was sent to our office, totally unexpectedly.
The title of the book is “The Apple and the Shady Tree”. The author is someone by the name of Lisa Novick Goldberg. The book is available on Amazon in either paperback or Kindle format.
There were a couple of ideas that kept crossing my mind as I read Lisa Novick Goldberg’s book. One was: Are criminals self-isolating during these extraordinary times? After all, they don’t adhere to society’s norms at the best of times. Why would they lower themselves to start following the same rules that should apply to everyone else? What would someone whose livelihood depends on providing others with something that’s illegal to begin with – such as drugs or other contraband, gambling, and prostitution, do when most of us are told to self-isolate?
I worry for those types of people. It must be even more difficult for them to get by than it is for the rest of us. Think Tony Soprano and his psychiatrist.
Secondly, as soon as I started to read this book, I thought to myself: We’ve had stories that are similar in nature written about in the pages of this paper before. In 2014 I wrote a review of a book titled “Davey the Punk”, which was written by a well-known Canadian musician by the name of Bob Bossin – whose father was Dave Bossin (or “Davey the Punk” as he was known to all his friends).
In 2017 Martin Zeilig wrote a fascinating story for us about someone named Al Smiley, who was best friends with Ben “Bugsy” Siegel. Smiley was actually a former Winnipegger and Martin interviewed his daughter, whose name is Luellen Smiley.
As well, in 2015 CBC Radio ran an interview conducted by Anna Maria Tremonti with Sandra Lansky following the publication of Sandra’s memoir of growing up the daughter of Meyer Lansky, who was known as “the brains of the Mob”. Sandra Lansky’s book is titled “Daughter of the King: Growing up in Gangland”. I haven’t actually read that book, but I have listened to the interview a couple of times. It remains one of the greatest interviews I ever heard Anna Maria Tremonti do. (It ranks up there with Jian Ghomeshi’s interview with Billy Bob Thornton as one of the most riveting pieces of radio I’ve ever heard.)
As a matter of fact, I’ve urged the Jewish Heritage Centre of Western Canada to mount an exhibit on Jewish gangsters – in a departure from the standard custom of harkening back to a rose-coloured past that doesn’t shed much light on some of the more unsavoury aspects of Jewish life. Of course, if the JHCWC were actually to mount such an exhibit, whoever would be doing the research for it might not live long enough to see what comes of it.
I’ve also asked the organizers of Limmud whether I can present a talk at Limmud on Jewish mobsters – including many Russian oligarchs, but so far I haven’t been granted permission. Maybe next year I’ll be told to go ahead. There are a number of individuals I know who can provide me with first-hand information, some of whom are subscribers to this paper, yet whose identities must remain a secret.
But, to return to the original focus of this article: What’s it like to grow up the child of a gangster?
Here’s what Luellen Smiley, Bob Bossin, and Lisa Novick Goldberg had to say, in part:
From Martin Zeilig’s interview with Luellen Smiley: “Some children are silenced. The pretense is protection against people and events more powerful than them. As the daughter of Allen Smiley, associate and friend to Benjamin ‘Bugsy’ Siegel, I was raised in a family of secrets…
“When I was exposed to the truth by way of a book, I kept the secret, too. I was 13. My parents divorced, and five years later, my mother died. In 1966, I went to live with my father in Hollywood. I was forbidden to talk about our life: ‘Don’t discuss our family business with anyone, and listen very carefully to what I say from now on!’ But one night, he asked me to come into his room and he told me the story of the night Ben was murdered…
“After my father died, I remained silent, to avoid shame, embarrassment and questions. But 10 years later, in 1994, when I turned 40, I cracked the silence. I read every book in print – and out of print – about the Mafia. Allen Smiley was in dozens. He was a Russian Jew, a criminal, Bugsy’s right-hand man, a dope peddler, pimp, a racetrack tout. I held close the memory of a benevolent father, wise counselor, and a man who worshipped me.
“I made a Freedom of Information Act request and obtained his government files. The Immigration and Naturalization Service claimed he was one of the most dangerous criminals in the country. They said he was Benjamin Siegel’s assistant. They said he was poised to take over the rackets in Los Angeles. He didn’t; he sold out his interest in the Flamingo, and he went to Houston to strike oil…
“It seems there is no end to the stories surrounding Ben and Al. I am not looking for closure. I’ve become too attached to the story. To me, he was a benevolent father, a wise counsellor and a man who worshipped me.”
Here’s an excerpt from my review of “Davey the Punk”, about Bob Bossin’s father, Dave Bossin: “As well – as he explains during the course of the book, he had to piece together his father’s past – which was kept well-hidden from him as he was growing up, and which largely remained a mystery to him until he was well into his 40s, through a series of interviews he conducted with relatives, friends of his father, and other individuals who happened to have dealings with Davey.”
Finally, we have Lisa Novick Goldberg’s memoir of growing up in a Mob-connected household with her father, whose name was John (or, as he was known to his friends, “Jonny”) Novick. Actually, his real name was “Herbert”, Lisa explains, but his Italian gangster friends thought that Herbert wasn’t the kind of name that a gangster should have, so they told him to change it to Jonny. In another fun aside, Lisa says that her father’s mother couldn’t pronounce the name Herbert anyway; she always called him “Hoibert”! Now that wouldn’t have placed him in good stead with his mostly Italian underworld friends, would it have? Also, since almost every gangster mentioned in this book had a nickname (My favourite was “Johnny Eggs”, because his mother raised chickens on a farm), it’s hard not to look upon these guys –who would slit your throat without hesitation if need be, with a certain fondness.
As with Luellen Smiley and Bob Bossin, Lisa Novick claims she had no idea about her father’s sordid background when she was growing up. She does say that when he was home, which wasn’t very often, he was always on the phone – and she wondered what he was talking about, but you can hardly expect a kid to understand what it is that their father is doing to make a living when he takes great pains to keep it shrouded in mystery.
It wasn’t until Lisa was a young adult that she was able to learn the truth about her father. She was actually summoned to appear before a grand jury in New York when she was only 22 (in 1980). While she denied having any knowledge of her father’s connections to the Mafia (he was actually well connected to the Genovese family – one of the five “families” that make up New York’s Mafia underworld), Lisa admits that, by that time, she was pretty much aware that her father was immersed in a wide range of illegal activities.
John Novick’s ostensibly legitimate business was as the biggest supplier of soft pretzels in New York City, with all the major sports venues being his customers. As well, he had kiosks near subway stations throughout the city. Lisa gives quite a detailed explanation of how money is laundered through what appear to be legitimate businesses, yet in footnotes that she provides throughout the book, she explains that she had to research almost everything she describes by looking at FBI archives and court transcripts, as well as other books and articles about New York’s Mafia underworld.
Yet, even though Lisa did realize her father was earning his income illicitly – for the most part (she does relate a series of hilarious business ventures in which he was involved that all failed), she doesn’t judge him at all harshly. In fact, she admits that she was always much closer to her father than her mother, whom she describes as having a terrible temper and much less gregarious than her extremely popular father.
One other aspect of John Novick’s career as a criminal is that, unlike almost everyone of his Mafia cohorts, he was never indicted and never served any time in jail. Although he comes across as someone who succeeded in making money despite his own inability to properly organize his affairs, apparently he was so popular with almost everyone who was involved in illegal activities that he benefited from his close relationships to the point where he was able to count on the largesse of some of the most vicious criminals in New York City for over 50 years. He also had a fantastic ability to do complex math calculations quickly, which proved invaluable to him as a gambler, which was his favourite pastime.
John Novick died in 2014. He had a myriad of health conditions when he was admitted to hospital one year before his death, principle among them being severe obesity. He weighed over 300 pounds when he was first hospitalized but had shrunk to a mere 150 pounds by the time he died. Reading about his voracious eating habits is quite repelling, although fascinating at the same time. He could devour a four-pound lobster, followed by a streak drowning in butter, Lisa writes, topped off by everything that was on a dessert tray that was brought to his table.
But, what of these mobsters’ children’s connections to their Jewishness? In none of the three cases I’ve cited does being Jewish play much of a role in their childhoods, other than when it comes to food. Lisa Novick says that both her parents were not at all involved in Jewish life. They didn’t attend synagogue nor did they observe any of the Jewish holidays (although she does describe her father’s weird habit of fasting on Yom Kippur by staying in bed and doing nothing but watch television. That was his only nod to Jewish observance, she writes.)
As far as Sylvia Lansky goes, by the way, considering that her father was probably the most famous Jewish mobster of all time, what I remember best about her interview with Anna Maria Tremonti were some of her anecdotes about meeting famous celebrities. She tells the story of encountering Frank Sinatra in a New York restaurant one time when she was a little girl. Sinatra came over to the table where she was seated with her mother and father, but he accidentally knocked over the ice bucket that held a bottle of champagne directly on to her lap.
Sylvia describes how a look of mortal fear came into Sinatra’s eyes; clearly he thought that Meyer Lansky might order a hit on him right then and there. When Anna Maria asked Sylvia how she felt at that moment, I’ll always remember her answer: “I was cold.”
Sylvia also relates her own torrid love affair with Dean Martin. He could make love six times in one night, she recalls during the interview. Jews and Italians – joined at the hip, and often other places as well.
So – these were all spoiled children of men who made their money illegally – and none of them wondered where all the money was coming from. Is that unusual? I’m not so sure.
It’s one thing to not know what your father does for a living, but it’s another thing to see your house fill up with material goods – as was the case with all four of these mobsters’ children. Wouldn’t you wonder how your father was able to acquire so much “stuff” – and why were all their fathers so secretive about what they did?
I’ve barely mentioned the mothers of the children who grew up with mobster fathers. I suppose one can make a “deal with the devil” fairly easily if need be. There’s a lesson in here somewhere about how people can rationalize their behaviour. Yet, I’m sure you’re just like me in agreeing that reading about the family lives of mobsters – just as it was depicted on “The Sopranos” is noteworthy not for its excitement, but for the extreme pains criminals take to keep their lives as mundane as yours or mine.
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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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.
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