Features
A deep dive into the lives of some shadier members of our community
By BERNIE BELLAN A few weeks ago I was contacted by a publicist for a publishing company, who asked me whether I’d be interested in obtaining a copy of a new book, titled Jukebox Empire: The Mob and the Dark Side of the American Dream?
Here’s what that publicist wrote: “This fall, Rowman & Littlefield is publishing a true crime book focusing on one of the key figures in the story of organized crime in the 20th century – Jukebox Empire: The Mob and the Dark Side of the American Dream by David Rabinovitch (publishing October 15). Rabinovitch, an award-winning filmmaker from Morden, Manitoba, unravels the story of his uncle William “Wolfe” Rabin, which takes him from the Canadian prairies to Chicago in the 1940s and Rabin’s invention of a jukebox. This is the first book to expose how organized crime infiltrated the jukebox industry and it’s an untold piece of criminal, cultural, and musical history. Rabin was the son of Jewish immigrants.
“Caught between the Mob and the feds in a plot to save the casinos in Havana from Castro’s revolution, Wolfe Rabin pulled the biggest money-laundering scheme in history, but his hubris led to the conspiracy falling apart in a sensational trial. At a time when there was a jukebox in every restaurant, diner, bar, barracks, arcade, and canteen, Rabin’s trajectory from inventor to promoter to outlaw is set against the Mob’s growing influence of the jukebox industry. In a world of music, machines, and money, popular culture and organized crime collide in this true story of invention and greed. Rabinovitch pieces together the puzzle that begins in Chicago and spans the casinos of Havana and the financial giants of Europe, leading to what the FBI called “the biggest bank robbery in the world.”
“Rabinovitch is a winner of Emmy, Peabody, and Gemini awards. His significant films include the documentary Politics of Poison and the mini-series Secret Files of the Inquisition. Jukebox Empire is his first book.”
Of course, the moment I read that email I was interested in reading the book. Here we have some of the essential elements of a story that’s perfect for this paper: A crime story with a Jewish character at its centre – who comes from Morden, Manitoba no less!
I immediately thought of historian Allan Levine, who’s written extensively about Jewish characters with sordid backgrounds – especially in the bootlegging business, and contacted Allan to ask him whether he’d ever heard of this “Wolfe Rabin?”
Allan said he hadn’t previously, not that is, until he was contacted by the author, David Rabinovitch, who asked Allan for some help.
After I began to read the book, however, I was again contacted by the publicist, who asked me to withhold writing a review of the book until October, when the book will be released to the public.
But, to whet readers’ appetites even further, here are some endorsements David Rabinovitch has already received in advance of the book’s actual release to the public:
“A fast-paced, colorful romp through a slice of the twentieth century American underworld”
-David Kertzer, Pulitzer Prize winner
“Jukebox Empire reads like a novel but the characters and events are real and chilling.”
-Peter Edwards, co-author, The Encyclopedia of Canadian Organized Crime
“It has everything: action, incredible characters, suspense, humor. Can’t wait to see the movie.”
-Fred Fuchs, producer, The Godfather, Part III
“A compelling story of family and crime that touches on key events of U.S. history in the 1950s and 60s”
-Scott M. Deitche, author, Garden State Gangland
“An eye-opening, informative, and fascinating book. Jukebox Empire is must-read.”
-Antonio Nicaso, author, Made Men, The Dark Mafia, Angels Mobsters & Narco-Terrorists
“A delightfully entertaining story of jukeboxes, money laundering, and stolen bonds.”
-Alex Hortis, author, The Mob and the City
“A unique combination of family memoir and investigative journalism.”
-Gary Jenkins, producer/host, “Gangland Wire”
“A tour-de-force account of the Mob’s growing infiltration into legitimate American industry and how it affected one man who was obsessed with power and money at all costs.”
-Joe Saltzman, Prof. of Journalism, Annenberg School of Communication, University of Southern California
I also asked David Rabinovitch whether readers could order Jukebox Empire in advance, so that they could obtain a copy as soon as it’s released.
David responded: The book “is available for pre-order online through the website www.jukeboxempire.com (Chapters Indigo in Canada) or readers should request it at their favourite bookstore.”
All this got me to thinking: Over the years, we’ve published quite a few stories about Jews with mob connections, and some of those individuals came from Winnipeg. Perhaps the story that elicited the most interest was one we published in 2015 by Martin Zeilig about a character by the name of Al Smiley. (You can still find that story on our website’s online archive. Just search for “Al Smiley.” in the “search archive” button on jewishpostandnews.ca)
Smiley, it turns out, was best friends with Bugsy Siegel (whose real name was Benjamin – and who hated being called “Bugsy.”) In fact, Smiley was sitting right beside Siegel – on his living room couch in his Las Vegas home, when Siegel was shot and killed by a Mafia hitman.
That story led to another story about a mobster with a Winnipeg connection who, it turns out, was actually related to me in a very distant way, someone by the name of Harry Altman.
In 2020 I wrote about someone by the name of John Novick in an article I wrote about the children of Jewish mobsters. In that same article I referenced Myer Lansky and his daughter, Sylvia, who was the subject of one of the greatest interviews Anna Maria Tremonti ever conducted when she was host of CBC’s “The Current.” (You can still listen to that interview on the CBC website.)
Finally, a few years back I happened to attend a Fringe show which was titled “Davey the Punk.” The creator of that show – and its sole performer, was singer Bob Bossin (who was a member of a well-known group called “String Band.”) The show was about Bob’s father, Davey Bossin who, while not a “made man” per se (Mafia parlance for someone who is accepted into the Mafia), but who was very “connected” and about whose background Bob Bossin knew nothing until years after his father had died.
What’s my obsession with mobsters, you might ask? Well, I don’t think I’m much different than a great many others when I say that I’m both fascinated and repelled by all these figures – and the fact they’re all Jewish only adds to my interest.
But, it got me to thinking – once again: Where are the stories about Winnipeg Jewish hoodlums from the North End? Even in Russ Gourluck’s masterful history of Winnipeg’s North End, The Mosaic Village, he only mentions two shady characters: Stanley Zedd, a well-known operator of gambling establishments, especially the Margaret Rose Tea Room on Osborne, and Bll Wolchuk, a major bootlegger in the 1920s.
So – to find out more about Jewish hoodlums of a bygone era, I turned to my most trusted source on the subject: Ernie Chisick, whom I first met at the Y reunion in 2019.
For those who don’t know Ernie – he is a raconteur of the first order and his own brushes with the law when he was younger only add to his mystique.
I sat down with Ernie one recent evening and asked him to repeat some of the fabulous stories he’s told me over the years about colourful North End characters with whom he crossed paths over the years. I was especially keen on hearing Ernie recite some of the nicknames of guys with whom he associated when he was younger.
The problem is, as Ernie explained, some of those individuals are still alive and, even if they’re not, they have kids and grandkids, so referring to them by their full names might not even be embarrassing, it might be potentially lethal for me!
I have attempted to reach out to one character in particular who, as Ernie described him, probably knows more about Jewish hoodlums… and criminals, from the North End of the 40s and 50s than anyone else alive, but even if that guy does get back to me, I rather doubt he’s going to want to see his name end up in the Jewish paper in Winnipeg. (I’m hoping that he will respond to my message and I’ll promise him full anonymity if he’s prepared to talk about his former friends – who weren’t quite boy scouts.)
Ernie though, has too many good stories not to at least refer to some of them here. He told me about a gambling club on Selkirk Avenue between Salter and Powers that was run by an individual who was known as “Montreal…..” (Again, I’m leaving out the surname because it’s a name that would be familiar to at least some readers.)
According to Ernie, that club had a lookout by the name of “Srulik Flaxman.” When Srulik would spot a cop coming, he would shout to the guys who were in the back room: “Watch out – it’s the football shoes kimmen!” (Why he referred to cops as “football shoes,” Ernie didn’t know.)
Here’s another story Ernie tells – about a character who went by the name “One-eyed Connolly.”
“They’re playing cards,” Ernie says, “and Connolly says he’s got to take a piss.” But before he gets up to go to the bathroom, he leaves his cards on the table, then takes out his glass eye, puts it on the table, and says to the eye: “Watch them guys; they’re all a bunch of thieves!” Apparently that so unnerved the other players, they sat there frozen in their seats, afraid of that well-known Jewish superstition: “the evil eye.” (But Connolly wasn’t Jewish. Can a non-Jew threaten someone Jewish with the “evil eye?” There’s a Saturday morning sermon for you, all you rabbis and would-be rabbis out there.)
With reference to Stanley Zedd and the Margaret Rose Tea Room, Ernie says that his father, Charlie, once said to him, “Take this to the Rosie (the nickname for the Osborne Tea Room) and ask for Stanley Zedd.” Charlie handed Ernie a paper bag (which, Ernie now says, unbeknownst to him at the time, contained betting slips. Ernie claims he was only an innocent 16-year-old. not yet wise in the ways of the world. Anyway, the statute of limitations protects him now.)
So, Ernie drove to the Tea Room and announced, when he walked into the room, “I have something for Stanley from Charlie.”
He was ushered into the back room where Stanley Zedd held court. “He was very nice to me and told me my father was an honourable man,” Ernie recalls.
Another time, Ernie says, he got a phone call from his father in the middle of the night.
“Charlie,” Ernie asked (Ernie says he always called his father by his first name), “what is it?”
“I’m in jail,” Charlie responded. (He didn’t say why.)
“In the morning,” Charlie continued, “give Roland Penner a phone call.” (Roland Penner would go on to become Manitoba’s attorney general, but at the time he was in partnership with Joe Zuken in the firm, Zuken and Penner.)
“So, I phoned Roland Penner’s office in the morning. I told his secretary who I was and she put me through immediately to Roland Penner.”
“Roland says to me, ‘You heard from your dad? The mounties made a raid in the middle of the night. Eighteen guys (from different cities) were charged with conspiracy to commit bookmaking.’”
“Roland says: ‘I’ve got something for you.’ “ He explained that the mounties took Charlie out in the middle of the night and it was quite cold.
“Your father wanted me to give you his gloves,” Penner continues.
“I put them on,” Ernie says, “and I feel a lump in one of the gloves. They were betting slips that could have been used as evidence in court.’
(Did Penner know that, I wonder? Ernie says he doesn’t know.)
“All the guys were taken to a lock-up in Calgary. Harry Walsh represented the three Winnipeggers,” Ernie continues.
“My dad explained that the Jewish boys were able to get kosher food to eat because one of the mounties was Jewish and he brought them deli.”
The Grey Cup was being held that week, Ernie says. “Charlie said he made $10,000 taking bets on the game” – while he was in jail.
Eventually, when the accused were brought to trial, they were all acquitted, Ernie explains.
“Walsh said they weren’t betting with each other; they weren’t in business together.” As a result, the conspiracy charge didn’t hold up, Ernie says. (If they had simply been charged with bookmaking, then the likelihood is that at least some of them, including Charlie, would have been found guilty.)
I don’t necessarily approve of Charlie’s behaviour. Rather, the stories about the less savoury aspects of Jewish lives don’t usually receive much attention in North American Jewish newspapers. (Some Israeli newspapers, in contrast, are not at all reluctant to publish extensive investigative pieces about the Israeli underword.)Yet, there are so many colourful stories to tell I thought I’d deviate from the Gerry Posner and Myron Love types of stories that extol the virtues of individuals who have led honest, hardworking lives to write about other less honourable fellows who, as the late Harvey Rosen used to say are “of the Hebraic persuasion.”
We’ll have more about members of our community who had connections to activities that were not always on the right side of the law in our Aug. 16 issue. If you might have a story to add about a relative with a shady past that you might like to share, you can email us at jewishp@mymts.net
Uncategorized
Why NBA Teams Start Defending Before Half Court
An NBA defender who meets a ball handler near the opposite baseline is trying to interfere with the possession before the offense gets organized. The immediate reward need not be a steal. Making a guard change direction, protect the ball, or find another receiver can interrupt the route into a play. But pressure has several possible results, and slowing that first journey does not necessarily slow the whole game.
In Logan Murdock’s November 2025 report on full-court defense, Phoenix Suns guard Jordan Goodwin described his aim: “Try to make them take at least six seconds off the clock.” That was his target, not a measured average. Indiana Pacers coach Rick Carlisle described another purpose: getting opponents to play faster than they prefer. Both approaches interfere with timing, though one delays the setup while the other hurries decisions.
The shot clock helps explain the difference. In a normal NBA possession following a made basket, the offense has 24 seconds, with the countdown starting when the inbound pass is legally touched on the court. It must also advance out of the backcourt within eight seconds. Crossing half court does not start a fresh shot clock. Time spent getting there leaves less time to create a shot. A defensive deflection that stays inbounds does not restart the countdown.
Defensive pressure also needs careful interpretation in basketball betting. An NBA matchup on the Bovada website cannot be reduced to whether one team presses: the combined score depends on how often both sides get the ball and what they do with their chances. A defender delaying the first pass into an offense can leave less time for a good attempt. A turnover followed by a quick basket has a different effect.
Those possibilities make defensive intensity an incomplete description of a scoring outlook. A team can force its opponent to work harder while creating quick attacking chances for itself. It can also concede an easy chance when pressure fails. Understanding the tactic means separating its purpose from its outcome, rather than treating an aggressive defender as evidence that the game must produce fewer points.
Pressure does not always mean a trap
One defender following the ball is different from two defenders closing around it. The first can contest the dribbler while teammates remain with their own assignments. A trap commits another player to the ball, so teammates elsewhere must cover the passing options and protect the basket.
A stopped dribble changes the contest. Once a player voluntarily picks up the ball, he cannot simply start dribbling again. He can still pivot, pass, or shoot, but moving away from pressure with another dribble is no longer an option. A defender can therefore restrict movement without taking possession. This is also why a guard’s choice to keep the dribble alive deserves attention: it preserves a way to move while searching for a pass.
Watch where the ball goes next. A trap can succeed by forcing an awkward pass that another defender intercepts. The players surrounding the ball do not have to be the ones who take it away. Reaching for a steal also differs from keeping the ball handler contained; abandoning position can give the guard a route past the pressure.
The offense has answers. In the Murdock report referenced earlier, Golden State guard Brandin Podziemski described using his body to shield the ball against smaller defenders and quickness to get beyond longer opponents. Beating the first defender can leave that player trailing, creating a temporary advantage farther upcourt. The remaining defenders then have to respond to an attack before their teammate has time to recover.
The work before a highlight
Former NBA guard Keith Bogans gives a defender’s perspective in his conversation with Vernon Maxwell. Discussing Jaden McDaniels, Bogans says that seeing a defender pick up a superstar across the court gets him excited in the way a dunk or crossover excites other viewers.
*
His reaction focuses on the challenge being accepted. The scorer has someone to deal with before reaching a preferred attacking position. Bogans also describes the recognition that such defensive work receives from teammates and coaches, even when it attracts little attention elsewhere.
The assignment does not end when the scorer passes. The defender still needs to follow the play and be ready for the ball to return. Early pressure can force a star to give up the ball without removing him from the possession. Watching the next pass shows whether the defense has actually disrupted the attack or merely moved it.
When defense creates offense
Indiana scored 19 points off turnovers in Finals Game 6 against Oklahoma City on June 19, 2025. The figure does not isolate full-court pressure.
A change of possession ends one team’s opportunity and begins another’s. The team winning the ball can attack immediately or organize its offense, depending on the space and defenders ahead. Pressure therefore cannot be assessed only by the time an opponent spends bringing the ball forward.
Look beyond the pickup point. Does the offense arrive late but still organized? Does it make a hurried pass? Does the ball handler escape and make the remaining defenders cover extra ground? The first defender can use up time without winning the ball. If the guard gets past him, watch whether the other defenders can stop the drive without leaving someone open.
Features
In new ‘Fauda’ season, the aftershocks of Oct. 7, without a thought for Gaza
By PJ Grisar September 8, 2026
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
When Fauda Season 4 ended an eternity and a devastating war ago, our hero was at death’s door, reciting both the central prayer of Judaism, the Shema, and the Muslim Fatiha.
It was a cliffhanger with monumental implications for Doron Kavillio (Lior Raz), an Israeli Jew who spent his days undercover as a Muslim Arab — an identity crisis long in coming. Zoom out and you can see the doomed duality of Israel and Palestine, Jew and Muslim, connected in a cycle of death and more alike than they may seem.
Season 5 begins bilingually, with Hebrew and Arab definitions of the Arabic word Tha’r, blood revenge, “restoring violated honor or avenging injustice.” This concept is now the point of commonality — not how men pray, but how they seek revenge.
Welcome to a post-Oct. 7 Israel. Doron is in therapy, struggling to recall eight missing hours of his life on the day of Hamas’ attack on the Gaza envelope.
Comrades have left the country — Steve (Doron Ben-David) is protecting oligarchs in London, Sagi and Nurit are in Australia. Eli (Yaakov Zada-Daniel) is now Orthodox, living in a settlement and reeling from the murder of his wife and stepchildren at his now-torched kibbutz. When a Bedouin friend, Salem (Bian Anteer) who lost his son in the raid on Eli’s home, approaches him with a tip on the Nukhba fighter responsible, they depart for Marseille to answer the call of Tha’r.
It would hardly be Fauda if this act of vengeance didn’t give way to a much larger plot. Marseille is the staging ground for Saeed el Hatib (French-Algerian actor Hakim Djaziri), “the Sinwar of Europe,” who is recruiting sympathetic, white continentals for a fresh massacre in Israel.
Fauda has always made some viewers uncomfortable. Massively entertaining, bingeable to those of us who stream it in the Netflix aftermarket, its existence was premised on ongoing injustices in the West Bank and Gaza and the violence that bursts through their borders. (The BDS movement labelled it a “war-crimes glorifying” series;” Haaretz called it “morally dubious.”)
And yet as late as the last season it contained very real criticism of Israel’s conduct, including its costly campaigns to recover captured soldiers and the torture used to extract information on their whereabouts. The show always alluded to real operations — Cast Lead, Brother’s Keeper — in dialogue. But because it can’t merely mention an attack as raw and monumental as Oct. 7, and because it has no desire to question the response to it, it chooses to recreate its savagery.
Episodes 7 and 8, flashbacks to that day, are front-loaded with a trigger warning and a disclaimer that you can skip them and still be able to follow the main plot.
It’s hard for me to recommend those episodes. If not exactly atrocity porn, their central, race-against-time set piece is too anchored in recent events and constructed too much like an action movie. It feels in a sense exploitative, even if intended as a tribute. (To give them credit, both Lior Raz and his co-creator Avi Issacharoff, who said they “wrote from their trauma,” were on the ground helping the south of the country evacuate in the aftermath.)
The new season starts with the promise of complexity. It opens on a grieving Muslim father and shifts to a milksop accountant who worked for Hamas, seemingly tortured by Eli in a blind rage for a crime he didn’t commit. Could an excessive devotion to Tha’r, a tribal code of retribution, be the diagnosis of the show’s creators of Israeli society at this moment?
If it is, it’s not a critical one. The villains are the villains, and, most revealingly, they now number people with no connection to the conflict.
Hatib’s enlistment of white Europeans for a mass-casualty terror attack services a trite narrative of postcolonial guilt finding an outlet in the pro-Palestinian cause. It works on another level too: This fighting force is squaring off against Doron’s corps of Mizrahi Jews, whose mere presence dismantles the lie that Israelis are themselves all white colonizers, and that Israel and the European empire of yore are in any way analogous.
When, back at mission control, the counterterrorists speak of “suspicious-looking Europeans” who are “in their 30s,” the derision for this type of fellow traveller is palpable. Their standard bearer, Mélanie Laurent, formerly Tarantino’s “face of Jewish vengeance,” plays Anne, a blonde, “high middle-class Catholic French woman” who straps up with C-4, a keffiyeh ever-draped around her neck. Through her, and in a quite literal way, the show suggests the Western love affair with Palestinians — which in this season’s logic means Hamas — is misguided.
All the while, we never see Gaza, where much of Season 3 was set, with some among its population humanized. We never reckon with the destruction there. We hear about it, and a kind of lip service is paid to the crime of collective punishment — the sort that we hear at the end of almost every season — but it’s secondary to storytelling as elegy and justification. One could just have easily placed the Hebrew word Zachor before that first cold open: Remember what they did to us.
At one point, after a shootout with more blood spatter than I ever recall seeing on the show, Doron empties his clip into an enemy with the words “this is for October 7.” Seconds later, in a Shin Bet command room his handler Gabi (Itzik Cohen, whose between-seasons weight gain is a running joke) quips, a la Danny Glover in Lethal Weapon, “I’m too old for this.”
He’s not the only one.
In the past week I’ve chatted with some folks older than me — they don’t know each other and are largely to my right on Israel — who don’t relish the thought of another season. Not just because they don’t want to watch Oct. 7 reenacted, but because following the exploits of Israeli security agents has vastly different optics after the Hamas-Israel war, unprecedented settler violence and National Security Minister Itamar Ben-Gvir’s recently-stated ideal scenario of killing “30 or 40” Palestinians in Gaza each night.
This may well be the privilege of the diaspora, but the fatigue points to a shift in attitude that’s worth paying attention to. If these horrors are out of sight, out of mind this season, they’re top of mind to many who are watching — and many others who might have once tuned in.
PJ Grisar is a Forward culture reporter. Read full bio →
This story was originally published on the Forward.
Features
“Jerusalemites” – Photographer Sharon Gabay talks about his new book in a spectacular photo essay
By JOANNE PALMER (reprinted with permission from the New Jersey Jewish News and the Jewish Standard) If every person is a world, as our tradition tells us, then a city is filled with so many worlds that it’s impossible to imagine all those rubbing-together universes.
That’s particularly true of Jerusalem, one of the world’s oldest cities, at just about 5,000 years old, give or take; a recent demographic study, done in 2026, estimates its population at around 1,181,760. It has grown remarkably quickly; maybe people are drawn by its ancient, stony beauty, or by the history and other-worldliness that shimmers around it, or by the vibrant, modern cacophony of its diverse residents.
For the last 15 years, Sharon Gabay, a highly successful professional photographer whose bread-and-butter is stunning headshots, party pictures, and portraits of politicians and other social and legal strivers, has wandered through the city, just looking and taking pictures. He’s a 15th-generation Yerushalmi, and although now he lives in the Judean hills, in Moshav Nes Harim, near Ein Kerem and Beit Shemesh, he goes to Jerusalem every week to photograph what he sees.
He’s published six books of photography about Jerusalem. All are both beautiful and emotional. The most recent of them, “Jerusalemites,” is the newest and perhaps the most emotional, created with love, gestated in fear, and now born into a world that perhaps surprisingly radiates with hope.
Okay. What could that possibly mean?
It means that on October 11, 2023, Mr. Gabay went to Kfar Aza. “Everybody who could do anything did something, and I wanted to do something too,” he said. Some kind of response to the barbarism and terror and grief of the Hamas attack. Kfar Aza, one of the southernmost kibbutzim in Israel, was one of the hardest hit. “Because I am a documentary photographer, I asked to join Zaka,” Israel’s emergency response, rescue, and recovery nonprofit organization, “the first time they went in. I went in with them.
“I took pictures. I had two exhibitions using these pictures” — one of them “Holocaust in the Village,” is online — “but it hurt my mind. It was a trauma for me. And I didn’t touch my camera for two years. I just stayed in my studio in Nes Harim, taking psychiatry pills and trying to forget what I saw.
“And during this time I decided to make this book. I sat on it for two years, just learning how to do it effectively.
“There are almost no words in this book. Only pictures. And this is the message: We all live together 99 percent of the time. What the world sees about Jerusalem in the news is what happens maybe three or four percent of the time. All the rest of the time, all 99 percent of the people, other people around the world don’t know about. So I decided to make this book.
“The little text that I do have is in three languages — Hebrew, English, and Arabic. The languages spoken by the people of Jerusalem.”
The small number of Hebrew words in the text are written in a font created from the handwriting of Aner Shapira, who was 22 when he went to the Nova music festival in southern Israel on Simchat Torah — October 7, 2023. He took cover in a shelter with a group of other young Israelis, and he saved many of their lives by throwing seven explosive grenades that Hamas operatives threw into the shelter back out at the terrorists. The eighth exploded in his hand and killed him.
When Aner died, “he left behind a lot of songs that he wrote. They took his handwriting and made a font of it, and I chose to use it for the text.
“He was a Yerushalmi and he loved the city. He wrote about the diversity inside the city, and how you can see everything there. So I decided to put the text in his handwriting as a memorial to him.
When he began to make the book, Mr. Gabay had to look through the enormous archive he’d created. For 15 years he’s roamed the city. His camera is small, old, and unthreatening, a beaten-up Fuji with a visible crack on the case. He takes pictures unobtrusively, he said. He doesn’t ask permission. He just shoots. Usually people don’t even know they’ve been photographed. Sometimes they come across pictures of themselves in his work, and sometimes they email or message him, asking for a copy. Of course, he said, he always sends one.
Culling his vast collection of images was not easy, Mr. Gabay said. Putting it together “made me go out on the streets again.” The vast majority of the photos in the book were taken before October 7, but he took some later, to fill in logical gaps. Even now, with the book finished, he wanders the city’s streets one day every week, camera in hand.
As he prepared the book, he winnowed the vast library of images to 2,000, and from there he whittled it down to 300. For that first cull, “I went through them one by one, me and my cat, hiding from the missiles when they came in, because this is the Middle East. I did it day by day by day by day, until I managed to take it from one and a half million to 2,000.”
The second selection process “was much easier, because by then I knew how I wanted to do it. It is not a random collection of pictures. It is a story, from beginning to end; it is the long story of a city. So there is always a connection from each picture to the picture before and the picture after. But this took a long time.”
“The book turned out to be very successful. I sold all the copies before I launched it. One museum in Israel took 1,000 copies. It got to Herzog”— Israeli President Isaac Herzog —“and Huckabee” — Mike Huckabee is the U.S. ambassador to Israel — “and they both wrote letters about the book.
“Now I am working on the second edition. I want to distribute it to all the Jewish communities and Christian communities and Muslim communities that don’t hate us. There are no politics in this book. It is just people. The background to the pictures is all black because the only light we have in Jerusalem is the people.”
His message, Mr. Gabay said, is that “Jerusalem is not an apartheid city. Everyone lives here.
“I was raised in Jerusalem,” he said. “When we were little, my friends and I went to the Muslim quarter. Nothing happened. Once in a while there’d be some trouble, but most of the time we lived together with no trouble. My family has been here for more than 300 years. I have a picture of my great-great-grandpa in the Old City of Jerusalem. We are connected to the city, all my family is, and we really love it.
“Jerusalem should have tourists the way Vatican City does. People don’t come to Jerusalem.” His attempt to cure that problem is to show the city’s glories on social media. “I have more than 100,000 followers, and they are from all over the world,” he said. “I have Iranian followers and Saudi followers. Suddenly they see the city and they are surprised. They want to come to visit. They all of a sudden see that if they come here, they won’t be arrested because they are Muslim.
“I want to dedicate my work to telling the truth about Jerusalem.”
Mr. Gabay still takes pictures in Jerusalem because “I always go out to see if there is something new, because there is always something new to take pictures of in Jerusalem.”
He also takes pictures of politicians, and that’s a particularly busy area now because of the Israeli election set for October 27. “Today I had a member of the Knesset from Ram, the Muslim party. Mansour Abbas’s party. They want to participate in Israeli politics. They say, ‘We have a life here, and we want to live.’ And on the other side, I did a lot of people from the government we have now. Which, you know, is not the best government we’ve ever had.
“I tell them to their faces what I’m thinking. They know me. They know that I have a big mouth, and that I never, ever lie. So every politician from every side, even the one who was here today, sees the book. And I’ve never had anyone ever say that it’s one-sided or that it doesn’t tell the truth. It’s about all the tribes of Israel.
“I’ve put all my knowledge about Jerusalem and its people in the book, and I try to bring in exactly what happens in real life. I don’t try to stage anything. I am a viewer. I come. I see. I take a picture, and I save it. And people can see what life is like in Jerusalem.
Mr. Gabay also spends a great deal of time doing pro bono work. He takes photos for “At Eye Level,” a nonprofit that works with people with autism. His website showcases much of who he is and what he does; readers can learn more about his book here.
He has a traveling exhibit for the book; the photos can be printed locally so there are no shipping or customs costs, and he often comes to speak in the United States, talking about “Jerusalem and its unique human diversity.
“This book, ‘Jerusalemites,’ is about hope,” he said. “It tells people around the world that what you know about Jerusalem isn’t right. We live together, day by day, all of us, everyone. Yes, we have been at war for three years, but Jerusalem is still vibrating.
“Jerusalem is a hope that if you let people just live, they can live together, and they can make it a great city.”
