Features
At one time one entire block of McAdam Ave. was almost totally Jewish
1994 McAdam Ave. reunion (names inside story)By GERRY POSNER (This story first appeared in November 2014.)
Once upon a time when life was simpler and gentler, there was a street in the north end of Winnipeg which was like all other streets in the city except in one significant way. Everyone, but for one family, living on McAdam east of Main Street was Jewish.
From a 1994 reunion of former McAdam Ave. residents:
Front row – Linda (Shuckett) Waldman, Gail (Caplan) Bender, Brenda Mindell Odwak, Martin Sodomsky, Belva (Cham) Wilder, Carol (Frank) Woodward, Sharon (Mondell) Wolchuck,
Kenny Sodomsky, Behind Brenda her brother Earl Mindell, Barry Caplan, Terry (Yates) Erlichman, Penny (Mondell) Ganetsky
Ed. note: As we noted in the November 12, 2014 issue in which this story – & picture, first appeared, there are far more faces in the photo than names in the caption.
One might speculate how this might happened and no doubt there are various reasons that might be given, but the reality was that in a period between 1950 to 1970 ( give or take a few years), there was no trouble rounding up a Minyan on McAdam.
Who were these people, what did they do for a living, were they friendly with one another, what became of the kids who grew up then and what memories of that time do they have? Tough questions with uncertain answers in part.
What we can say for sure about this group is that they got along well with one another. There was a feeling of community and they had a spirit of forgiveness for the transgressions of someone else’s kid trespassing on their property or making noises at late hours or for that matter in the early morning hours on a Sunday reserved for sleep. ( just how much this quality of forgiveness has been carried out to the next generation will be evident if there are not too many complaints about how this article left out a name or had the wrong address or mixed up crucial facts).
The names are not as difficult to list without going to a Henderson’s Directory as you might think. All that was needed was Paul Nusgart, Brenda Odwak, Jack Rusen, Cheryl Singer, Linda Waldman, Adeena Lungen and Sharon Wolchock, all graduates of McAdam Avenue. Just to hear the names once again brings back a storehouse of memories. Here is a list of the addresses and the families who inhabited them.
North side of McAdam at Main Street:
195 Ben and Clara Lungen, children Paul and Adeena who owned and operated Lungen’s Meat Market, a butcher shop right at the same address
191 a duplex- main floor Minnie Waldhorn and brother Max Waldhorn. They also had their sister Fanny Mandell living next door at 187. On the second floor was the well known lawyer ID Rusen
187 Manasha and Fanny Mandell, Merle and Ruthy
185 Bill and Minnie Mindell, Earl and Brenda (how odd that a Mandell and a Mindell would live next door to one another)
181 Max and Idy Nusgart, Paul and Ruth Carol, later succeeded by the Greenberg family, as in Lawrence and Lois with sons Jeff and Alan
177 Phil and Adele Sheps, David and Arthur, followed by Charlie and Molly Rusen, Jack and David ( the first family connection as Charlie and ID were brothers)
175 Max and Annette Caplan, a sister to Nathan Stall also on the block across the street, Barry, Sandra, and Gail,
171 Bob, Molly and Hilda Schulz the owners of the Deluxe Theatre Coffee Shop in the Deluxe Theatre and the only non-Jews on the street (Ed. note: In a letter we received following publication of Gerry’s article, writer Allan Margulius (who lived at 170 McAdam) noted that the house at 170 McAdam later belonged to the Brick family: Fred & Cynthia, and children Marsha, Ira, Robbie, & Lisa.)
169 Bernard and Ruth Mondell, Sharon, Penny and Errol (McAdam Avenue, like no other, offers the triple M hockey line, as in Mandell, Mindell and Mondell – a hockey announcer’s worst nightmare)
165 Kaplan – daughters Annette and Bert and Sonny and Dave succeeded by The Frank family, Carol and Minnie and Ernest Green and their five children Coleman, Cheryl, Chuck, David and Ricky
163 A Mrs. Rose Billinkoff, as she was known to the kids of that time, grandmother to David Billinkoff and with her a daughter, Ada
161 Jimmy and Rae Gobuty, daughter Elaine and son Michael followed by Ike and Fanny Glesby and 4 daughters, Carol, Marilyn, Donna and Barbara and even later, the Gillman family
155 The Levin Family who moved later to 146 McAdam and after the Levin’s, Lionel and Minnie Katz, Jerrold and Bernard
151 The Stern family( Ruth and Bill) and children Maxine, Neal, Gary and Shayla who later moved across the street (there seemed to a definite inclination to remain on McAdam since a number of residents moved from one side to the other)
147 Max and Molly Byers, Bloomie and later Benny and Fanny Pressman, Irwin and Eddie
145 Dave and Bert Shuckett, Linda and Richard
141 Evelyn Blankstein and her mother Mrs. Lena Blankstein
South Side:
194 Another duplex with the Collarman family as in parents Mendel and Rachel and son Howard in one part and in the other, Myer and Rose Nackimson, Eddie and Janice followed by Sid Green
190 The Adilmans as in Jack, Joe and Sybil later followed by the Portigals, Evelyn, Sheila and Chassie. Also at this home were Annette and Danny Butler with their kids Mark and Nadine
186 Albert and Sylvia Israels, Martin and Richard
184 Duplex: Bill Malchy family to include daughters Naneve and Melissa and Mr. Jacob Shuckett Sr. followed by Cantor Orland Verall
180 Dave and Sara Hyman, Jackie and Gary
176 Art and Gloria Sodomsky, Ken and Martin
174 Bill and Sukie Pitch, Harvin and Marsha and later the Stewart family and then Manya Margulius, Marty and sister, Caroline and The Frank family (Ed. note: In another letter we received following publication of Gerry’s article, writer Sharon Niznick Glass noted that the Frank family preceded the Margulius family. Sharon wrote that Carol Frank had lived in the house before the Marguliuses and that she boarded with them for two years while she went to university. As Sharon wrote: “When I told people where I was living, they always said: ‘Oh, you’re living in Carole Frank’s house.” Sharon added that she didn’t know who Carol Frank was until 50 years later until she was introduced to Carol Woodward in Palm Springs – who proceeded to tell Sharon that her maiden name was Frank.)
170 Joe and Mickey Margulius, Ilene, Teddy and Allan (yet another family connection- see next door)
168 Zeke and Bert Greenberg, Reta and Arnold
166 Jack and Molly Secter, Lloyd, Norman and Lily Ann
162 Sid and Frances Katz, Paul and Hart later followed by Dave and Dorothy Yates, Terri
160 Nathan and Gertie Stall, Shelley, Morton, Phyllis and Richard
158 Jack and Geila Sheps, Cheryl, Sam, Maureen and Michael
156 Lewis and Lucy Cohen, Ernie and Larry
152 Leon and Clara Cham, Noreen, Belva and Ricki followed by the Ruth and Bill Stern Family
148 Sam and Claire Posner, Ken and Ricki succeeded by Dr. And Mrs. Cham and children Bonnie, David and Susan (a second Cham for McAdam-perhaps it was the rhyme on the name that attracted them there)
146 Harry and Myrna Levin, Michael, Julie, Esther Ruth, Jonathan and Daniel
Back in the 1950’s, on a given summer night, you could hear the voice of Molly Secter bellowing out “ Norman, where are you” all the way from the Levin’s at the eastern end to Main Street at the western end. Or perhaps you might see Charlie Rusen in front of his home practising his golf stroke.
This we know for sure. That time and period has ended and with its demise we lost real neighbourliness and the certainty of being able to look to someone on the street to help out no matter the problem. McAdam had all of those qualities and more. Just ask any of the descendants.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
Related
- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.