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Founded by a Holocaust survivor, a Bronx bakery’s kosher cheesecake is as tasty as ever after 6 decades
(New York Jewish Week) — Near the northern terminus of the 1 train, just south of Van Cortlandt Park, an unassuming Bronx storefront has been producing thousands of dense, delectable cheesecakes each day for more than 60 years.
Adorned with a simple red-and-blue sign and occupying the same storefront throughout its history, S&S Cheesecake has become the stuff of legend: Though other spots — say, Junior’s — may have better name recognition, many in-the-know New Yorkers consider S&S’s cheesecakes to be the best in the city. What’s more, its cheesecake recipe hasn’t changed one bit since Holocaust survivor Fred Schuster, 98, first opened the kosher bakery in 1960.
Though Schuster remains a regular presence at the bakery, these days S&S Cheesecake is operated by one of his daughters, Brenda Ben-Zaken, and her husband Yair. But other than a few nods to modernity — an espresso machine and a small cafe for dine-in enjoyment; upgradedg equipment to increase output to 2,000 cheesecakes a day — little has changed in the past six decades.
“The secret is to bake with love and serve with pride and passion,” Yair Ben-Zaken told the New York Jewish Week of the shop’s success. Since its founding, S&S has supplied cheesecakes to countless restaurants and shops, from as far away as Alaska to as close as the iconic Upper West Side grocery Zabar’s. Their products are available for nationwide shipping via their web site or Goldbelly as well.
Ben-Zaken and Schuster spoke to the New York Jewish Week on a sunny, temperate morning just a few days ahead of Shavuot — a holiday, which this year begins the evening of Thursday, May 25, when Jews traditionally eat cheesecake and other dairy food. Ben-Zaken was busy packing up hundreds of cheesecakes that he is shipping around the country, as well as several that S&S donates to the Riverdale Jewish Center, the Orthodox synagogue where he and Schuster are members.
“It gets busy with Shavuot, [but] there is a lot to celebrate with summer and graduations this time of year as well,” Ben-Zaken said. “We are feeling [the busy season] now, but it’s not the same as Christmas and Thanksgiving — those are the real cheesecake holidays for us.”
Before he established his modest cheesecake empire, Fred Schuster was born in Germany in 1925 — only eight years before Hitler came to power. “That was the end of my childhood,” Schuster told the New York Jewish Week.
In an effort to keep him safe, Schuster’s parents first sent him to a Jewish boarding school near Frankfurt and, when it was forced to close down, he moved in with his grandparents. In 1938, when they became too old to take care of him, Schuster said goodbye to his family — with a commitment to see each other again — and went to live in an orphanage in Frankfurt.
Just before his 14th birthday, Schuster and other children at his orphanage were sent to Switzerland via the Kindertransport. On the train, he met a girl named Karola (middle name Ruth), who went on to become the famous sex therapist and talk show host Dr. Ruth Westheimer.
“I always say, of the group there, Dr. Ruth went into the sex business and did very well. And I went into the cheesecake business and didn’t do too badly myself,” Schuster joked.
In Switzerland, Schuster “developed a passion for baking and worked in kitchens and bakeries there,” he said. He arrived in New York in 1941, where he reunited with his parents and sister. (His father had arrived in the United States via England around 1939, and his mother and sister via France, Spain and Portugal in 1940.)
“Thank God, my parents and everybody made it here,” he said. “We are very happy here. The United States was very good to us.”
And yet, even though many of his family members survived — and Schuster is blessed with four grandchildren and 13 great-grandchildren — Schuster still thinks about what the Holocaust took from him, especially his own grandparents. “I’ll never forget it,” he said. “I am very proud of what I have built in spite of that.”
In the 1940s and 50s, Schuster lived in Washington Heights — home to a sizable German Jewish community, including Dr. Ruth, who is still a fixture in the neighborhood at 94 — and worked as a general baker at various restaurants, where he learned to make all types of pastries. However, “cheesecake was always on my mind,” he said. “I said to myself, ‘There isn’t a good cheesecake here. Let me see what I can do.”
Yair Ben-Zaken joined the team in 1986 and works every day except for Shabbat. Pictured in the bakery in New York City, May 22, 2023. (Julia Gergely)
The recipe he landed on — a combination of eggs, vanilla, sugar, butter and heavy cream — is something Schuster calls “absolutely perfect.”
Though cheesecake may be an ancient food, Jews took to cheesecake the way a fish might take to water, according to The Nosher. Though its varieties are numerous — from light and fluffy to dense and sweet — it was Ashkenazi Jewish immigrants who came to the United States in the late 19th and early 20th centuries who originated the ultra-rich dessert that’s known as New York-style (or Jewish-style) cheesecake.
That’s Schuster’s specialty, though when Schuster and his wife Sidi opened S&S Cheesecake, he baked all kinds of pastries and cakes. Quickly, however, he narrowed down the menu to only cheesecakes, the bestsellers. These days, S&S sells a chocolate mousse cheesecake, as well as strawberry-, pineapple- and cherry-topped versions of the classic original, which is flavored with vanilla. The OG — which retails in-store for $40 for an 11-inch cake and $20 for a 7-inch one — is his favorite, Schuster said, adding that he always keeps a cheesecake in his fridge for snacking on.
As for Ben-Zaken, after serving in the Israeli Defense Forces as a combat soldier, then working at various food labs in Israel, he began working at the bakery in 1986. Has he dared to change the recipe? “God forbid,” said Ben-Zaken. “Once you know it’s done right, that’s it.”
Schuster, whose wife died in 2017, moved into the Ben-Zakens’ Riverdale home around eight years ago. These days, the two men spend the majority of their time together, baking and talking. “We’ve worked together for many, many years shoulder to shoulder,” said Ben- Zaken, who affectionately calls Schuster “Opa,” which is German for grandfather. “But he is still in charge, I still learn from him.”
During the course of the New York Jewish Week’s visit to the bakery, a handful of customers came in to pick up the cheesecakes for Shavuot. “It’s always worth a trip,” said a man, who was picking up half a dozen cheesecakes for his synagogue in Pelham Parkway, who declined to provide his name. “It’d be worth the trip even if I lived in Atlantic City.”
For Ben-Zaken, his favorite part of the job is working alongside Schuster. Running S&S Cheesecake has been life-changing, he said, particularly following his recovery from post-traumatic stress disorder he suffered as an Israeli soldier. “I think if there’s anybody that I love more than anything in the world, it is this guy. I owe him everything,” Ben-Zaken said. “But I don’t just owe him, I also just enjoy being with him all the time. He’s still young. In spirit, he’s younger than all of us.”
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A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
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Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.
Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.
But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
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