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How a Catholic university amassed a treasure trove of Jewish artifacts from the Bronx
(New York Jewish Week) – A Catholic university may be the unlikeliest place for what may be the largest depository dedicated to the Jewish history of the Bronx.
But at Fordham University — the private, Jesuit institution in the Bronx — decades worth of archival documents and artifacts from the local Jewish community have found a home, thanks to its Jewish studies department.
For the last three years, Fordham has been collecting and cataloging items that detail a once-thriving Jewish community in the Bronx: yearbooks full of Jewish last names, Bar Mitzvah invitations, phonebooks full of Jewish-owned businesses — all the simple transactions that define an era in history.
The archive at Fordham is one of the only physical collections of everyday material from Jewish residents of the borough, according to Magda Teter, the chair of the Center for Jewish Studies at the university, who spearheaded the project.
“It’s not only preserving a piece of New York Jewish history, but also a way of life,” Teter told the New York Jewish Week. “Bringing this voice to the dominant Christian identity of Fordham and teaching about Jews [as a minority] within the dominant cultures is very important.”
A song and dance book in the Fordham University collection features the lyrics for “Hatikvah” and “For He’s a Jolly Good Fellow,” and a “Jewish dictionary.” (Julia Gergely)
During the first half of the twentieth century, Jewish life thrived in the Bronx. There were 260 registered synagogues in 1940, and the borough produced some of the biggest Jewish names in show business, fashion, literature and more: designer Ralph Lauren, politician Bella Abzug, novelist E.L. Doctorow, filmmaker Stanley Kubrick, Miss America Bess Myerson, Nobel Prize-winning chemist Robert Lefkowitz.
At the community’s peak in 1930, the Bronx was approximately 49% Jewish, according to the borough’s official historian, Lloyd Ultan. South of Tremont Avenue, the number reached 80%. Most of the Jewish Bronx was of Eastern European descent; many were first generation Americans whose parents had immigrated and lived on the Lower East Side, but who could now afford to live in less cramped neighborhoods with more trees and wider streets.
Though there is a strong Jewish community in the neighborhood of Riverdale, most of the Jewish community moved out of the Bronx for the suburbs after World War II when mortgages for white would-be homeowners were being subsidized by the government and Blacks and Latinos were steered to Bronx neighborhoods they couldn’t afford or that the city had chosen to neglect. The Jewish population of the Bronx dropped from 650,000 in 1948 to 45,000 in 2003. Many of the synagogues have been converted for other uses, and the physical legacy of the Jewish community there has begun to erode over time, making an archive all the more necessary.
While Teter was always interested in collecting items from the Jewish Bronx, the archive got an unexpected boost from a member of the public. In the spring of 2020, at the height of the pandemic, Fordham hosted a virtual event, “Remnants: Photographs of the Jewish Bronx,” which featured evidence of the area’s faded Jewish history gathered by writer and photographer Julian Voloj. (Voloj is the husband of the New York Jewish Week’s managing editor, Lisa Keys.)
An invitation for the bar mitzvah of Freddie Rothberg, which took place on Oct. 6, 1951 at Beth Hamedrash Hagadol. (Julia Gergely)
In the audience was Ellen Meshnick, who had grown up in New York and now lives in Georgia. Inspired, she offered Fordham a trove of material her parents, Frank and Martha Meshnick, had kept throughout their lives in the Bronx. The boxes included donated yearbooks from Morris High School and Walton High School, songbooks, bar mitzvah invitations, a marriage certificate, receipts for a flower delivery — even a document from the hospital from when she was born — mostly from the 1930s through the 1960s.
The donation significantly bolstered what materials Fordham already had on hand, which included less personal but still unique items like matchbooks from kosher restaurants. Now, Teter is growing the archive through other private donations and occasionally by purchasing materials online — personal family archives, books about Bronx Jewish history, songsheets and the like.
The marriage certificate, or ketubah, recognizing the marriage between Frank Meshnick and Martha Farber on Aug. 23, 1942. The certificate was part of an archive donated to Fordham University by the couple’s daughter Ellen. (Julia Gergely)
“They may not be the most beautiful things, but we are interested in what people actually used and lived with,” Teter said.
Teter said that while the American Jewish Historical Society in Manhattan does collect the types of quotidian and personal items that American Jews kept with them in the last few centuries, they don’t have much that uniquely focuses on Jewish life in the Bronx.
The entire collection is part of a greater effort by Teter, the Jewish studies department and the librarians at Fordham to increase awareness about Judaism and Jewish people. “I will not hide that I think it’s an important way to fight antisemitism — to teach Jewish history and Jewish culture in all its colors and in all its experiences,” she said. “It enriches the students’ appreciation and understanding of Jewish life beyond how Jews are usually portrayed.”
The Jewish studies department at Fordham is relatively new: The college began offering a Jewish studies minor in 2016, and opened the department in 2017. At the time, the highlight of the library’s archives was the Rosenblatt Holocaust collection, which was funded by an alumnus. Since 1992, the library has amassed over 11,000 titles, videos and artifacts on the Holocaust, according to librarian Linda Loschiavo.
When Teter arrived, Loschiavo worked with her to bring in historical Passover haggadahs from all over the world. Fordham now possesses two Italian haggadahs from the 1660s, as well as Jewish artifacts from unexpected places, like playbills from Jewish Bollywood.
Last month the university opened the Henry S. Miller Judaica Research Room on the fourth floor of the campus’ main library — named for Fordham’s first Jewish student, who graduated in 1968. Miller, a leader of a financial restructuring firm, is now a trustee of the college.
Fordham President Tania Tetlow described herself jokingly as “a wannabe Jew” at the room’s unveiling. “I’ve understood how deeply intertwined Judaism and Catholicism are,” she said, “and the connections we have of the deep intellectualism of both faiths, of the desire to study text and the interpretation of text going back for thousands of years, of the love of ritual — and the central place of food and guilt!”
The former Jacob Schiff Center on Valentine Avenue. (Julian Voloj)
“At the moment, we envision that the research room will be a space for exhibitions that would foster the curatorial skills of our students and that will bring Jewish art and artists to campus,” Teter said. “We would now be able to display their art and combine the exhibitions with some items from the Judaica collection.”
The research room is currently displaying Voloj’s Bronx photographs, along with some of the recently acquired local archival materials, curated by sophomore Reyna Stovall, who is interning in Fordham’s Jewish studies department this semester.
“It is really, really rewarding,” said Stovall, who is Jewish. Stovall became involved in the Jewish studies department because of her interest in Holocaust studies, but as she began her internship, she was excited to work on the archives cataloging the once thriving Jewish history of the Bronx.
The yearbook photo of Frank Meshnick (bottom right), who graduated from Morris High School in Morrisania in 1931. (Julia Gergely)
“It’s pretty amazing that they have the collection to begin with,” she added. “It really shows Fordham’s commitment to diversity and inclusivity that they’re willing to take on this massive collection of Judaica, even though that’s not the religion that the school was founded on.”
Teter estimates there are about 300 Jews among the school’s 15,000 undergrads. As a result, the Center for Jewish Studies and the research room offers students from all backgrounds the opportunity to learn more about Judaism — as well as marginalized communities in general, and connect their stories to their own lives.
“Our identity grew to showcase Jewish studies at the intersection and in conversation with other fields and areas of study,” Teter explained.
The Center’s goal, she added, is “to make students, faculty and the public realize that studying Jews is not just for Jews, and that they can learn so much about the areas of their own concern and interest by studying Jews.”
“Something magical happens when you give students the opportunity to work with historical artifacts, and really touch history,” Teter said. “That’s what I think inspired the director of the library to devote that space to that kind of research and to that kind of student experience.”
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The post How a Catholic university amassed a treasure trove of Jewish artifacts from the Bronx appeared first on Jewish Telegraphic Agency.
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How a complete unknown created one of the most iconic music events of the 1970’s
“I’ve always been a stranger,” Ido Fluk told me when I met him in a near-empty conference room in a sleek, Nordic-designed hotel in Berlin this past February. It was the afternoon after the Berlin Film Festival’s world premiere of the Israeli director’s German-language film, Köln 75, a kinetic behind-the-scenes look at Keith Jarrett’s famous live album, The Köln Concert. Jarrett improvised the hour-long set at the Cologne Opera House on Jan. 24, 1975, on a substandard piano — a beat-up baby grand rehearsal piano instead of the 10-foot-long Bösendorfer Imperial he’d been promised.
The film has grossed over a million dollars at the German box office — no mean feat for a domestic production — and was nominated for four Lola awards (Germany’s version of the Oscars) including Best Picture.
Fluk, 40ish, with tousled hair and a thick mustache, stubble and round, dark-framed glasses, had a peripatetic upbringing. Born in Tel Aviv, he was raised both there and in Paris, where his family relocated for five years during his childhood. Just shy of 20, he moved to New York City to study at N.Y.U.’s Tisch School of the Arts.
He returned to Israel to shoot his first feature film, Never Too Late (2011) about a young Israeli man who comes home after eight years in South America and takes a road trip in his 1985 Volvo through the country he left behind. It holds the unusual distinction of being the first crowd-funded Israeli film and won the main prize at the Fribourg Film Festival. Fluk shot his next film, The Ticket (2016), about a blind man who regains his vision, in Kingston, New York. Köln 75 was filmed largely on location in Cologne.
“I’ve always been, like, moving around. So for me, it’s very natural to go to a new country to make a film,” said Fluk. “I also think it’s the story of cinema a little bit these days where art house cinema in the States is kind of a dying breed. You see more and more filmmakers from the U.S. traveling to Europe.”
“And, you know,” he added, “it’s also kind of the story of Keith Jarrett in the 70s, which is that jazz musicians were losing their audiences in the States, and they started coming to Europe, because in Europe they still found an eager audience for their work. So I could identify with that, in a way.”
Fluk was wearing a black T-shirt for the British punk rock band Idles that showed a man in a balaclava posing with a birthday cake. The image was captioned, “JOY STILL AN ACT OF RESISTANCE.” Fluk has a musical background. When he moved to New York, he played bass for “all these punk bands that never made it.” One band that sort of did was Elephant Parade, a lo-fi indie outfit that he formed with his now-partner, Estelle Baruch. They played legendary venues and festivals like CBGB and South by Southwest and even opened for Beirut.
“I’m not a good musician by any means,” he said, “but it helps you understand just how difficult what Jarrett is doing. It’s such a feat, what this man was doing in the 70s, which means driving in this tiny car, and every night showing up at a new city and playing a new thing that nobody’s ever heard before. He doesn’t think about it. He just starts playing.”
Despite, or perhaps because of, the respect that Fluk has for Jarrett (a reclusive artist, now 80, who had nothing to do with the film), the director did not set out to make a conventional biopic. Instead, the narrative and emotional center of the film, which Fluk also wrote, is Vera Brandes, the 18-year-old self-made concert promoter who, 50 years ago, signed Jarrett for the gig, sold out the venue, and convinced the reluctant pianist to perform on a subpar keyboard for the 1400-strong crowd that packed into the Cologne Opera House for the 11:30 pm concert. (The late hour was due to a performance of Alban Berg’s Lulu earlier that evening, a wonderfully strange detail that makes it into the film).
“There are a lot of movies about music that tell you the same story. It’s about the artist. It’s about his rise. There’s some complication, then there’s a comeback, there’s a big show at the end. And here was a story about the woman behind the scenes. It wasn’t a story about the artist so much as about the promoter and the invisible people behind the artist. I thought that was really interesting and fresh,” Fluk said. At the start of the shoot, Fluk invited Brandes, now 69, to visit the set, an event that he recalled as inspiring for him and the film’s team.
“She’s like a punk rock goddess from the 70s who, like, changed the world and never got a proper thank you. This was an opportunity to shine a light on her, because however good Keith Jarrett is, no Vera Brandes, no ‘Cologne Concert.’ If Keith Jarrett had the perfect piano on stage that night, the album wouldn’t sound the way it sounds, and it wouldn’t be as special as it is,” he said.
Mala Emde, a 29-year-old German actress, plays Brandes as a spirited and determined young woman striking out on her own, using her charm, enthusiasm and tenacity to navigate (and often bluff her way through) an exciting adult world that she cannot wait to enter. Emde carries the film on her capable shoulders. Jarrett, performed with brittle world-weariness by the American actor John Magaro, is another standout.
Köln 75 was in pre-production for four years and Fluk used that time to learn German. “By the time we were shooting, I already understood German. Now I can read, I can understand – I don’t like speaking it because I sound like an idiot — but it was enough for me to hear actors improvise, which was really important for me in this film, because it’s a film about improvisation and it needed to feel free,” he said. He added that Michael Winterbottom’s 2002 film 24 Hour Party People, about the birth of rave culture in late 1970s Manchester, was a key inspiration in terms of tone and energy, calling it “the spirit animal of this film.”
Fluk didn’t reveal too much about his upcoming projects, which include an HBO series based on the bestselling non-fiction book Empty Mansions and a legal thriller about the trial of Julius and Ethel Rosenberg, which Fluk described as “a really beautiful script and really important story about American Jews and the way they were perceived in America.”
With so many stateside projects lined up, can we expect Fluk to film again in Europe or Israel in the future?
“If the story I want to tell is located there? Absolutely,” he said. “I am very agnostic about territory. I have a film, and the film says where it needs to be shot, then we go there and shoot it.”
Köln 75 begins its theatrical run at the IFC Center in New York on Oct. 17. (It opens a week later in Los Angeles).
The post How a complete unknown created one of the most iconic music events of the 1970’s appeared first on The Forward.
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3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce
(JTA) — Israel has identified the remains of three more hostages following a second release by Hamas on Tuesday, bringing the number of deceased hostages in Gaza to 21.
But even as the conditions of the first phase of the ceasefire agreement were still being met, both President Donald Trump and Israeli Prime Minister Benjamin Netanyahu indicated that further fighting could be in the future if Hamas does not move forward with disarming — as footage from Gaza shows it is far from doing.
The three hostages whose remains were returned were Uriel Baruch, Eitan Levy and Tamir Nimrodi. Nimrodi’s death had not previously been confirmed, though Israeli authorities said there was “grave concern” about his condition. The Hostages and Missing Families Forum said he had been abducted alive but was subsequently killed in an Israeli airstrike.
A fourth set of remains sent to Israel was not that of a hostage and likely came from a Gazan, officials said DNA analysis showed.
More remains could be released on Wednesday as Hamas faces calls to hold up its end of the deal struck last week, which required the return of all 48 Israeli hostages. All 20 living hostages and four deceased hostages were released on Monday.
U.S. President Donald Trump, who pressed for the deal, called attention to Hamas’ delay in returning the deceased hostages in a post on Truth Social on Tuesday. But he also said that the second phase of the ceasefire, in which a lasting peace and plan for Gaza’s future governance is supposed to be negotiated following the release of all hostages, was already underway.
“ALL TWENTY HOSTAGES ARE BACK AND FEELING AS GOOD AS CAN BE EXPECTED. A big burden has been lifted, but the job IS NOT DONE,” Trump wrote. “THE DEAD HAVE NOT BEEN RETURNED, AS PROMISED! Phase Two begins right NOW!!!”
Meanwhile, footage showed Hamas operatives emerging from hiding in Gaza and reasserting themselves in the enclave, including by executing those seen as having opposed Hamas during the war with Israel.
Trump’s peace proposal called for Hamas to disarm and not play a role in governing Gaza, but the group has not agreed to those terms. Trump said before traveling to Israel on Monday that Hamas had been given temporary approval to act as a police force in Gaza.
“Well, they are standing because they do want to stop the problems, and they’ve been open about it, and we gave them approval for a period of time,” he told reporters.
On Tuesday, he said the show of force “didn’t bother me much, to be honest with you,” because the group had targeted rivals “that were very bad.”
But both Trump and Israeli Prime Minister Benjamin Netanyahu indicated that a long-term failure to demilitarize by Hamas could risk a return to fighting.
“They’re going to disarm, and because they said they were going to disarm. And if they don’t disarm, we will disarm them,” Trump told reporters at the White House on Tuesday. He was then pressed on how he knew the group would do something it has said it would not do.
“I don’t have to explain that to you, but if they don’t disarm, we will disarm them. They know I’m not playing games,” Trump said. “If they don’t disarm, we will disarm them, and it’ll happen quickly and perhaps violently. But they will disarm.”
Netanyahu told CBS News that he understood Trump’s comments to be a version of the threats Trump made on social media that coincided with a ceasefire deal moving forward: Disarm or “all hell breaks loose,” Netanyahu said.
The Israeli prime minister said he hoped it would not come to that. “We agreed to give peace a chance,” Netanyahu said, adding, “I hope we can do this peacefully. We’re certainly ready to do so.”
The post 3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce appeared first on The Forward.
Uncategorized
3 more hostages’ remains returned as Hamas reasserts control in Gaza, potentially threatening truce
Israel has identified the remains of three more hostages following a second release by Hamas on Tuesday, bringing the number of deceased hostages in Gaza to 21.
But even as the conditions of the first phase of the ceasefire agreement were still being met, both President Donald Trump and Israeli Prime Minister Benjamin Netanyahu indicated that further fighting could be in the future if Hamas does not move forward with disarming — as footage from Gaza shows it is far from doing.
The three hostages whose remains were returned were Uriel Baruch, Eitan Levy and Tamir Nimrodi. Nimrodi’s death had not previously been confirmed, though Israeli authorities said there was “grave concern” about his condition. The Hostages and Missing Families Forum said he had been abducted alive but was subsequently killed in an Israeli airstrike.
A fourth set of remains sent to Israel was not that of a hostage and likely came from a Gazan, officials said DNA analysis showed.
More remains could be released on Wednesday as Hamas faces calls to hold up its end of the deal struck last week, which required the return of all 48 Israeli hostages. All 20 living hostages and four deceased hostages were released on Monday.
U.S. President Donald Trump, who pressed for the deal, called attention to Hamas’ delay in returning the deceased hostages in a post on Truth Social on Tuesday. But he also said that the second phase of the ceasefire, in which a lasting peace and plan for Gaza’s future governance is supposed to be negotiated following the release of all hostages, was already underway.
“ALL TWENTY HOSTAGES ARE BACK AND FEELING AS GOOD AS CAN BE EXPECTED. A big burden has been lifted, but the job IS NOT DONE,” Trump wrote. “THE DEAD HAVE NOT BEEN RETURNED, AS PROMISED! Phase Two begins right NOW!!!”
Meanwhile, footage showed Hamas operatives emerging from hiding in Gaza and reasserting themselves in the enclave, including by executing those seen as having opposed Hamas during the war with Israel.
Trump’s peace proposal called for Hamas to disarm and not play a role in governing Gaza, but the group has not agreed to those terms. Trump said before traveling to Israel on Monday that Hamas had been given temporary approval to act as a police force in Gaza.
“Well, they are standing because they do want to stop the problems, and they’ve been open about it, and we gave them approval for a period of time,” he told reporters.
On Tuesday, he said the show of force “didn’t bother me much, to be honest with you,” because the group had targeted rivals “that were very bad.”
But both Trump and Israeli Prime Minister Benjamin Netanyahu indicated that a long-term failure to demilitarize by Hamas could risk a return to fighting.
“They’re going to disarm, and because they said they were going to disarm. And if they don’t disarm, we will disarm them,” Trump told reporters at the White House on Tuesday. He was then pressed on how he knew the group would do something it has said it would not do.
“I don’t have to explain that to you, but if they don’t disarm, we will disarm them. They know I’m not playing games,” Trump said. “If they don’t disarm, we will disarm them, and it’ll happen quickly and perhaps violently. But they will disarm.”
Netanyahu told CBS News that he understood Trump’s comments to be a version of the threats Trump made on social media that coincided with a ceasefire deal moving forward: Disarm or “all hell breaks loose,” Netanyahu said.
The Israeli prime minister said he hoped it would not come to that. “We agreed to give peace a chance,” Netanyahu said, adding, “I hope we can do this peacefully. We’re certainly ready to do so.”
—
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