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How this Jewish refugee became Times Square’s queen of porn

(New York Jewish Week) — “She was the most un-grandma person that anyone could have,” says David Bourla at the beginning of a film about his one-of-a-kind grandmother, Chelly Wilson. “Except for the fact that she was Jewish, we celebrated Christmas in a porn theater. It doesn’t get any weirder than that.”

So begins Valerie Kontakos’ documentary, “Queen of the Deuce,” which tells the unlikely story of how a tough-as-nails Jewish lesbian narrowly escaped the Holocaust in Greece and became the successful owner of several pornographic movie theaters in New York City in the the 1970s. The documentary, which premieres in New York on Friday, Nov. 11, is one of several Jewish films playing the documentary film festival DOC NYC, which runs this year from Nov. 9 through Nov. 27.

Born in 1908, Wilson grew up in a religious Sephardic family in Thessaloniki — also known as Salonika in Judeo-Spanish — and was ambitious from a young age. “She had this fierce desire to achieve something,” said Kontakos. “When she was younger, she wanted to be a doctor. But of course that wasn’t an option for her at that point, and given her circumstances, given the fact that she was a Jewish Sephardic woman in Salonika. She came from a very conservative community.”

Relying on a mix of archival footage, interviews and animated sequences, “Queen of the Deuce” is a wide-ranging look at Wilson’s improbable life: her various business ventures, her marriages to men and romances with women, the pain of the loss of her family and more. Central to the film are Wilson’s now-grown grandchildren, who describe their unconventional Jewish grandmother as tough and eccentric, with the confident body language of a mob boss. (Wilson, who died in 1994, appears in the film through home videos.)

As a young woman, Wilson left Athens just before the outbreak of World War II, narrowly escaping the devastating destruction of Thessaloniki’s Jewish community. According to Yad Vashem, out of the approximate 56,000 Jews who lived in Thessaloniki before the war, some 54,000 were killed in the Holocaust.

Wilson got her start in New York selling hot dogs and soda. She sent some of her earnings to Greece to buy newsreel footage and turned the footage into a film called “Greece on the March” — an effort to raise money in the U.S. for the Greek war effort against the Germans. When she played the film at a New York movie theater she met a Jewish film projectionist named Rex Wilson. Although they lacked a common language, he became her second husband.

“He was nice,” Wilson says of Rex in her husky, accented voice. “He provided me with cigarettes.”

(Her first husband, whom she divorced after having two children, Paulette and Dino, was the product of an arranged marriage in Greece. Wilson compares his kisses to “torture” in the film. Later in her life, after Wilson and her second husband split up, her preference for women became an open secret.)

From there, Wilson fell into the movie theater business — first “regular” movies, and then, by the late 1960s, sensing opportunity, she became the owner of several adult movie theaters. Many of them were located on 42nd Street, nicknamed “the Deuce,” which was New York’s infamously gritty red light district at the time.

“It’s unusual not to be surprised by something that she did,” said Kontakos, who first met Wilson in the early 1970s when, as a teenager, she worked at the Wilsons’ Tivoli Theatre on 8th Avenue. “It showed Greek films on Sundays, which were PG, completely family material. The rest of the week they would show porn.”

“Times Square [in the ‘70s] was like the underworld,” added Kontakos, whose family is Greek though not Jewish. “You had drugs there, prostitution, and then you had porn. It was really quite extreme.”

The Adonis Theater marquee, as seen in “Queen of the Deuce.” (Courtesy of the Wilson family)

Wilson was, by all accounts, an exceptionally tough character — she rarely smiled, and usually had a cigarette or a cigar in hand. She frequently held court reclining on the sofa of her living room — her Times Square apartment was above the Eros, a gay porn theater that opened in 1962 — with bags of cash in the corner. Wilson also owned the Adonis, an all-male adult theater so legendary for cruising that it became the locale for a meta, well-known 1978 gay porno film “A Night at the Adonis.”

In family footage shown in the film, she puffs a cigarette and tells stories in imperfect, Greek-accented English of how she smuggled her children to New York from Palestine and Greece. “I had Dino stolen from Israel, you know?” she says, reclining on her couch in a red silk robe. The story that unfolds is an improbable one, involving secret boat rides, misbehaving children and a chance encounter with a sympathetic official in Athens.

Similar to the fate of Thessaloniki’s Jews, most of Wilson’s family died in the Holocaust. But her shrewdness had saved Paulette: Before she departed for the United States in 1939, Wilson left her daughter in the care of a non-Jewish Greek family — with the specific instructions not to turn her over to her Jewish relatives, even if they came looking for her (which, of course, they did).

Still, Wilson kept her difficult past mostly hidden from her children and grandchildren. And in the film’s interviews, her offspring express the pain of their lost family and histories. They remember that Wilson refused to seek out reparations for her murdered family, saying it was blood money.

For Kontakos, it was important to tell this Holocaust story well, noting that the history the persecution of Greek Jews isn’t as well known as other European Jews. “I do feel it’s still not really discussed as openly as it should be,” she said.

Though Wilson may not have been the warm, nurturing type, she had a fierce dedication to her family, and her children and grandchildren reminisce in the film about her creative spirit and zest for life. Kontakos hopes audiences walk away from the film with a sense of “the joy of life, regardless of the hardships,” she said.

“Queen of the Deuce” is screening in New York on Friday, Nov. 11 and Saturday, Nov. 12 as part of the DOC NYC film festival, and will be available for online streaming Nov. 12 through Nov. 27. For details, click here


The post How this Jewish refugee became Times Square’s queen of porn appeared first on Jewish Telegraphic Agency.

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NYU student draws hate crime charges for flying flag with swastikas, Star of David over campus building

(New York Jewish Week) — A New York University student is facing hate crime charges for allegedly raising a flag depicting a Star of David, two swastikas and the letters “NYU” over a university building during commencement last month.

Alexander Stepnowsky, 23, of Fairfield, Connecticut, was arrested Tuesday afternoon on the Lower East Side of Manhattan and charged with one count of hate crime burglary, two counts of aggravated harassment and one count of criminal trespassing in a hate crime, according to the New York City Police Department.

An NYU spokesperson said Stepnowsky would also face discipline from the university.

“The symbols that were represented are antisemitic and hateful to every person of conscience; this appalling act violated our sense of community and solidarity,” said the spokesperson, Wiley Norvell. “In addition to criminal proceedings, we will immediately pursue our disciplinary procedures, which carry the most severe consequences.”

The arrest comes as NYU has faced heightened scrutiny over antisemitism and anti-Israel rhetoric on its campus in recent years. In 2024, the school revised its hate speech policy to define slurs against “Zionists” as potentially in violation of its harassment code. During this year’s commencement, the school withheld the diploma of student who used his address to accuse Israel of genocide.

The flag depicting the swastikas flew briefly over the roof of New York University’s Steinhardt building, named for the major Jewish philanthropists Michael and Judy Steinhardt, during the school’s commencement on May 13.

Michael Steinhardt is a co-founder of Birthright, the organization that underwrites free trips to Israel for young Jewish adults.

Stepnowsky pleaded not guilty at his arraignment Wednesday and was released without bail, according to CBS News.

The office of Stepnowsky’s lawyer, Vickie Mwitanti, declined to comment.

The post NYU student draws hate crime charges for flying flag with swastikas, Star of David over campus building appeared first on The Forward.

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Research studies in Yiddish by noted historians, now in English

מיט װאָס זײַנען די היסטאָרישע פֿאָרשונגען אױף ייִדיש אַנדערש פֿון די, װאָס זײַנען אָנגעשריבן געװאָרן אױף אַנדערע שפּראַכן? ווי עס שרײַבט ד״ר מאַרק סמיט, דער רעדאַקטאָר פֿון דער אַנטאָלאָגיע „דאָס בּױען און טרייסטן אַ פֿאָלק: ייִדיש־שפּראַכיקע היסטאָריקער אין זײערע אײגענע װערטער“, איז דער פֿאָקוס פֿון די ייִדיש־שפּראַכיקע פֿאָרשונגען געװען אױף די אינערלעכע זײַטן פֿונעם ייִדישן לעבן.

דערצו נאָך, שרײַבט סמיט, איז זײער קוק אױף דער ייִדישער געשיכטע כּסדר געווען פּאָזיטיװ, „להיפּוך צו די אַנדערע היסטאָריקער, ייִדן און ניט־ייִדן, װאָס האָבן אין זײערע שטודיעס באַטאָנט יסורים און רדיפֿות פֿון ייִדן“.

די אַנטאָלאָגיע נעמט אַרײַן 49 אױסצוגן פֿון ייִדיש־שפּראַכיקע היסטאָרישע װערק. דאָס רובֿ פֿון זײ שטאַמען פֿון דער ערשטער העלפֿט פֿונעם צװאַנציקסטן יאָרהונדערט.

די טעקסטן זײַנען צעטײלט אין זיבן טעמאַטישע אָפּטײלן, װאָס שפּיגלען אָפּ די הױפּט־ריכטונגען פֿון פֿאָרשונגען: ייִדישע קהילה־אױטאָנאָמיע; קולטור, עקאָנאָמיק און געזעלשאַפֿט; באַציִונגען מיט די אַרומיקע אומות־העולם; ייִדישע ליטעראַטור; פּרעסע און קאָמוניקאַציעס; ייִדישע דערציִונג, און ביכער־רעצענזיעס.

יעדער אָפּטײל באַהאַנדלט די געהעריקע טעמע כראָנאָלאָגיש, פֿון פֿריִערע צײַטן ביזן חורבן. אַזױ באַקומט דער לײענער אַ ברײטן באַגריף פֿון דער היסטאָרישער אַנטװיקלונג פֿון יענעם אַסקעפּט פֿונעם ייִדישן לעבן.

דער ענין פֿון דער ייִדישער אױטאָנאָמיע האָט לעצטנס אַרויסגערופֿן אַ נײַעם אינטערעס מצד די קעגנערס פֿון מדינת־ישׂראל און איר פּאָליטיק. אַ סימן איז דער גרױסער דערפֿאָלג פֿון מאָלי קראַבעפּלס בוך װעגן דעם בונד, װאָס טענהט, אַז די פּראָגראַם פֿון דער נאַציאָנאַל־קולטורעלער אױטאָנאָמיע איז געװען בילכער פֿונעם ציוניסטישן פּראָיעקט פֿון ייִדישער מלוכישקײט.

דער גײַסטיקער פֿאָטער פֿון דער פּאָליטישער פּראָגראַם פֿון ייִדישער נאַציאָנאַל־קולטורעלער אױטאָנאָמיע אין גלות איז געװען דער היסטאָריקער שמעון דובנאָװ, וואָס איז, אַגבֿ, ניט געווען קײן בונדיסט, נאָר אַן אָנפֿירער פֿון דער ליבעראַל־דעמאָקראַטישער פֿאָלקספּאַרטײ.

די אַנטאָלאָגיע עפֿנט זיך מיט פֿראַגמענטן פֿון זײַן איבערזיכט „אױטאָנאָמיע אין דער ייִדישער געשיכטע“ אינעם ערשטן באַנד פֿון דער „אַלגעמײנער ענציקלאָפּעדיע“, װאָס איז אַרױס אין פּאַריז אין 1934.

װי אַ היסטאָריקער, האָט דובנאָװ געװאָלט אײַנװאָרצלען ייִדישע פּאָליטיק אינעם ייִדישן עבֿר. ער האָט געפֿונען אַ היסטאָרישן מוסטער פֿאַר דער מאָדערנער ייִדישער אױטאָנאָמיע אינעם „װעד ארבע אַרצות“ (ראַט פֿון די פֿיר לענדער), דעם הױפּט־אָרגאַן פֿונעם פּױלישן ייִדנטום אינעם 17טן און 18טן יאָרהונדערט.

אָבער װי עס האָבן דערװיזן אַנדערע היסטאָריקער, אַזעלכע װי ישׂראל סאָסיס, רפֿאל מאַלער און יצחק (איגנאַצי) שיפּער, האָט דובנאָװ שטאַרק אידעאַליזירט די ראָלע פֿונעם װעד.

דער װעד איז, דער עיקר, געװען פֿאַרטאָן אין זאַמלען געלט פֿון ייִדישע קהילות אױף צו שטיצן די אײגענע פֿירערשאַפֿט און צעטײלן כאַבאַר צו פּױלישע מאַגנאַטן. בלױז אַ פּאָר פּראָצענט פֿונעם בודזשעט האָט דער װעד אױסגעגעבן אױף די נױטן פֿונעם כּלל.

צום סוף האָט דער װעד ן באַנקראָטירט צוליב די ריזיקע חובֿות צו קאַטױלישע קלױסטערס. אין 1764 האָט דער פּױלישער סײם (פּאַרלאַמענט) ליקװידירט דעם װעד און באַשלאָסן צו זאַמלען שטײַערן פֿון ייִדן אױפֿן מאָדערנעם שטײגער, פֿון יחידים אַנשטאָט קהילות.

דער ערשטער טײל פֿון בוך ענדיקט זיך מיטן קאַפּיטל, ייִדישע ׳אױטאָנאָמיע׳: די יודענראַטן אונטער דער נאַציסטישער אָקופּאַציע“. דאָס איז אַ קאָמפּילאַציע פֿון דרײַ אַרטיקלען פֿון ישעיהו טרונק, װאָס אַנטפּלעקט װי זײַן נעגאַטיװע אָפּשאַצונג פֿון יודענראַטן איז געװאָרן מילדער מיט דער צײַט. ער האָט דערזען אַז אײניקע אָנפֿירער פֿון יודענראַטן האָבן טאַקע געפּרוּװט העלפֿן ייִדן אין די געטאָס.

גענומען אין אײנעם, װײַזן די דאָזיקע קאַפּילטען, אַז ייִדן האָבן קײן מאָל ניט געהאַט קײן פֿולע פּאָליטישע אױטאָנאָמיע. די חױפּט־פֿונקציע פֿון דער ייִדישער קהילה־אױטאָנאָמיע איז געװען אונטערצושטיצן באַציִונגען מיט דער הערשנדיקער מאַכט.

דאָס רובֿ אױסגעקליבענע טעקסטן באַהאַנדלען טעמעס, װאָס האָבן צו טאָן מיטן ייִדישן כּלל אָבער ניט מיט חשובֿע יחידים. און װען עס גײט די רײד טאַקע יאָ װעגן יחידים, זײַנען דאָס כּסדר געװען כּלל־טוער. למשל פֿיליפּ פֿרידמאַנס אַרטיקל דערצײלט װעגן דעם גאַליציאַנער משׂכּיל יוסף פּערל (1773־1839), דעם גרינדער פֿון דער ערשטער מאָדערנער ייִדישער שול אין טאַרנעפּל (הײַנט אין אוקראַיִנע) אין 1813.

עס פֿעלן דאָ אָבער װיכטיקע היסטאָריש־ביאָגראַפֿישע פֿאָרשונגען װעגן אײנצלנע ייִדישע שרײַבער, דיכטער, אַקטיאָרן און קינסטלער. דער דאָזיקער בלױז שפּיגלט אָפּ דעם רעדאַקטאָרס קוק אױף ייִדן אין מיזרח־אײראָפּע װי אַ „נאַציאָנאַלער גרופּע, װאָס װערט באַשטימט דורך דער בשותּפֿותדיקער געשיכטע און קולטור“. אַזױ באַקומט זיך, אַז די היסטאָרישע ראָלע פֿון אַ יחיד, אַפֿילו אַזאַ גאון װי מענדעלע מוכר־ספֿרים, איז ניט זוכה אַ ספּעציעלן קאַפּיטל.

די צװײ צענטערס פֿון ייִדישער היסטאָרישער פֿאָרשונג צװישן די בײדע װעלט־מלחמות זײַנען געװען אין פּױלן און אין סאָװעטן־פֿאַרבאַנד. אין די 1920ער יאָרן האָבן בײדע צענטערס נאָך געקענט אונטערהאַלטן קאָנטאַקטן. אין די 1930ער יאָרן איז דער אידעאָלאָגישער און פּאָליטישער דרוק מצד דער קאָמוניסטישער פּאַרטײ אין סאָװעטן־פֿאַרבאַנד געװאָרן אַ סך האַרבער, און מען האָט שױן מער ניט געקענט שאַפֿן װערטפֿולע און אָריגינעלע היסטאָרישע װערק. אַזױ איז געװען דער גורל פֿון סאָסיס, װעלכער איז אַרױסגעטריבן געװאָרן פֿון דער קאָמוניסטישער פּאַרטײ אין 1931 און האָט פֿאַרלױרן זײַן שטעלע אין דער װיסנשאַפֿט־אַקאַדעמיע פֿון בעלאַרוס.

אין פּױלן, להיפּוך, איז אױפֿגעקומען אַ נײַער דור ייִדישע היסטאָריקער, אַזעלכע װי רפֿאל מאַלער, עמנואל רינגלבלום און פֿיליפּ פֿרידמאַן, װאָס האָבן שטודירט געשיכטע אין פּױלישע אוניװערסיטעטן און האָבן געקענט דרוקן זײערע װערק אין אַקאַדעמישע זשורנאַלן אױף ייִדיש און פּױליש.

אינעם װאַרשעװער געטאָ האָט רינגלבלום אָרגאַניזירט דעם היסטאָרישן אַרכיװ „עונג־שבת“, װאָס האָט געזאַמלט מאַטעריאַלן װעגן דעם לעבן און טױט אינעם געטאָ. ער און כּמעט אַלע מיטאַרבעטער זײַנע זײַנען אומגעקומען אינעם חורבן.

די, װאָס האָבן איבערגעלעבט דעם חורבן – מאַלער, פֿרידמאַן, טרונק און אַנדערע — האָבן ממשיך געװען זײער אַרבעט, לכתּחילה אין פּױלן און שפּעטער אין אַמעריקע אָדער ישׂראל. דאָרט האָבן זײ געאַרבעט דער עיקר אין ייִװאָ און יד־ושם, און זײער פֿאָרשערישע טעמע איז געװאָרן דער חורבן.

 מאַרק סמיט האָט אָנגעהױבן זאַמלען מאַטעריאַלן פֿאַר דער אַנטאָלאָגיע מיט צװאַנציק יאָר צוריק. די ייִדישע אָריגינאַלן פֿון װערטפֿולע היסטאָרישע װערק זײַנען צעזײט און צעשפּרײט איבער אַלטע צײַטשריפֿטן, װאָס לרובֿ זײַנען זײ ניט צוטריטלעך עלעקטראָניש. די אַנטאָלאָגיע אַנטפּלעקט די דאָזיקע רײַכע ירושה פֿאַרן ברײטערן עולם לײענער, און זי װעט זײַן ספּעציעל ניצלעך פֿאַר לערער און סטודענטן פֿון ייִדישער געשיכטע.

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In the course of his 104 years, he resisted the Nazis, fought against blood libel and became a towering Jewish intellectual

Today, in a public ceremony held at Les Invalides, President Emmanuel Morin led the French Fifth Republic in paying its last respects to one of the nation’s great public figures, Edgar Morin, whose 104 years spanned the Third and Fourth Republics as well. He was a sociologist, philosopher, writer, film director and screenwriter. But Morin’s real profession was as an intellectual.

There is a vast literature on the character and career of the French intellectual — much of it written by intellectuals — just as there is much disagreement on when this social type first appeared. Some historians reach back as far as the Enlightenment and the role played by les philosophes like Voltaire in their struggle for political liberty and religious toleration, while other historians argue that the modern intellectual burst onto the scene more than a century later with the Dreyfus Affair.

It was at that pivotal moment in late 19th century France that the word “intellectuel” gained currency. Used as a term of scorn by antisemites like Maurice Barrès, they believed Captain Alfred Dreyfus was guilty of treason precisely because he was Jewish. As for those “intellectuals” who defended Dreyfus, Barrès dismissed them as “aristocrats of thought who boasted they did not think like the vile crowd.” Yet those same intellectuals, led by the novelist Émile Zola, gladly embraced the description. Convinced that objective reason and truth made Dreyfus’ innocence clear, they believed, as Zola famously declared, that “truth is on the march.”

But, as Morin always insisted, truth is complex. So, too, was his career, which in many ways reflects the origin story of the French intellectual. Born as Edgar Nahoum in Paris in 1921, his parents were Jewish immigrants from Salonica, a city that had been home to Greece’s largest Jewish community until World War II. (Nearly 90% of the community, some 54,000 men, women, and children were eventually murdered in Nazi death camps.) A precocious student, Nahoum spent his days in libraries studying German philosophers like Hegel and his nights in cinemas studying French films directed by the likes of Marcel Pagnol.

Yet everything changed, including his name, come France’s defeat and occupation by Nazi Germany in 1940. Making his way to the Unoccupied Zone, the 20-year-old Nahoum, who had been a pacifist before the war, soon joined both the banned Communist Party and the French Resistance. By 1944 and liberation, Nahoum had not only become a lieutenant in the Free French Forces, but due to a typo that turned his combat pseudonym “Manin” into “Morin,” the young man was renamed. In fact, he was remade. “What would we have been without the Resistance?” Morin later wondered. “It was thanks to the Resistance that we were given a life.”

And what a life it turned out to be. In 1951, the rebellious Morin, who was outraged by the Soviet show trials, was invited to leave the French Communist Party. At the same time, though he did not have a graduate degree, Morin was nevertheless invited — thanks to the recommendations of the philosophers Vladimir Jankéklévitch and Maurice Merleau-Ponty — to join the prestigious National Center for Scientific Research in Paris in 1950. It was there that he launched a career that fused his academic interests as a sociologist with journalism.

For the next three quarters of a century, Morin seemed to be everywhere all at once. (When I lived in France, I had the impression that, whether on the shelves of bookstores, pages of newspapers, or sets of television shows, I was always bumping into him.)  When he was not being interviewed in documentaries, he was making them; when not publishing one of his more than 40 books, he was reviewing books written by others; when seismic events occurred, he was there before anyone else — and got a book out faster. And the books, the work of an intellectuel engagé, were often themselves events that left their mark on Morin’s contemporary audience and future scholars.

One of the most notable of these is La Rumeur d’Orléans, or Rumor in Orléans. In May, 1969 — just one year after the student rebellions that had swept across France (and about which Morin had already published a book) — a rumor started to sweep across the small city of Orléans, famous for being defended against the English by Joan of Arc in the 15th century. The rumor that took flight in Orléans in 1969 — a variation of the blood libel against Jews — was as old as Joan’s achievement. In the dressing rooms of several local clothing stores, so the rumor went, young women were being drugged and sex trafficked. Moreover, the owners of all these stores were, of course, Israëlites (the frequent moniker for French Jews since the 19th century.)

That there was not a single reported case of a missing, much less abducted, woman had little effect on the crowds that gathered outside these stores. As the crowds grew, along with the fear of the store owners and their staffs, the news media picked up on the event. Politicians and pundits expressed outrage and confusion over the rumor — how could this be possible just a quarter-century after Auschwitz, they asked — and the police began to investigate. They could not find a single culprit.

Within weeks of the news reaching Paris, Morin had collected a half-dozen colleagues and set up shop in Orléans to make sense of the rumor. The team, who described their work as la sociologie événementielle, or “event-based sociology,” interviewed locals, met with officials, and rifled through archival documents. Their conclusion reflected a truth dear to Morin: the complexity of any single event. By complexity, Morin did not mean “complicated,” a word we often use when we refuse to engage a subject. Instead, a complex event spans not only the many factors that made this event possible, but also encompasses the way in which our own theories and thoughts alter our understanding of the event. This complex event, Morin concluded, was partly the work of rapid modernization and the great changes it wrought: urbanization, consumerism, and sexual rebellion. It was as if, one historian remarked, “miniskirts were taking people back to the Middle Ages,” and back to the Jew as the traditional scapegoat for these vast social and economic disruptions.

But only partly. The man who described himself as “Judeo-Gentile” always insisted that events often take not just ordinary folk, but also specialists by surprise. Just as no one predicted France’s defeat in 1940, Morin never thought he had the courage to become a resistance fighter. Yet he did. This is a lesson in humility, of course, but also a lesson in humanity. “Let us make our way in uncertainty,” Morin always insisted, “but also in fraternity.” If only we could make this motto our own.

 

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