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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.
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Yiddishkayt LA and New Lehrhaus merge — but is this good for Yiddish?
For most Jewish institutions, “partnership” might mean a shared event or a guest lecture. But for Yiddishkayt LA and the Bay Area’s New Lehrhaus — two organizations separated by 370 miles and decades of distinct histories — this merger represents something far bolder. They are fusing identities, communities and visions of what West Coast Jewish culture can become.
Rob Adler Peckerar, formerly a key figure at Yiddishkayt LA, has now been appointed director of New Lehrhaus. In an interview he said that the merger strengthens both institutions rather than diluting either one.
Aaron Paley, the founder of Yiddishkayt LA, agrees. “We’re not amplifying one approach at the expense of the other; we’re amplifying both,” he said, adding that he first encountered the Lehrhaus tradition as a UC Berkeley student in the 1970s. The merger, he added, “immediately felt like a homecoming.”
Officially launched November 1, the merger wasn’t born of crisis. It grew from two organizations with parallel instincts: Yiddishkayt LA’s eclectic cultural programming and New Lehrhaus’s commitment to text, dialogue, and community learning.
A celebration — but not without concerns
But some Yiddish fans are concerned about the merger. “We’re 114 neighborhoods in a trench coat pretending to be a cohesive city,” said Aaron Castillo-White, director of the Yiddish culture organization Kultur Mercado and a former member of the Forward’s development staff.
“Yiddishkayt LA was one of the few forces stitching its Yiddish community together.” Now that it will no longer be a separate institution, he’s worried that the “already fragile cohesion” might suffer even more.
The question is: If Yiddishkayt LA becomes absorbed into New Lehrhaus’s broader educational framework, what will happen to LA’s uniquely local Yiddish culture — the concerts, neighborhood pop-ups, cross-art collaborations, and street-level programming? They may not easily transplant into a text-centered institution.
But Adler Peckerar isn’t worried, noting that, in recent years, newer groups like Der Nister and Kultur Mercado have already begun organizing on-the-ground Yiddish programming. Yiddishkayt LA, on the other hand, had moved away from local, place-based events toward livestreamed programs, online archives, virtual learning and broader national audiences who would never attend in-person Los Angeles events.
To understand the stakes, it’s important to understand who these two merging organizations are.
Two genealogies, one experiment
Yiddishkayt LA, founded by Paley in the 1990s, helped define a distinct West Coast model of Yiddish culture: contemporary, experimental and rooted in doikayt — “being present” in one’s milieu. Its Helix Fellowship shaped young artists who saw Jewish culture not as nostalgia, but as creative raw material.
New Lehrhaus, launched in 2021 by Rachel and David Biale, has different roots: In the early 20th century, the Jewish philosopher Franz Rosenzweig founded an informal educational institution in Frankfurt, Germany, called Lehrhaus, that brought assimilated German Jews into engaging Judaic study without demanding any background knowledge or religious observance.
In the new incarnation, based in the Bay Area, the New Lehrhaus became a home for Jews seeking text and dialogue across denominations and backgrounds.
Last year, after Rachel Biale stepped down as director of the New Lehrhaus, the incoming director, Adler Peckerar, saw the joining of forces as a natural evolution. “Merging two strong organizations isn’t about defeat or one absorbing the other,” he said. “It’s strategic thinking about how to build something that can weather today’s volatile nonprofit landscape.”
But that innovation also sharpens Castillo-White’s concern: What disappears when two distinct ecosystems become one?
Diverging visions of the merger’s impact
Castillo-White described Yiddishkayt as “one of the only cultural bridges” in Los Angeles. He worries that a merger, even one made in good faith, could dilute that hyper-local energy.
Adler Peckerar disagrees. Unlike Castillo-White, he argued the merger will expand — not shrink — opportunities for Yiddish. “We’re broadening the ecosystem,” he said.
Biale framed the merger around a larger question facing Jewish institutions: How do they stay relevant without losing depth? She believes that the merger could bring Yiddishkayt LA fans into a much larger orbit of learning, featuring sessions with scholars like the University of Toronto professor Naomi Seidman who writes about the relationship between Judaism, literature, gender studies, translation studies and sexuality.
The new organization plans to dive into an eclectic range of fields in contemporary culture — physics, poetry, Leonard Cohen — as a doorway into Jewish texts. Adler Peckerar believes this approach could make Jewish learning feel relevant for Jews who may otherwise have little or no connection to Jewish learning.
They’re also planning intimate reading circles on radical Jewish thinkers such as Isaac Deutscher, Rosa Luxemburg and Gustav Landauer; classes on endangered Jewish languages and Hasidic history and experimental Yiddish theater and new one-act plays.
What remains to be seen is how the new Lehrhaus-Yiddishkayt will balance its broadened reach with the local energies that shaped each institution. Many in the community will be watching to see which parts of the old ecosystems endure, and what new forms of Yiddish culture might emerge.
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At long last, a TV show captures the experience of multi-racial Jewish families like mine
The new CBS television series Boston Blue has achieved what I long thought impossible — something close to an accurate portrayal of a multi-racial Jewish-American family.
The show, which quietly debuted last month as a spinoff of the hit series Blue Bloods, centers around the Silver family — a clan of police officers and elected officials helping to maintain safety and order across Beantown. They include siblings Lena, who is Black, Sarah, who is white, and Jonah, who is bi-racial.
“We’re just one big happy kinda confusing family,” Lena declares in the pilot episode, as she explains that her mother married Sarah’s father — with Jonah arriving shortly thereafter. And by establishing the Silver family tree so early on, Boston Blue softens the audience up for its real wild-card: The Silvers are all loudly, proudly and unapologetically Jewish.
Their family reminds me of my own. And I think the show got just about everything about our experience right.
In the pilot episode, Detective Danny Reagan (Blue Bloods veteran Donny Wahlberg) arrives in Boston to care for his injured son — who happens to be Jonah Silver’s partner — and is invited by family matriarch, District Attorney Mae Silver, to the type of “family dinner” made famous by Reagan’s own family on Blue Bloods.
Which is how Reagan unexpectedly finds himself at a Shabbat dinner.
When Mae married Sarah’s father — District Judge Ben Silver — she and Lena converted to Judaism, Reagan learns. Jonah was raised in the faith. But Judge Silver was killed a year earlier, leaving Mae’s father, Rev. Edwin Peters, as the de-factor paterfamilias — a Black pastor at one of Boston’s oldest Black churches, kippah-clad and leading a family of Jews as they light Shabbat candles and recite traditional prayers.
It might all seem a bit far-fetched. Unless you know my own family.
We have white Jews, Black pastors, Asian uncles, Latino ex-husbands and mixed-race Jewish twins — that would be my sister and I. Separated on both coasts, it’s been awhile since we all came together for Shabbat like the Silvers. But if we did, our gathering would look a lot like theirs — minus the mansion on Beacon Hill.
This is what makes Boston Blue so refreshing and unexpected. The Silvers’ Jewishness never feels confrontational or contrived.
There are close to 1 million “Jews-of-color” in the United States today, but Boston Blue accurately understands that the family would still be an enigma to most American viewers. But rather than dwell on this potential narrative hiccup, the show’s writers cannily deployed it as a narrative device instead. These are folks who understand they must often explain their unique family dynamics, but ultimately have nothing to prove. They are both confident and casual in their faith.
As a Jew whom many other Jews often fail to recognize as one of their own, I’ve too often felt I’m not allowed to just be Jewish. So it thrills me to see the Silvers so matter-of-fact and well-adjusted in their Judaism — even if it’s only onscreen.
Two years after the Hamas attack of Oct. 7, 2023, and Israel’s subsequent war with Hamas in Gaza, I went into Boston Blue worried about how Israel, antisemitism, Zionism and anti-Zionism might unfold within the show. Owing to the burdens of identity politics and intersectionality, Jews of color are often tasked with bridge-building amid these fractious and conflicted arenas.
Would they be forced to do the same on TV?
Former Law and Order star Ari’el Stachel — whose Israeli father is of Yemenite heritage — speaks of this duty in his new one-man show Other, now playing in New York. Stachel’s parents are both Jewish. But owing to his darker skin, he possesses a fluency in the optics of ethnicity that often sees him forced to field questions about cross-cultural discourse — even when, like me, he so often wishes the askers would just leave him alone.
I think Stachel would be satisfied by Boston Blue, whose showrunners aptly decided to keep war and hate away from the Shabbat table. Rather than try to shoe-horn the current political climate into the narrative, they avoided it all together. I, for one, was relieved: it’s a gift to see a family like mine onscreen, just being together, without being forced to try and solve all our myriad cultural problems at the same time.
I’ve always been leery of the entire concept of “Jews of color”; I worry it can impede us from understanding that all Jews are equally Jewish. So I was nervous heading into Boston Blue. For so long, so many in Hollywood have gotten our stories wrong at best, and been downright offensive at worst. They’ve tokenized and politicized and fetishized our experiences, while failing to actually humanize families like the Silvers and my own. But Boston Blue got it right — and it’s a step, long overdue, in the right direction.
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Mamdani: Israel immigration event at NY synagogue misused ‘sacred space’
(JTA) — Mayor-elect Zohran Mamdani’s team has responded to a protest targeting an event promoting migration to Israel at an Upper East Side synagogue on Wednesday night, suggesting that the event was an inappropriate use of a “sacred space.”
The protest was organized by a group called Palestinian Assembly for Liberation has drawn allegations of antisemitism from Jewish leaders in the city. During it, participants shouted phrases including “globalize the intifada” and “death to the IDF” as well as insults toward pro-Israel counter-protesters like “f—king Jewish pricks,” according to reports from the scene. Police separated the protesters and counter-protesters but did not halt the demonstration.
“The Mayor-elect has discouraged the language used at last night’s protest and will continue to do so,” Mamdani’s press secretary, Dora Pekec, said in a statement Thursday afternoon.
She went on, “He believes every New Yorker should be free to enter a house of worship without intimidation, and that these sacred spaces should not be used to promote activities in violation of international law.”
Pekec did not offer further comments about whether or why Mamdani believed the event at Park East Synagogue, a prominent Orthodox congregation, violated international law.
The event was organized by Nefesh B’Nefesh, the nonprofit that facilitates immigration to Israel for North American Jews. The organization bills its open house events as a chance to “get your questions answered, learn about the process, and discover what life in Israel could look like for you and your family.”
The group is considered a semi-governmental agency in Israel, receiving funding from the Israeli government and works closely with its ministries. It does not assign immigrants to particular communities, but has showcased West Bank settlements — which most of the world, though not Israel or the United States, considers illegal under international law — in events and on its website as possible destinations for new immigrants. (Previous protests in New York and beyond have targeted events at synagogues advertising real estate for sale in the West Bank.)
The organizing group suggested that all of the Jews who have moved to Israel with Nefesh B’Nefesh’s support are “settlers,” a term that some pro-Palestinian activists apply to all Israelis, not just those living in the West Bank.
“Nefesh b Nefesh is an affiliate of the Israeli government and the Jewish Agency for Israel, mainly responsible for the recruitment of settlers to Palestine from North America. Since 2003, they have recruited over 80,000 settlers of which over 13,000 served in the IOF,” Palestinian Assembly for Liberation said in an Instagram post advertising its demonstration, using an acronym by which anti-Israel activists refer to the Israeli army as the “Israel Occupation Forces.” It also called El Al “Genocide Settler Airlines.”
The demonstration is providing an early window into how Mamdani’s long- and deeply held pro-Palestinian views might influence his leadership of the city.
As a state Assemblyman, he sponsored legislation aimed at blocking nonprofits from funding Israeli settlements in the West Bank that some, including critics of the settlement movement, decried as casting an overly broad net.
During the campaign, he initially declined to condemn the protest phrase “globalize the intifada,” drawing allegations of antisemitism. He later shifted to say that he would “discourage” the phrase’s use in New York City, saying that he had learned from a rabbi that many Jews interpret it as a call to violence against them.
Now, Mamdani’s response to the Park East demonstration offers a stark contrast to two robust condemnations of antisemitism he has offered up since being elected, after a swastika was painted on a Brooklyn yeshiva and after the words “F–k Jews” were painted on a Brooklyn sidewalk. Both times, he quickly offered a full-throated denunciation on social media.
This time, even as prominent Jewish voices in the city alleged antisemitism on the part of the pro-Palestinian demonstrators, Mamdani did not make a public comment himself. His office’s statement did not address allegations of antisemitism.
Mayor Eric Adams, who is in Uzbekistan after a visit to Israel this week, said in a statement that he planned to visit Park East upon his return to the city. Calling the rhetoric shouted there “desecration,” he suggested that the protest augured a grim future for the city under Mamdani.
“Today it’s a synagogue. Tomorrow it’s a church or a mosque. They come for me today and you tomorrow,” Adams tweeted. “We cannot hand this city over to radicals.”
The event came the same day that Mamdani announced that Adams’ police commissioner, Jessica Tisch, would stay on once he becomes mayor. Tisch, who is Jewish, has previously criticized the conduct of pro-Palestinian protesters in the city.
Rabbi Marc Schneier, who has been staunchly critical of Mamdani and whose father is the longtime senior rabbi at Park East Synagogue, said he was distressed by how the police allowed the confrontation to unfold.
“What I find most disturbing is that the police, who knew about this protest a day in advance, did not arrange for the protesters to be moved to either Third or Lexington Avenues,” he said. “Instead, they allowed the protesters to be right in front of the synagogue, which put members of the community at risk.”
One of the demonstrators repeatedly shouted about the Nefesh B’Nefesh event attendees, “We need to make them scared,” according to video from the scene.
“This kind of intimidation of Jewish New Yorkers is reprehensible and unacceptable,” tweeted Mark Levine, the Jewish comptroller-elect. “No house of worship, of any faith, should be subjected to this.”
Mark Treyger, CEO of the Jewish Community Relations Council of New York, decried the demonstration as “reprehensible.”
“It is not a violation of any law, international or otherwise, for Jews to gather in a synagogue or immigrate to Israel,” he said.
“Using violent rhetoric and hurling antisemitic insults in front of a crowded synagogue was a direct threat to our community’s safety,” he added. “JCRC-NY reached out to city officials and we have confidence that the NYPD will thoroughly investigate this serious matter. No one should ever have to fear entering or leaving their house of worship and that includes our Jewish neighbors. We stand with the Park East community and with all New Yorkers who reject hate.”
In a statement from a spokesperson, UJA-Federation New York said they were “outraged by the demonstration outside Park East Synagogue.”
“We’ve been in contact with our partners at the NYPD, and they are taking this matter very seriously,” the statement reads. “Calls to ‘globalize the intifada’ and ‘death to the IDF’ are not political statements—they are incitements to violence against Jewish people. Every leader must denounce this heinous language, and the choice to target a house of worship makes it especially vile.”
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