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I’m a Jewish historian; my grandparents ran a deli. Maybe we’re in the same business.
(JTA) — Like so many other American Jews from the New York area, I have been eagerly awaiting “I’ll Have What She’s Having,” the new exhibit on the American Jewish deli now on view at the New-York Historical Society. After all, the deli was our family business.
I grew up on Long Island during the baby boom era, when large groups of Jews moved to the suburbs. New synagogues opened in almost every town, and Jewish bakeries, shops and schools proliferated around them.
My family had its pick of half a dozen kosher delis within 20 minutes of our home. We tried them all but came to especially enjoy Brodie’s Kosher Delicatessen, in the Mitchel Manor Shopping Plaza in East Meadow. Like Brodie’s, most of these delis were modest storefronts, with little ambience and a straightforward menu of traditional Eastern European Jewish food and deli meats. Nothing fancy, but it was kosher and delicious and enjoyed by the whole family.
Eating in any of these delis carried special meaning for us because the experience served as a connection to our extended family, who had a long and rich history in the delicatessen world.
After immigrating from Eastern Europe, my grandfather and his brother established themselves in the food business, eventually starting a kosher catering company. In order to continue supporting their growing families, my great-uncle Abe kept the catering business, and in 1929 my grandfather Morris opened Rubin’s Delicatessen. Located in Brookline, Massachusetts, a suburb of Boston, its first location boasted only five tables.
The deli truly was a family business. My grandmother kept the books, my grandfather’s sister Bessie ran the kitchen and my grandfather worked at the deli counter. Bessie made all the home-cooked food, including an unforgettable hearty vegetable soup, meat knishes, russel (fleishig, or meat-based, beet soup), pot roast, roast chicken, eingemacht (a kind of beet candy preserves), taiglach (a dough and honey sweet dessert for Rosh Hashanah), jelly roll and mandlen (soup nuts). During busy times, such as before Passover and Rosh Hashanah, my grandmother and other great aunts came in and worked together to bake 4-pound sponge cakes.
The clientele of Rubin’s was something of a “Who’s Who” of Boston Jewry. As in Jewish delis around the country, businesspeople conducted informal meetings there, rabbis stopped in for lunch during their busy days and customers stopped by to pick up essential provisions or to enjoy a quick bite.
As the years passed and my grandparents got older, discussions about the future of Rubin’s began. Instead of taking over the family business, my father and his brothers pursued career paths outside of the deli, becoming religious leaders and Jewish professionals. My grandparents were proud that their children had pursued white-collar professions. And, in many ways, those children carried on a family business: The spiritual sustenance they provided as rabbis and social workers was an extension of the physical sustenance the deli provided through chicken soup and pastrami sandwiches.
This sense of providing intellectual, emotional and religious nourishment to the Jewish people has continued in various forms through several generations of my family, including my own choices as a Jewish historian, educator and institution builder.
Rabbi Moshe Schwartz, the author’s son, in front of a sign for the deli founded by his great-grandfather in Brookline, Mass., which by the time it closed in 2016 was located down the street from its original location. (Courtesy of Shuly Rubin Schwartz)
When it finally came time for my grandfather to hang up his apron in June 1974, he had one stipulation when selling the business to his great-nephew: “the Seller has for many years conducted the aforesaid business as a kosher delicatessen and restaurant under the supervision of the Vaad of the Associated Synagogues and wishes to maintain the kosher status of said business so long as the business is conducted under the name of ‘Rubin’ on said premises or on any other premises to which it may be moved.”
After all those years, his final wish was to keep the “kosher” in his “kosher deli.”
Rubin’s changed hands a few more times but eventually closed its doors in the summer of 2016, a milestone noted in Boston Magazine.
For many of us, my family especially, the kosher deli experience wasn’t just about the food (although the food of course was delicious and satisfying). Visiting and eating at a Jewish deli became a safe space, a deep link to previous generations, a fun way to comply with Jewish dietary laws, and a place to feel both Jewish and American. Deli meals didn’t simply provide nourishment, they provided comfort — true comfort food — and a way to connect to some of our Jewish traditions.
“’I’ll Have What She’s Having’: The Jewish Deli” tells the story of how Jewish immigrants like my grandparents helped create a new type of American restaurant and an important piece of American food culture. Reflecting on the many stories I heard about the business growing up, the too-numerous-to-count meals I ate when visiting my grandparents, and the memories of family, Jewish culture and delicious food, I know my visit to the New-York Historical Society will be both emotional and stimulating.
And I think I know what I’ll have for lunch after my visit.
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Senate rejects effort to rein in Trump’s power to fight Iran alongside Israel
(JTA) — The Senate late Wednesday rejected a measure that would have required President Donald Trump to get congressional approval to continue fighting against Iran.
The measure was initiated by Democrats, who have raised questions about the process by which Trump initiated the war alongside Israel on Saturday. The War Powers Act requires U.S. presidents to seek congressional approval for wars in advance or shortly after their start unless there is an imminent threat to the United States. Trump and his administration officials have given mixed signals about whether a threat was considered direct and imminent.
The vote took place along largely partisan lines, with two exceptions. Rand Paul, the Republican from Kentucky, who tends to oppose international intervention, backed the measure. John Fetterman, the pro-Israel Democrat from Pennsylvania, voted no.
The House is expected to vote on a similar measure today. The House also has a slim Republican majority.
The votes come as multiple polls have shown that a majority of Americans, about 60%, oppose U.S. participation in the war.
The post Senate rejects effort to rein in Trump’s power to fight Iran alongside Israel appeared first on The Forward.
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Erich Wolfgang Korngold’s Broadway opus debuts in the U.S. — nearly 80 years late
In 1954, the Oscar-winning composer Erich Wolfgang Korngold staged a European homecoming with a new operetta. How this came to pass — and how his planned comeback failed to materialize — is even more convoluted than the piece’s farcical plot.
Korngold, a wunderkind and Jewish refugee from Vienna, first came to Hollywood to adapt Felix Mendelssohn’s music for Max Reinhardt’s 1935 film of A Midsummer Night’s Dream. Until then Korngold, a piano prodigy who began writing music at age 7 and had his first hit with a ballet he wrote at 11, had mostly composed for concert halls and opera houses. His ensuing career in Hollywood transformed film music by treating motion pictures as if they were “operas without singing.”
Korngold’s work on the swashbuckler Captain Blood, The Adventures of Robin Hood and later King’s Row (whose fanfare John Williams lifted for Star Wars) created a template for symphonic scores. But by the late 1940s, chafing under the Hollywood system, he set to work writing an original operetta, The Silent Serenade, that he hoped would premiere on Broadway.
The show collapsed. It’s never had a full staging in the United States or even in English.
As chronicled by the Korngold Society, the composer went through a litany of librettists to refine this tale of a love triangle and its improbable political fallout. After passing through a number of hands in English, Korngold returned it to Raoul Auernheimer, Theodor Herzl’s nephew and the original writer of the story on which the operetta was based, to translate it back to German. Korngold disagreed with the excessive demands of the producers, the Schubert Brothers, and left the project, leading the Broadway impresarios to fruitlessly search for a new composer.
Korngold, who with Reinhardt had previous success on Broadway with arrangements of other composers’ work, decided to resume a career in Europe with the piece. After delays owing to his health — a 1947 heart attack — a German version debuted on radio in 1951 and was followed by a staging in Dortmund in 1954. It bombed.
“We’re not exactly sure who it was for,” said Cris Frisco, music director at the Mannes School of Music at the New School, who is conducting the U.S. debut of The Silent Serenade at Mannes Opera. “It seems like it was given to the wrong public.”
That Germans in the post-war weren’t attuned to the piece’s sensibilities speaks poignantly to Korngold’s journey, which began at the center of Austrian high culture, orbiting names like Mahler and Artur Schnabel. “We thought of ourselves as Viennese,”said Korngold, the son of a music critic father. “Hitler made us Jewish.”
His exile in Hollywood realigned his sonic universe. As much as he changed film music, it — and America — left an impression on him.
“It is obviously influenced by Hollywood. It’s obviously coming out of those ’30s and ’40s musicals,” said director Emma Griffin, Mannes Opera’s managing artistic director. “It is a piece that is living between film and theater and opera and musical theater and operetta. It’s so emblematic of Korngold’s life, of how many different pieces of the 20th century he influenced, and this particular show is a crazy quilt of all of those influences.”
The plot of the show is, in Griffin’s words “daffy,” focusing on a Neapolitan actress, her would-be dress designer lover and her fiancé, the prime minister. Singing shopgirls, a tabloid journalist and a media circus round out the cast who perform tuneful numbers imbued with an MGM je ne sais quoi, while remaining rooted in Korngold’s post-romantic, classical mode. While Korngold’s symphonic stylings beefed up adventure films, the orchestration here is sparer, hinting at the Broadway pit for which the piece was devised.
The Mannes staging is part of a resurgence of interest in Korngold in the classical world, following decades of dismissal for his contributions to Hollywood.
It’s ironic that Korngold, who died at the age of 60 in 1957, had in Silent Serenade a profound professional frustration, given how buoyant and frothy the work is.
“It’s heartbreaking to think that he did not fully perceive the massive impact of his artistry,” said Griffin. Though he lived through hard times, Griffin says, his music has been a balm for the performers.
“The students have talked about it several times,” Griffin said, “how happy they are to be working on something where the source is joy.”
Mannes Opera’s production of The Silent Serenade debuts March 13 and 14 with an on-demand recording to follow. Tickets and information can be found here.
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Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps
(JTA) — TEL AVIV — Smartphones have become as essential as shelters for Israelis riding out Iran’s missile attacks, with internet traffic up 25% since the war began on Saturday. From the screaming alerts of the military’s official app that, as one comedian put it, sound like a “baby dragon giving birth,” to bomb-shelter Tinder to multiple apps that tell you when it’s safe to shower, the startup nation is trying to digitize the panic into something more manageable.
At the serious end of the wartime app stack is Home Front Command, the Israeli army’s app available in Hebrew, Arabic, Russian and English. It uses GPS to figure out where you are and only pings you when your area is at risk, with separate alerts for rockets, missiles and terror incidents. In this war, Iran’s long-range fire has come with an extra layer of notice, a warning-before-the-warning that can buy people a few more minutes. The shorter-range threats from Hezbollah, which joined the fray on Tuesday, do not come with that same courtesy.
Bomb Shelter Locator turns shelter-seeking into a map exercise, listing around 20,000 official sites, offering offline city maps and walking routes, and estimating the time it will take to reach the nearest protected space.
For anyone who cannot sprint, Purple Vest tries to close the gap. People with disabilities or older residents can register in advance and request help during alerts, with volunteers using the app to locate them and assist with shelter access or urgent supplies.
For others, shelters are turning into accidental social spaces where people can meet-cute on a mattress. The Hooked app, originally built for speed-dating at events, now doubles as a bomb-shelter icebreaker. Shelter-goers post a QR code at the entrance, and singles who scan it can see who else in the same bunker has the same relationship status. US Ambassador Mike Huckabee — who has not been single since high school — shared it on X alongside the caption: “Someday they will tell their kids ‘we met on a dating app in a shelter while dodging ballastic [sic] missiles.’”
But for some, even showering has become its own risk calculation. Martine Berkowitz was one of many who vented after her attempts to scrub up were interrupted by missiles no less than five times on the second day of the war.
For software developer Ben Greenberg, a father of teenagers, Berkowitz’s complaint was familiar, so he built an app called Best Shower Time that spits out a percentage risk score on whether a shower is likely to be interrupted by an alert.
Posts about it spread on social media and what began as a tool for his family is now drawing about 5,000 visitors a day. Greenberg, a California native who immigrated to Israel from New York in 2018, insists it’s “not a joke app.”
“Sirens are just the ultimate example of lack of control in one’s life,” he said, describing the app as a way to “restore some level of control and predictability … in a time when that feels most vulnerable and most taken away from us.”
The app uses real-time alert data from the Home Front Command, and the score is based on four inputs: how long it has been since the last alert, the average gap between alerts over a six-hour window, whether the frequency is trending up or down, and the total alert count over the past 24 hours. Those are weighted into a single score that appears when you open the app.
Users can then set their own parameters, including how long a shower typically takes and how much buffer time they want afterward to dry off and reach shelter.
And for those who have a penchant for extended bathroom breaks, Greenberg added a separate option that relies on the same logic.
It’s not the only app homing on issues of basic cleanliness to emerge this week. Another app, Can I Shower Now?, has developed a following of its own.
Berkowitz said she was “grateful” for apps to help her navigate the question of whether to jump in the shower. After checking and seeing a 13% chance of a missile alert on Wednesday afternoon, she decided to risk it.
“I took a full 20-minute hot shower and washed my hair. It was lovely. And the next warning only came when I was finished and getting dressed,” she said.
Greenberg is piloting a new app, called Best Walking Time, based on the same principle and prompted by his wife, who regularly walks around the neighborhood during work calls but has been afraid to stray from home lest a missile head their way.
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