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The ‘iconic’ Jewish foods that make New York New York
(New York Jewish Week) — In 2004, June Hersh and her family sold the Bronx-based lighting business that her father founded almost 50 years earlier. Hersh, along with her mother, sister and their husbands, all worked there. The day of the sale, her sister, Andrea Greene, turned to Hersh and said: “We did well! Now, let’s do good.”
Greene, a breast cancer survivor, became a volunteer for the Israel Cancer Research Fund. Hersh, who was 48 at the time, asked herself what her “good” would be — she loved to cook, and she loved to write.
A couple of years later, she approached David Marwell, then the director of The Museum of Jewish Heritage–A Living Memorial to the Holocaust, offering to write a cookbook to benefit the museum. In it, she would tell the stories and recreate the recipes of museum members who were Holocaust survivors. The book, “Recipes Remembered, A Celebration of Survival” was published in 2011. To date, 25,000 copies of the book have been sold to benefit the museum as well as other Jewish organizations.
Since then, Hersh has written several other books with a philanthropic component, including “The Kosher Carnivore: The Ultimate Meat and Poultry Cookbook,” which benefited Mazon, a Jewish nonprofit working to combat hunger, and “Still Here: Inspiration from Survivors and Liberators of the Holocaust” with proceeds donated to Selfhelp, a social services agency aiding Holocaust survivors and the elderly in the New York metropolitan area.
This month, her fifth book, “Iconic New York Jewish Food,” was published, benefitting Met Council, a New York-based Jewish charity serving more than 315,000 needy people each year. As Met Council CEO David Greenfield writes in the book’s foreword, the organization operates “the largest emergency food system in America, focused on helping individuals and families who maintain kosher diets, as well as other religiously informed dietary practices.”
Hersh said was moved by Met Council’s inclusivity. “I don’t think Jewish organizations ever help only Jewish people,” she told the New York Jewish Week. “They always have a broad reach, and I am proud of that.”
In “Iconic New York Jewish Foods,” Hersh writes about Jewish foods that have, over time, become New York foods: bagels, egg creams, cheesecake, hot dogs and much more. The book combines humor (one chapter is titled: “Doesn’t That Look Appetizing: The Birth of a New York Phenomenon”), history (the evolution of the hot dog bun, for example) and recipes (like “Mash Up Hash Up Latkes,” potato pancakes made with corned beef and pastrami).
Hersh spoke with the New York Jewish Week about her book, what makes a Jewish food iconic, and what’s special about New York City.
This interview has been lightly edited for length and clarity.
New York Jewish Week: What inspired you to write a book about iconic New York Jewish foods?
June Hersh: In the world of food, I have two passions. One is to tell the history of food. What is its lineage? How did it come to be? Who first ate it? Why is it important? My second passion is preserving the food memory of the Jewish people. I don’t think anything binds us together like food. It is the connective thread in the Jewish story.
What makes a food Jewish?
Most Jewish food is not easy to define. For Ruth Kohn, a Jewish refugee from Germany, arroz con pollo became a Jewish food that she made in her new home in Sosua, Dominican Republic. If you are looking for Jewish food, throw a dart on a map. Wherever it lands, you will find someone making Jewish food. It might not be the Jewish food we identify with, but it is Jewish food. It is informed by something in one’s heritage and culture — where the makers of it left or where they landed.
My grandmother was from the island of Rhodes. Her family came from Spain, and she spoke Ladino. Her food was informed by the Spanish techniques of her family and the Greek influences of the country where they landed after their expulsion from Spain.
Given your Sephardic background, why is the focus of the book on Ashkenazi foods?
Ashkenazi, Eastern European food is what informed the Jewish foodways of New York. The only iconic Sephardic food [in New York] is Turkish taffy which was introduced here by Herman Herer from Austria and Albert Bonomo, from Turkey.
What makes a Jewish food iconic?
A Jewish food becomes iconic when it is prevalent on menus, and not just in Jewish restaurants. Iconic food is something that has become part of everyone’s food culture.
An example would be New York cheesecake, a food you see on mainstream menus. Cheesecake, according to Alan Rosen, a third-generation proprietor of Junior’s, a Brooklyn restaurant known for it, is one of the most ordered desserts in any restaurant anywhere. And cheesecake didn’t exist in the same form in which it exists now until you had Jewish immigrants.
People eat hot dogs on rolls all the time. You didn’t have hot dogs on rolls until you had Jewish immigrants; that was born out of ingenuity, which is part of what I admire and respect and celebrate in Jewish food.
Can you give some examples of how Jewish food is embraced in NYC at large?
One of the best New York City bagel shops, Absolute Bagels, is run by a Thai baker. One of the best examples of old-school brisket comes from David’s Brisket House, owned by non-Jewish Yemenites. The beauty of the Jewish food of New York is how it is embraced by so many cultures who then give their spin and interpretation.
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The post The ‘iconic’ Jewish foods that make New York New York appeared first on Jewish Telegraphic Agency.
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‘Growing Pogrom-Like Atmosphere’: German Antisemitism Commissioner Issues Warning After Synagogue Arson Attack
Anti-Israel protesters march in Germany, March 26, 2025. Photo: Sebastian Willnow/dpa via Reuters Connect
The commissioner to combat antisemitism in the German state of Hesse has sounded the alarm after an arson attack on a local synagogue in the town of Giessen, warning that it reflects a “growing pogrom-like atmosphere” threatening Jewish life across Germany as Jews and Israelis continue to face an increasingly hostile climate.
In an interview with the German newspaper Tagesspiegel, Uwe Becker — who has served in his role since 2019 — condemned the latest attack, saying it occurred “in a poisoned antisemitic climate that is steadily worsening.”
The horrific act occurred in a “growing pogrom-like atmosphere that, as a society in Germany and Europe, we are currently not doing enough to counter,” the German official said.
On Tuesday, a 32-year-old man was arrested after allegedly setting fire to a trash can outside a local synagogue in Giessen, west-central Germany, in an attack that damaged a roller shutter and entrance gate, though no one was harmed.
According to local reports, a Giessen district judge has ordered the suspect to be placed in a psychiatric hospital, citing signs that he may be suffering from a mental illness.
However, the suspect remains in police custody as local authorities investigate the circumstances and motive of the attack, including whether it was politically motivated.
This latest attack came just a week after Andreas Büttner, the commissioner for antisemitism in Brandenburg, northeastern Germany, was targeted for the second time in less than a week after receiving a death threat.
According to the German newspaper Potsdamer Neueste Nachrichten (PNN), the Brandenburg state parliament received a letter earlier this month threatening Büttner’s life, with the words “We will kill you” and an inverted red triangle, the symbol of support for the Islamist terrorist group Hamas.
Authorities are now probing the incident as part of an ongoing investigation into threats against the German official, after his private property in Templin — about 43 miles north of Berlin — was also targeted in an arson attack and a red Hamas triangle was spray-painted on his house.
A former police officer and member of the Left Party, Büttner took office as commissioner for antisemitism in 2024 and has faced repeated attacks since.
“The symbol sends a clear message. The red Hamas triangle is widely recognized as a sign of jihadist violence and antisemitic incitement,” Büttner said in a statement after the incident.
“Anyone who uses such a thing wants to intimidate and glorify terror. This is not a protest, it is a threat,” he continued.
Hamas uses inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. The symbol, a common staple at pro-Hamas rallies, has come to represent the Palestinian terrorist group and glorify its use of violence.
In August 2024, swastikas and other antisemitic symbols and threats were also spray-painted on Büttner’s personal car.
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How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me
My last semester of college, I had an Alvin Ailey phase.
My time in Philadelphia was rapidly coming to a close and I felt an urge to make it to as many of the performing arts venues in the city as I could (not an easy feat). With a close family friend, I attended my first Alvin Ailey performance at the Forrest Theatre. Soon after, I went to a talk at the African American Museum in Philadelphia about Ailey and the piece The River. That weekend, I also watched the 2021 documentary Ailey. Then I found myself doing a sociolinguistical analysis of Ailey’s most famous work, Revelations, for a class.
To call my interest in Ailey a phase is actually a misnomer since, two years later, I am still an Ailey fan — and now the owner of an actual Alvin Ailey-branded hand fan. Last June, I attended a performance during their run at the Brooklyn Academy of Music and fell in love with Grace, choreographed by Ronald K. Brown. I bought a ticket to see it again, along with Revelations and two shorter works, during their winter season at New York City Center.
While the end of Grace — in which a dozen dancers take a nearly 30-minute-long journey to a promised land — made me tear up, it wasn’t until Revelations that I actually began to cry. It happened during the duet “Fix Me, Jesus,” in which a female dancer searches for spiritual guidance and a male figure depicts divine support.
I was aware of the irony. As a lifelong Jew, I have never wanted Jesus to “fix” me. But the piece moved me to tears nonetheless. Within the gospel music, New Testament themes and African American cultural imagery of Revelations — composed of multiple smaller pieces — is a universal story of desire for redemption and turning to faith in times of great suffering.
The choir that accompanies the dance sings “fix me for my long white robe,” a reference to Revelation 6:11, where those that have lived their life without sin are told they will be given white robes for their ascension to Heaven. I was reminded of the kittel, a plain white robe some in the Ashkenazi tradition wear on Yom Kippur. Some rabbis have interpreted the robe to symbolize the blank slate we are creating for ourselves in the new year. Dressing plainly can also be another way of resisting earthly pleasures on the Day of Atonement. Since some people are also buried in their kittel, another interpretation is that wearing it helps one consider their death and what legacy they want to leave behind, thinking of how they may “fix” themselves to be ready for when they will be brought before G-d.
These echoes of Yom Kippur make another appearance in Ailey’s Revelations in the solo “I Wanna Be Ready.” The single dancer dressed in white alternates between contracting and expanding their body, kneeling and prostrating on the ground, as if they are repenting for something. The choir chants that they want to be ready to put on their long white robes and the lead singer explains he has avoided the temptation to sin so his soul will be ready for death.
This deviates slightly from how I think of preparing for the Day of Judgment. For me, Yom Kippur has always been about acknowledging that we will sin, that we are human, flawed, prone to jealousy and gossip and all those other things we list as we beat our chests during the confessional. In the Reconstructionist Press version of the Prayerbook for the Days of Awe, Rabbi Rami M. Shapiro writes that “we freely admit our failings” in order to “create our atonements.” In the confessional, we are instructed not to tell G-d that “we are righteous, and we have not sinned,” for “indeed we have sinned.”
I have always experienced Yom Kippur as an intense emotional journey to find within myself the ability to do better, be better, perhaps with some divine guidance. This is what I recognized in “Fix Me, Jesus,” this burning desire to exceed our own expectations.
But the yearning of Revelations is not just about individual spiritual reckoning. Throughout the work, you can feel Black Americans pushing toward freedom as they emerge from the degradation of slavery and Jim Crow.
I connect with this existential cultural aspiration to escape systemic degradation both as a Black American and as a Jewish American, descended from enslaved people on one side and pogrom survivors on the other. Although Revelations originated in a specific cultural context — born from Ailey’s experiences growing up in the Black church in 1930s Texas — its broader message about redemption feels unifying across cultural divides. I have imagined seeing Revelations with my paternal grandmother, an active and dedicated member of the Black Presbyterian church. Even if we were to appreciate the dance’s spirituality for different reasons — her for the work’s reflection of her faith in Jesus, me for its raw portrayal of an intense desire to improve — it’s something that would move both of us.
Probably my tears were triggered by the intensity of the piece and the beauty of its dancers and not by some spiritual awakening. Still, despite — or really, because of — the emotional unrest Alvin Ailey put me through, they will probably be seeing me again soon.
The post How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me appeared first on The Forward.
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Police Chief in UK Retires After Facing Scrutiny for Banning Israeli Maccabi Tel Aviv Fans From Soccer Match
WMP Chief Constable Craig Guildford speaking before the Home Affairs Committee on Jan. 6, 2026. Photo: Screenshot
West Midlands Police (WMP) Chief Constable Craig Guildford retired on Friday effective immediately after increasing public scrutiny and revelations over his use of “exaggerated or simply untrue” intelligence to justify a ban prohibiting Maccabi Tel Aviv soccer fans from attending a match late last year.
Simon Foster, the police and crime commissioner of WMP, announced Guildford’s retirement in a formal statement delivered outside Birmingham’s Lloyd House, which is the headquarters of the West Midlands police force. Guildford will collect his full pension after three decades of service. Foster thanked Guildford for his service and said he welcomes the chief constable’s decision to retire. He added that Guildford’s stepping down is in the “best interest” of the police force and the local community.
Guildford’s retirement follows the decision of the Birmingham City Council Safety Advisory Group, based on the recommendation of West Midlands Police, to ban traveling Maccabi Tel Aviv soccer fans from attending the Europa League soccer match between Aston Villa and the Israeli team on Nov. 6, 2025, at Villa Park in Birmingham due to “public safety concerns.”
The announcement also comes just two days after British Home Secretary Shabana Mahmood told the British Parliament that she has lost confidence in Guildford. The minister said she came to the conclusion after receiving a “damning” and “devastating” report by Sir Andy Cooke, his Majesty’s chief inspector of constabulary, on Wednesday that revealed several failings by the WMP force in relation to its recommendation to ban Maccabi soccer fans, including “misleading” public statements and “misinformation” promoted by the police.
Foster acknowledged on Thursday that the police forced faced “understandable intense and significant oversight and scrutiny.”
“The findings of the chief inspector were damning. They set out a catalogue of failings that have harmed trust in West Midlands Police,” Mahmood said in a statement following Thursday’s announcement. “By stepping down, Craig Guildford has done the right thing today … Today marks a crucial first step to rebuilding trust and confidence in the force amongst all the communities they serve.”