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This Upper West Side appetizing shop stands apart by standing still
(New York Jewish Week) — Paul Klausner, a native Upper West Sider, has clear memories of shopping with his mother as a young boy at Murray’s Sturgeon Shop, a store on Broadway and 89th Street known for smoked fish. In Klausner’s family, when it came to buying lox and all the fixings, Murray’s was the place.
Now, some 60 years later, Klausner is still a devoted fan. Although he no longer lives in Manhattan, his beloved Murray’s remains very much the same as the Murray’s of his childhood — in fact, little has changed there since it first opened in 1946. As for Klausner, he and his wife, April Stewart Klausner, keep their freezer in Litchfield County, Connecticut, stocked with Murray’s sliced center-cut nova, which they pick up whenever they are in the city.
In the changing retail world now dominated by chain stores and online shopping, Murray’s is a unicorn. Even among other renowned, longstanding New York appetizing stores like Barney Greengrass, Zabar’s and Russ & Daughters, Murray’s stands apart by standing still. Except for one short move in the 1940s — half a block uptown to its present location — it has always occupied the same tiny piece of real estate. Throughout its 77 years of existence, Murray’s has never expanded its brick and mortar store, nor have its owners opened an adjacent restaurant or cafe. It is a small, narrow slip of a shop, more similar in size to a subway car than a food emporium.
“We are one of the oldest continually running stores on Broadway,” said 65-year-old Ira Goller, the third owner of the shop. “There is nothing else like this anywhere.”
Numerous aspects make Murray’s stand out — the lack of in-store seating, for one, as well as the care in which every customer’s order is hand-filled. Varieties of smoked fish are sliced with surgeon-like precision — so finely that each piece is practically transparent — and, perhaps most notably, said fish is wrapped, origami-like, in heavy white waxed paper, never plastic. Wax paper “absorbs any oils and grease,” said Goller. “If you put the appetizing in a little plastic bag, it is not fresh in a day or two.”
At Murray’s, the smoked fish is still sliced by hand and wrapped in wax paper. (Talia Siegel)
Stewart Klausner describes the shop as “stepping into a time machine where there’s a real connection between merchant and customer.” The countermen, who greet each customer warmly, have all been at Murray’s for at least 10 years. Ecuador-born, Yiddish-speaking Oscar Leon, whom Goller considers his right-hand man, is now in his 45th year. “It’s a family here,” Leon told the New York Jewish Week.
Even the decor is nearly the same as it always was: stainless-steel refrigerators and counters, mirrored side wall, tilework from the 1940s. Of course, over the years, there’s been some nods to modernity: A clock that hangs on the back wall was installed in the 1960s, and somewhere along the way, air conditioning was installed. These days, Murray’s has an online presence — and the store takes many phone orders, especially since the pandemic — but about half of its business is from people who walk in, Goller said.
One regular customer is 54-year old baker Jen Daniels. “Despite the fact that it is actually kind of old, it is immaculate,” Daniels told the New York Jewish Week. “You could eat off the floor there, it is so clean.”
Goller, who previously worked as a Wall Street commodities analyst, bought the store in 1990 from Artie Cutler, founder and owner of several popular Upper West Side eateries, including Artie’s Deli, Ollie’s Noodle Shop and Carmine’s Italian Restaurant. Cutler took over Murray’s in 1974 from the original owners and founders, brothers Sam and Murray Bernstein.
In passing the torch, Cutler stipulated that Goller would find a partner with experience in the food business. There was also an understanding that nothing would be changed in the first year.
After that 12-month learning period, Goller untethered himself from his partner and got to work making a few — just a few! — changes, with an eye on the bottom line. “I had notes to pay, mortgages to pay, mouths to feed,” Goller recalled. No longer would the store be closed on Mondays, as were so many of the stores on Broadway in the 1980s, when Monday was considered the slowest day of the week. Going forward, Murray’s would be open 363 days a year — the store closes only on the first day of Rosh Hashanah and on Yom Kippur.
Although previous owners shut the store during the eight days of Passover, Goller decided to keep it open, and even to sell bagels over the holiday, during which the consumption of bread is forbidden. Goller said he knew he made the right decision when a longstanding customer came in during Passover, wagged his finger at him for selling bagels — and then purchased a dozen.
All of the fish is smoked according to Goller’s specifications in a local smokehouse; the soups and salads are made in house. The food emerges from the tiny kitchen at the rear of the long, narrow shop. It’s not much to speak of: There’s a walk-in refrigerator — for storing pickles; matjes, schmaltz and pickled herring, coleslaw and smoked fish — and a 36-inch electric Garland oven with four burners, used for making soups made from recipes passed on to Goller by his mother-in-law. The crumb cake, baked apples and dairy noodle pudding are baked in that single oven. You won’t even find a dishwasher — everything is hand washed.
While waiting for their orders, customers might overhear the sound of music — what’s perceived as a steady beat is actually the sound of onions being hand-chopped. What you won’t hear is the sound of a food processor: When making whitefish salad, the cooks use tweezers to pluck out the bones from the smoked fish, then crush it by (gloved) hands so that chunks of fish remain in the finished product.
All the salads at Murray’s are made in-house. (Talia Siegel)
Perhaps the biggest change Goller made was in 1995, when he decided to add sliced deli meats to Murray’s menu. “You would have thought I shot the pope,” he joked. “It was the first thing I did that caused an uproar.” The kerfuffle eventually died down, and now, alongside creamed herring, lox and Waldorf salad, items like sliced roast beef and turkey breast are available. All of the meat is kosher and sliced on a dedicated meat slicer so that, in deference to the laws of kosher food, there is no mixing of meat and dairy. (There is no ritual oversight in the store other than Goller, who takes the kashrut of the place seriously.)
But you don’t have to keep kosher — or even be Jewish — to love Murray’s. ”When I first came here, 95% of the customers were Jewish,” Goller told the New York Jewish Week. “Now it’s probably 70%.”
He credits Russ & Daughters, in part, for this expansion of Ashkenazi appetizing foods into the general, and younger, population. “Russ & Daughters has introduced people to bagels, lox and cream cheese,” he said. “Exposure of this type is good for everybody.”
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At a national Jewish conference, a speaker said Muslims should ‘get the f— out’ of America. Its organizers won’t condemn him.
Islamophobic remarks made by a speaker during a national Jewish conference in Los Angeles have drawn condemnation from the city’s mayor. But national and local Jewish groups who organized and funded the program have largely remained silent.
Mosab Hassan Yousef, a former Israeli intelligence asset whose father is a Hamas co-founder, made the inflammatory comments Aug. 30 at the Jewish American Summit, an annual event organized by Aish LA, an Orthodox Jewish organization, and co-sponsored by more than a dozen other Jewish groups, including the local federation and the Anti-Defamation League.
Appearing onstage during the program for a live taping of the “Being Jewish” podcast alongside its host, Jonah Platt, Yousef — who converted from Islam to Christianity — went on a rant against his religion of birth.
“I don’t want Muslims in America,” Yousef said. “Get the f— out of the United States. Go back to the s—holes where you came from and reform your own countries.”
He also called Muhammad, the 7th-century founder of Islam, a “pedophile prophet.”
The jibes elicited a mix of laughter and applause from the crowd, according to video posted to social media — and then a wave of backlash after the clip spread on social media.
“Islamophobia has no place in Los Angeles,” Los Angeles Mayor Karen Bass wrote Sept. 4 on X. “I am horrified by the appalling rhetoric from Mosab Hassan Yousef at an event in Los Angeles this past weekend. The City of Los Angeles stands firmly with its Muslim community and fully condemns these vile remarks.”
Senator Adam Schiff, LA City Councilwoman Katy Yaroslavsky and County Supervisor Lindsey Horvath also disavowed the remarks, as did the Council of American-Islamic Relations. So did the liberal group Jewish Partnership for Los Angeles, whose director called on the conference’s sponsor groups “to make clear that they oppose anti-Muslim hate speech and commit to rejecting anyone who demeans and dehumanizes others from their platforms.”
But more than a week after the conference, neither Aish LA’s executive director, Rabbi Aryeh Markman, nor event co-founder Mike Drath, nor the parent Aish organization, an international Jewish outreach group headquartered in Jerusalem, has commented on the remarks. (None responded to inquiries.)
Meanwhile, the Jewish American Summit’s Instagram account has posted several clips from Yousef’s talk, though none of them contain the remarks related above.
Only two of the conference’s roughly 15 sponsors — many of which sent speakers to the event — disavowed Yousef’s remarks in response to the Forward’s inquiries. The Anti-Defamation League’s Los Angeles regional office called them “vile and unacceptable” in a statement.
And the Los Angeles Jewish federation said the rant was “hateful, indefensible, and contrary to everything the Jewish Federation stands for.” Like the ADL, it said it had no part in selecting the speakers. (Neither group has published its statement on its own channels.)
Platt said in an email that he was saving his response for the podcast episode containing their interview, which he said would be released later this month. Yousef did not respond to a request for comment.
Two of the sponsoring groups that did not respond to inquiries, like pro-Israel advocacy groups StopAntisemitism.org and StandWithUs, include fighting antisemitism in their mission.
Billed as a “national gathering for Jewish American strength, unity, and action,” the Jewish American Summit drew more than 1,000 people, according to one outlet in attendance. Its other speakers included U.S. Ambassador to Israel Mike Huckabee, Israeli Ambassador to the U.S. Yechiel Leiter and Steve Hilton, the Republican nominee for governor of California; a slew of pro-Israel influencers also appeared, including Zack Sage Fox and Rabbi Yossi Farro.
Yousef initially positioned himself as a moderate who wanted to draw attention to the suffering of Palestinians when he first forayed into writing and public speaking. He became a fixture on the Jewish speaking circuit for his harrowing life story — turning against his father to save Israeli lives — and his unsparing critique of Hamas.
Since Oct. 7, 2023, however, Yousef has adopted an increasingly radical stance on the region. During a 2025 event in Tel Aviv he said that “identifying as a Palestinian is identifying with something much more dangerous than a Nazi.”
In his talk with Platt, he shared his experience growing up as the son of Hamas co-founder Sheikh Hassan Yousef. Clips of his talk posted on the Jewish American Summit Instagram page show him discussing his father’s desire to kill Jews. He also blamed Egypt for refusing to open its border to Palestinian refugees after Oct. 7.
Conference sponsors paid between $5,000 and $100,000 to have their organization’s logos appear on promotional materials, according to the conference website.
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He photographed the defining image of 9/11 – and Jewish history for 50 years
Robert Cumins stood on his ninth-floor balcony in Verona, New Jersey, camera in hand, when he saw a plane heading toward Lower Manhattan. He figured it was just another flight out of Newark. He snapped two quick frames anyway — a plane against a skyline, nothing more — and kept watching.
Then came the fireball.
He had no idea, in that instant, that he had already taken the photograph that would define his career — that he was, in fact, photographing the last seconds of the 65 people aboard United Airlines Flight 175, en route from Boston to Los Angeles. He wouldn’t even remember the plane was in the frame until he saw the developed film an hour later. For that hour, he believed he only photographed the explosion, not the moments before.
Twenty-five years on, Cumins, now 78, still lives in that apartment. He still faces the same skyline — a skyline he has spent 25 years learning not to search for two towers that are no longer part of it.
That photograph made Cumins famous. It is one entry — the most-viewed one, certainly — in a career now entering its sixth decade, a career that has put him, again and again, at the edge of history he did not make.
He straightened Israeli Prime Minister Yitzhak Rabin’s bow tie backstage, 10 days before the prime minister was assassinated, then flew to Israel to photograph his funeral. He spent 10 days documenting Israeli Prime Minister Yitzhak Shamir. He stood close enough to photograph the signing of the Oslo Accords, the Camp David Accords, the Israel-Jordan peace treaty — three of the defining diplomatic moments of the modern Middle East.
Call him the Forrest Gump of Jewish history.
‘Turn around, kid’
Cumins’ workday on the morning of September 11, 2001, started with a red light.
He was driving down the hill from his apartment, headed out for coffee, when he stopped at the bottom and, out of habit, flipped on the radio. A WCBS helicopter reporter was already mid-report, something about a tower. By the time the light turned green, an anchor had cut in with the words: the World Trade Center.
Cumins turned the car around. He drove back up the hill. The elevator was sitting there, waiting. He rode up to the ninth floor. Before he was all the way inside his apartment, he could already see smoke pouring off the North Tower, 15 miles across the water. He ran for his camera, loading film and changing lenses as he crossed the living room toward the balcony.
He got there at 9:03 a.m. — four and a half minutes after the stoplight turned green. He’s gone over that stretch of time so often he can repeat it without thinking. A slower elevator, and he never gets the shot.
Cumins believes it was his mother, who died about a month before 9/11, who led the way. “Sometimes I say it was a spiritual thing,” he said. “She was watching over me at that red light. ‘Turn around, kid. This is big.’”
A convertible and a Kinko’s
By the time Cumins got his film to the photo lab in New Milford, he had already forgotten about the plane entirely. The fireball, he remembered — that part was impossible to forget. The plane itself, the thing he’d actually pointed his camera at, was gone from his mind completely.
Cumins stood over the technician’s shoulder as the scanner worked backward through the roll of Kodak film — 19 frames total — hunting for the explosion. They found it. Then he asked to see the beginning of the roll.
The first frame showed the plane against the skyline, smoke already rising from the first tower. In the next, a red dot flared just above the plane’s tail. Then came the explosion. The moment took three frames of film. Getting the picture to an editor took the rest of the day.
Cumins called his agent, who reached an editor at People — the magazine wanted the image immediately, as large as he could send it. Cumins had an AOL account with a 16-megabyte limit. Every file he tried to send bounced back, too big.
He hopped in his Audi TT convertible, top up, and sped to a Kinko’s on Route 3 in Clifton, and spent the day with a store clerk, the two of them trying to coax something too large through a connection too small. Confirmation came at 9 p.m., just ahead of deadline. The photo ran on People’s cover as a double-page foldout.
The top of his car stayed closed for weeks after that. “I could not bring myself to put down the roof,” Cumins said, “to enjoy the simple pleasures of light and fresh air during such a dark time.”
Documenting modern Jewish history
Cumins built a career on trust. At 14, he sent a telegram to President John F. Kennedy’s press secretary asking to visit Washington. The press secretary said yes. It wouldn’t be the last time a powerful person said yes to him.
It was almost by accident that his persuasiveness led him into Jewish photography at all. In 1970, a colleague asked him to shoot a Jewish Federation breakfast in Miami. His first Jewish communal assignment — a parlor meeting in a private home in Elizabeth, New Jersey — followed a few months later. It was the first of hundreds. Over the next five decades, he photographed scores of events and made roughly 250 trips to Israel, building trust as he went.
In 1988, that trust bought him 10 days inside Yitzhak Shamir’s daily life — meetings and meals, including moments when no one else was in the room. “He was very kind to me,” Cumins recalled. The photographs ran in The New York Times Magazine, in Life and in newspapers across the globe.
In October 1995, Cumins was backstage at a black-tie reception in Washington when he noticed Yitzhak Rabin’s borrowed bow tie had come loose from his collar. Cumins walked over and fixed it. “I had spent a lot of time previously with Rabin,” he said. “Otherwise, I would never have gotten near his neck.”
Ten days later, Rabin was assassinated. Cumins flew to Israel and back in a single day to photograph the funeral — soldiers saluting the casket, an aide reading from the blood-stained speech recovered from Rabin’s jacket. Two weeks before, at that reception in Washington, he’d photographed President Bill Clinton and Leah Rabin laughing together. Now he photographed Clinton consoling her as a widow — two photos, worlds apart, taken by the same man.
Even after 9/11 made him famous, Cumins kept doing what he had always done. He signed on as one of Hillary Clinton’s photographers during her first Senate campaign. After she won, he asked to come along, at his own expense, when she made her first trip to Israel as senator. He wanted total access. He got it, as he generally did.
On that trip in 2002, in Prime Minister Ariel Sharon’s office, Clinton introduced Cumins to those gathered: “Mr. Cumins, he took the great picture of 9/11,” she said. Later that trip, at a dinner in Tel Aviv, Cumins caught a quiet moment between Clinton and Shimon Peres, one of his more striking portraits.
‘Split second of innocence’
Somewhere along the way, the work of chronicling history gave way to the work of storing it.
What’s left of his archive now sits in a couple of private storage units in New Jersey — roughly 600 square feet of file cabinets and boxes, labeled by project, holding a record of Jewish and Middle East history that exists nowhere else. It has cost what Cumins describes as “a fortune” over the years. He’s hoping a philanthropist will buy the collection and gift it to an institution built to care for things longer than any one person can. He hasn’t found one yet.
In the meantime, he’s still in the same ninth-floor apartment in Verona, still facing the same Manhattan skyline. He photographs it constantly — beautiful sunrises and sunsets, weather rolling in over the water — and he says there’s almost always a plane somewhere in the frame, whether he’s trying to catch one or not.
Cumins has a phrase for what he photographed 25 years ago: “the final split second of innocence” this country ever had. Between the first plane and the second, there were 17 minutes in which the country still believed, or wanted to believe, that this might be an accident.
Then reality hit. The U.S. was under attack. Life would never be the same, especially for the man who captured that moment in history.
Some photographs you take. Others, it turns out, take you — and don’t ever quite let go.
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Portuguese artists pull out of Jerry Seinfeld-headlined festival
(JTA) — Several Portuguese artists have dropped out of a comedy festival in Lisbon headlined by Jerry Seinfeld, citing their support for Palestinians and implying opposition to Seinfeld’s support for Israel.
At least six acts over recent days have canceled their appearances at the MEO Commedia a La Carte Fest, a new international comedy festival in the Portuguese capital. The event from Oct. 29 to Nov. 1 has advertised that it will host Seinfeld’s first live appearance in Portugal.
Though none of the artists who withdrew mentioned Seinfeld by name, some hinted at a boycott against his pro-Israel views. The Jewish comedian has become one of Hollywood’s most prominent advocates for Israel since October 2023.
Actress and comedian Inês Aires Pereira announced on Instagram on Saturday that “one of the names” featured at the festival “persistently defends ideas and acts that I consider indefensible,” adding, “We cannot relativize or normalize a genocide.”
The comedy duo Cebola Mol posted a graphic of themselves with a watermelon, widely recognized as a symbol of solidarity with Palestinians. “We will celebrate justice, freedom and joy with you on another occasion,” they said on Instagram.
The festival announced on Friday that performances by the groups Tributo Pop and Conjunto Cuca Monga were also canceled, but did not provide reasons. Two other acts, comedian Pedro Tochas and visual artist Vhils, shared their cancellations on Instagram without further details.
Seinfeld has aligned himself with Israel during its current conflict in Gaza, following decades of largely avoiding commenting on political issues. He visited Israel in December 2023 to meet with the families of hostages seized by Hamas on Oct. 7 of that year. Since then, he has attracted attention for a series of dismissive remarks toward pro-Palestinian advocates.
During an appearance last year at Duke University, Seinfeld compared pro-Palestinian activists with the Ku Klux Klan, saying, “The Klan is actually a little better here because they can come right out and say, ‘We don’t like Blacks, we don’t like Jews.’ OK, that’s honest.”
Representatives of Seinfeld and producers of the MEO Commedia a La Carte Fest did not immediately respond to requests for comment.
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