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With his New York restaurant, Shmoné, Israeli chef Eyal Shani earns his first Michelin nod
(New York Jewish Week) — Israeli celebrity chef Eyal Shani, who currently boasts 40 restaurants worldwide, became a sensation on these shores when he opened Miznon in 2018 at Chelsea Market. There, he introduced New Yorkers to a new style of Mediterranean street food that eclipsed the usual falafel, hummus and shawarma offerings. Locals and tourists alike lined up to devour Shani’s smashed potatoes, inventive pita creations and now-iconic whole roasted cauliflower heads.
Last May, Shani opened the latest addition to his NYC restaurant group: The aptly named Shmoné, which is located on West Eighth St. — “shmoné” is eight in Hebrew. The restaurant’s fresh approach — it features a new menu daily — landed Shani in the Michelin guide for the first time ever earlier this year, nominated for coveted star status. According to Michelin, “this small, sleek space punches way above its weight with dazzling Neo-Levantine cuisine.”
“I’m very, very happy for that, [but] I’m not focusing on getting Michelin stars,” Shani told the New York Jewish Week.
In fact, though he takes pride in all his restaurants — and voices enthusiasm for every culinary feat — Shani doesn’t believe Shmoné is “his most creative spot.” And yet, he said Shmoné is a very personal place to him, one of his most beloved restaurants. Ever the raconteur, he spoke about the energy that he puts into his food there and the harmony that results. “You need the magic,” he said. “I cannot explain it.”
As with all his restaurants, Shmoné has an open kitchen, which allows diners to observe the “food choreography,” as he called it. “I’m not cooking without a precise address,” he said. “I will cook for you when I see you. I am cooking for your eyes. If I cannot see you, I’m not cooking for you.”
Local sourcing and farm-fresh ingredients play a key role, too — something that Shani sees as very Israeli. “[Our ancestors] used to eat very pure, very close to the earth,” he said. “When you serve pure food to people it reminds them of something that’s exciting them.” The staff at Shmoné comb the Union Square Greenmarket for fresh produce, while their chicken is sourced from a small farm in Pennsylvania.
Shmoné’s menu is divided into categories by “creature” — though Shani utilizes an unconventionally broad definition of the word, including not only animal life but produce, breads and desserts. A “wheat creature” could be focaccia with sour cream; an “earth creature” could be tomato ovaries and green chili or a “stretchy stracciatella lasagna” served in a pyrex tray. Shani’s distinctive sense of humor is evident throughout the menu; for example, Shmoné previously served a dish called “I think I’ve managed to make a better mashed potato than [renowned French Chef Joel] Robuchon and it’s vegan.”
Like Shani’s other restaurants, Shmoné has an open kitchen and focuses on fresh produce. (Max Flatow)
Shani, 64, was born in Jerusalem and now lives in Tel Aviv. A self-trained chef who had studied cinematography, he cited a few inspirations for his career, though a major one was his vegan grandfather, who lived upstairs. Shani’s grandfather served him raw food, juices and salads and, in taking Shani to vineyards and markets, taught him to appreciate the purity of vegetables and fruit.
After his army service, Shani traveled for two years in Europe. But when a girl broke his heart, he returned to Israel and lived on a friend’s farm in the north. It was there that he decided to become a chef. “I lived there for a year like a priest — I ate from the fields and drank the water that I took from the ground,” he said. “One day, there were some hunters who were my friends and they came to bring me four porcupines. I lit the fire and ate [them], drank two bottles of wine and fell asleep in the middle of the field. I woke up in the morning and decided that all I wanted to do was cook.”
After painting houses for a while, Shani got a job in 1988 at Hotel HaSharon’s restaurant in the Herzylia Pituah neighborhood of Tel Aviv. He admitted he did not know how to cook but promised to work hard. Once he advanced to sous chef, the future restaurateur could be found racing to the parking lot to refer to the Julia Child cookbook he had tucked away in his car.
In 1989, Shani opened his first restaurant, Oceanus, in Jerusalem. A small, 24-seat space, it offered bouillabaisse, focaccia, fish and salad, and it was there that Shani began to really hone his skills. It closed after 11 years and was followed by Ocean in Tel Aviv, open for two years. Then, in 2008 he and his partner, Shahar Segal, opened the trendy, high-end HaSalon in Tel Aviv, serving up modern takes on Israeli cuisine with some Italian influences. This was the start of his restaurant empire in Israel; soon HaSalon was followed by the casual Miznon and seven others.
After he established himself solidly as a force in Israel, Shani expanded the Miznon chain to Paris in 2013, then Vienna in 2016, followed by Singapore, Melbourne and, eventually, New York, where Shani said he was seduced by the city’s exciting, vast and diverse food scene, calling it “the essence of American culture.”
At the same time, Shani said he feels challenged to upend New Yorkers’ culinary expectations. “When they are putting walls around me it’s seducing me, it’s seducing me to break them,” he said. “It’s my nature.”
From that first Miznon outpost at Chelsea Market, Shani expanded to eight restaurants across Manhattan, including a two-story Miznon North sit-down restaurant on the Upper West Side in 2019. (One Miznon branch has since closed.) That same year he opened HaSalon on Tenth Ave., where he serves dishes like “Hell’s Chicken” (a play on the neighborhood, Hell’s Kitchen), and a hand-rolled 12-foot pici pasta noodle, inspired by the notion that everything in New York is big and presented on a large scale.
Shani opened Naked Tomato, a skewer restaurant with generous salad accompaniments, in Hudson Yards during the pandemic. There, he became notorious for serving a single tomato on a plate for $24, inspired by a “perfect tomato” that he came across in an upstate New York greenhouse. “If a dish is a sentence, my culinary sentence is one word and that is the subject,” he said. “If I’m doing something with tomato, it will only be tomato: no sauces to warp it, cover it or mask it. You have to serve it completely naked. You are standing completely naked in front of your plate, in front of your audience.”
Shani explained that, with each new restaurant he opens, he visits each location and tries “to get some signals.”
“I can feel the environment, I see my team, I’m looking at the architecture, absorbing the atmosphere, the energy, the vibe of the place,” he told the New York Jewish Week. “It’s like a new ingredient coming to me and something inside myself assembling [assembles] them into the shape of a new restaurant.”
Shani says he immerses himself fully into the process of opening a new place. “I’m there and all the outer world disappears, all the noises are cut and I’m completely focused on one thing, and that is the only thing that exists in my life.”
And the new places keep coming: Since 2021, Shani has opened restaurants in Toronto, London, Miami and Boston, and, most recently, Dubai. Currently in the works are expansions to Amsterdam, Mexico City, Barcelona and Zurich, and two more New York eateries are also coming soon: a Miznon outpost uptown at 2895 Broadway, near Columbia University, as well as a “gastro bar” called Port Said, which is slated to open at 350 Hudson St. this summer.
“When you are establishing a restaurant you cannot change it anymore — it’s got its own character,” he said. “Because I’m changing all the time, I’m opening restaurants all the time.”
As for the recent Michelin nod, even though it was for a New York-based restaurant, Shani said it was “one of the most wonderful things that can happen for Israel,” as it will continue to enhance the country’s reputation as a culinary destination.
“Israeli cuisine started 70 years ago — it began without roots in any tradition,” he said. “Nothing is shaping them besides their ideas and imagination. Israelis are importing ideas and then shaping them in their own way, and that makes the cuisine so special.”
Shani is not shy about the impact he has made when it comes to introducing Israeli food to the world. “I’m the godfather of Israeli cuisine,” he said. “The main structure of Israeli food was built by me.”
Ultimately, no matter the price point or location of his various restaurants, Shani believes his food brings people joy. “I think it’s about giving happiness to people, he said. “That is my cuisine.”
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‘Auschwitz’ is a hit Iranian protest anthem, part of a music genre rebelling against official antisemitism
Last month, well-known Iranian singer Mehdi Yarrahi released a song titled “Auschwitz,” about the regime’s brutal crackdown on protesters earlier this winter, which estimates suggest killed between 7,000 and 30,000 people over the course of a few days. The song quickly gained traction online, drawing around 10 million views on the singer’s Instagram account.
The choice of Auschwitz as a historical touchstone was not accidental: it is a direct answer to the Iranian regime’s persistent mockery and denial of the Holocaust, and a point of identification for Iranians who may see an echo of the atrocities committed by the Nazis in their own government’s brutality.
Yarrahi, who lives in Iran, released “Auschwitz” after reports emerged of thousands of Iranian protesters being gunned down in the streets for protesting the regime. The song compares their fate to that of people who endured the Nazi death camps. Its opening line declares: “I come from Auschwitz, of night transfers. I come from a killing field of youth.” The music video accompanying the song features footage of protestors being beaten by regime forces in the streets, as well as photographs of those who were killed.
Yarrahi knows the price one can pay for making anti-regime music. In March 2025, he received 74 lashes as a part of his sentencing for the release of his song “Rousarieto” (“Your Headscarf”), which criticized the regime’s requirement that women cover their hair and dress modestly.
The lyricist behind “Auschwitz,” Hossein Shanbehzadeh, has also faced the regime’s wrath. In 2024, he was sentenced to 12 years in prison after he commented with a single dot in response to a post on X from the Supreme Leader Ayatollah Khamenei — a reply that received more likes than Khamenei’s original post. Iranian authorities accused him of being an Israeli spy and of spreading anti-regime propaganda. While Shanbehzadeh languishes in prison, through Auschwitz’s lyrics, his words have now been heard by millions both inside and outside Iran.
The Holocaust metaphor in “Auschwitz” is especially subversive because it invokes a history the Iranian regime refuses to recognize — just as it refuses to acknowledge its own brutality. Many high-ranking members of the Iranian regime have publicly denied, minimized, or questioned the Holocaust, including former Supreme Leader Ali Khamenei, who was killed on the first day of the fighting on Feb. 28. The regime has also hosted state-sponsored cartoon competitions mocking the Holocaust— most recently in 2021 — and was the only country to reject a 2022 United Nations resolution condemning Holocaust denial.
By comparing the regime’s violence against protesters to Nazi brutality — atrocities that Iranian leaders do not acknowledge — Yarrahi’s song challenges both political repression and the antisemitic narratives promoted by the state that have made it a global pariah.
The soundtrack to the revolution
In Iran, where culture is steeped in poetry, protest music has become a central part of the anti-regime movement.
An Iranian activist who was arrested and jailed for his involvement in the protest movement told the Forward, “These songs push people forward. They give you the energy to keep going.” Now living in the United States, he said the music also connects diaspora Iranians to the movement back home. “When we get together with friends in the community, we play these songs,” he said. “We start talking, and the music is playing in the background.”
Music streaming platforms like Spotify and Apple Music are difficult to access in Iran because of payment sanctions and bans. While protest songs are censored on social media, many Iranians download music using VPNs through Telegram — an encrypted messaging app that has 45 million Iranian users despite being banned — as well as other websites. Many Iranian singers have their own Telegram channels where they share their music.
During the 2022 Women, Life, Freedom protests, the song “Baraye” (“For the Sake Of”) went viral and became an anthem for demonstrators mobilizing against the regime. It garnered 40 million views in its first two days of being released and later won a Grammy.
The singer Shervin Hajipour wrote the lyrics based on responses from Iranians on X to a simple question: “What are you protesting for?” One line references the regime’s “meaningless slogans” — “Death to America” and “Death to Israel.”
According to Thamar E. Gindin, a research fellow at Haifa University’s Ezri Center for Iran and Persian Gulf Research, music has been a meaningful part of the protest movement. “Baraye,” particularly, was sung “from balconies and windows when they didn’t want to go out to the streets and be killed. They sang it at the end of ceremonies.” She compared it to the way many Israelis and other Jews sing “Hatikvah,” as an expression of collective hope.
Polling suggests that Iranian public opinion diverges from official rhetoric.
One survey from last September found that 69% of Iranians believe their country should stop calling for the destruction of Israel. When respondents were asked about their views of foreign countries, the United States received the highest favorability rating, with 53% expressing a positive view. Israel ranked second. A 2014 survey conducted by the Anti-Defamation League found that Iranians held the lowest levels of antisemitic attitudes in the Middle East and North Africa outside Israel, despite decades of state-sponsored antisemitic narratives.
Invoking Iran’s pluralistic past
For many Iranians, protest music has become a way to reclaim their national identity. While the regime defines itself through external struggle with Israel and the West, many protestors prefer to define Iran through its culture and history. One figure frequently invoked in protest discourse and music is Cyrus the Great.
King Cyrus, the founder of the Achaemenid Empire, created one of the largest empires of the ancient world. After conquering Babylon in 539 BCE, he issued a decree allowing exiled peoples — including Jews taken captive by the Babylonians — to return to their homelands. In the Bible, he is remembered for permitting Jews to return to Jerusalem and rebuild the Temple.
According to the activist, “Cyrus to Iranians is like the Founding Fathers to Americans,” adding: “Cyrus is a symbol of peace among nations, and also a person who respects human rights and your beliefs regardless of who you are.” He is viewed as particularly “important for what he did for the Jewish people” and other minorities, which, for many anti-regime Iranians, represents an Iran rooted in human rights.
London-based Iranian artist Amin Big A’s 2018 song “Be Name Iran” (“In the Name of Iran”) channels this sentiment. The song gained massive popularity, especially among the Iranian diaspora, during the 2022 protest movement in Iran and has since been widely shared on social media alongside videos of the current protests. The song opens with a tribute to Cyrus: “In the name of Cyrus, that King of Kings — the one who taught us to be good to our friends and companions.”
Iranians invoke Cyrus, he said, to remind themselves and the world of that history. They want to “signal to the world, especially to non-Iranians,” that “if you want to understand how Iranians think, you can look at our history.” For protestors, it is a way to demonstrate that “the current regime in Iran is not representative of Iranians.”
Another song, “Dictator,” released in January by Iranian artists Shaayn and Moonshid during the height of the protests, contrasts Iran’s current authoritarian system with the nation’s ancient past. “It’s basically saying: we had Cyrus, and Cyrus was not a dictator,” said the activist. “Our history is not all about dictators.” One line in the song reads, contrasting Cyrus with a Turkish conqueror: “One gives freedom to the people, another kills and oppresses…. One becomes like Cyrus the Great, another becomes like Timur.”
Over the years, several anti-regime protests have been held at Cyrus’ tomb in Iran. In response, the regime has restricted access to the site and deployed security forces to discourage protestors from gathering there.
According to Beni Sabti, an Iran expert from the Institute for National Security Studies, Cyrus’ pluralistic legacy makes him recognized as “the best King that Iranians had. It’s another reason to love Jews, or to re-love them,” he said, adding: “They don’t believe the state’s propaganda.”
The post ‘Auschwitz’ is a hit Iranian protest anthem, part of a music genre rebelling against official antisemitism appeared first on The Forward.
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War with Iran puts the US-Israel alliance at grave risk
The Iran war is strategically sound yet politically unsupported — an unstable foundation for a gamble that could reshape the Middle East. That creates danger for Israel, which needs the support of an American public that is rapidly drifting away.
For decades, the country’s greatest strategic asset has not been its military technology or intelligence capabilities — spectacular as these are — but rather the political, diplomatic and military backing of the United States. That relationship has not been merely transactional. It was supposed to rest on shared values and deep public support across the American political spectrum.
If that support erodes or disappears, Israel’s strategic environment will fundamentally change. To be blunt: it will not be able to arm its military. This creates a paradox. A campaign that has so far demonstrated extraordinary value for the Jewish state also stands a risk of fundamentally weakening it.
An alliance at its strongest
The conflict has showcased the depth of the current U.S.–Israel alliance. To many observers, and critically to Israel’s enemies, the operation has underscored not only Israel’s capabilities but also the reality that it stands alongside the world’s most powerful state.
The strikes have projected deep into Iranian territory, revealed astonishing intelligence penetration, and destroyed or degraded key threats. Israel’s enemies across the region have already been weakened by previous rounds of fighting since Oct. 7, and the current operation has reinforced the impression that Israel can reach its adversaries wherever they operate.
Moreover, Iran’s regime has managed to isolate itself to the point where most Arab countries are in effect on the side of Israel and the U.S. That projection — of an unbreakable and strong alliance – may ultimately be the most important strategic element of this war.
But therein lies the rub.
The political foundations of American support for Israel are eroding, which means the very element that currently strengthens Israel’s deterrence — American participation — may also be the one most at risk.
A just war, unjustified
Americans do not understand why their country is at war.
A Reuters/Ipsos survey conducted at the start of the conflict found only 27% of Americans supported the U.S. action, while 43% opposed it. Other surveys show similar results, with roughly six in ten Americans against the military intervention.
In modern American history that is highly unusual. Most wars begin with a “rally around the flag” moment when public support surges. Even conflicts that later became controversial — from Afghanistan to Iraq — initially enjoyed majority backing.
This one did not — in part because the case for it has not been made clearly to the public.
That error is compounded by years of polarization in American politics; declining trust in institutions and leadership; and the record of President Donald Trump, who has spent years spreading conspiracy theories and demonstrating a remarkable indifference to factual truth. It is no exaggeration to say that many Americans do not believe a word he says – which is perhaps unprecedented.
When a president with that record launches a war, at least half the country assumes the worst. Even if the strategic logic is sound, the credibility deficit remains.
The tragedy is that the war is, in fact, eminently justifiable. The Islamic Republic has long since forfeited the moral legitimacy that normally shields states from outside force. It brutally suppresses its own population, jailing and killing protesters, policing women’s bodies, and crushing dissent with an apparatus of repression. Its foreign policy is not defensive but revolutionary. Through proxy militias it has destabilized Iraq, Syria, Lebanon and Yemen, as well as the Palestinian areas, in some cases for decades.
The regime has pursued nuclear weapons through a series of transparent machinations, deceptions and brinkmanship. Negotiations have repeatedly been used as delaying tactics while enrichment continued. Any deal that relieved sanctions would not simply reduce tensions; it would also inject new resources into a system dedicated both to repression at home and aggression abroad — one that is despised by the vast majority of its own people, as murderous dictatorships inevitably will be.
There is a doctrine in international law known as the Responsibility to Protect — the principle that when a state systematically brutalizes its own population, the international community may have the right, even the obligation, to act. By that standard, the Iranian regime has been skating on thin ice for years.
But with this clear rationale left uncommunicated, the politically dangerous perception has spread that the U.S. was reacting to Israel rather than acting on its own strategic judgment.
A perilous future
If Americans come to believe that Israel caused a costly war that they did not support in the first place, the backlash could be severe.
For centuries, one of the most persistent antisemitic tropes has been the accusation that Jews manipulate powerful states into fighting wars on their behalf. The suggestion that Israel can pull the U.S. into conflict feeds directly into that mythology. Once such perceptions take hold, they can be extremely difficult to reverse.
Even people who reject antisemitism outright can absorb a softer version of the same idea: that American interests are being subordinated to Israeli ones. In a political environment already marked by growing skepticism toward Israel, that perception risks deepening the erosion of support that has been underway for years.
Secretary of State Marco Rubio seemed to inadvertently feed such notions by suggesting in recent days that the U.S. had to attack Iran because Israel was going to do so “anyway,” and then America would have been a target. It was a short path from that to conspiracy theorists like Tucker Carlson blaming Chabad for the war.
A future Democratic president, facing a base that appears to have abandoned Israel, may feel far less obligation to defend it diplomatically or militarily. Even a Republican successor could prove unreliable if the party continues its drift toward isolationism.
That likelihood is compounded by studies showing that a large part of the U.S. Jewish community itself no longer backs Zionism. That process is driven by Israel’s own policies, including the West Bank occupation and the deadly brutality of the war in Gaza.
So the very war that is showcasing the best the U.S.-Israel alliance has to offer is also at risk of fundamentally damaging that partnership. Particularly if Prime Minister Benjamin Netanyahu — the rightful object of much American ire — manipulates the Iran campaign into an electoral victory this year, the alliance’s greatest success could also be its undoing.
The post War with Iran puts the US-Israel alliance at grave risk appeared first on The Forward.
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Report: Iran’s New Military Plan Is Regime Survival Through Regional Escalation
Members of the Islamic Revolutionary Guard Corps (IRGC) attend an IRGC ground forces military drill in the Aras area, East Azerbaijan province, Iran, Oct. 17, 2022. Photo: IRGC/WANA (West Asia News Agency)/Handout via REUTERS
i24 News – After last year’s devastating conflict with the United States and Israel, Iranian leaders have reportedly adopted a major strategic shift aimed at expanding the war across the Middle East to secure the regime’s survival, according to the Wall Street Journal.
Previously, Iran responded to foreign strikes with limited, targeted reprisals. The new doctrine abandons that approach, aiming instead to escalate the conflict regionally, particularly against Gulf Arab states and critical economic infrastructure. The goal is to disrupt the global economy and pressure Washington into shortening the war.
This decision followed the twelve-day war with Israel in June 2025, during which Israeli and US strikes eliminated senior Iranian military leaders, destroyed key air defense systems, and severely damaged nuclear facilities. In response, Supreme Leader Ali Khamenei—before his elimination early in the current conflict—activated a strategy designed to maintain continuity even if top commanders were neutralized.
Central to this approach is the so-called “mosaic defense” doctrine: a decentralized military structure in which the Islamic Revolutionary Guard Corps (IRGC) operates through multiple regional command centers. Each center can conduct operations independently, allowing local commanders to continue fighting even if national leadership is incapacitated. This makes the military apparatus more resilient to targeted strikes.
Analysts cited by the Wall Street Journal suggest that Tehran’s calculation is to make the conflict costly enough for all parties to force the US and its allies into a diplomatic resolution.
However, the plan carries enormous risks. By escalating attacks on regional states and international economic interests, Iran could provoke a broader coalition against itself. Despite prior military losses, Iranian forces retain the capability to launch drone and missile strikes, maintaining their influence over the ongoing conflict.
For Iranian leaders, the immediate priority remains unchanged: the survival of the regime, even if it requires a major regional escalation.
