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How the Lower East Side has changed since the 1988 rom-com ‘Crossing Delancey’
(New York Jewish Week) — The classic and very Jewish 1988 film “Crossing Delancey” is one of those movies that feels both extremely of its time and also completely timeless.
Director Joan Micklin Silver’s film has all the classic rom-com trappings: A woman who’s torn between two men (and to that end, two worlds); complaints about how hard it is to meet a man in New York City (as true in 1988 as it is in 2022), and a “mother” figure who knows better (here, a Jewish grandmother known as Bubbe, and in this case, she actually does know better). You could pluck all these specifics and drop them into a present-day film — and, if told with the heart and care of “Crossing Delancey,” still have a pretty good movie.
Yet there’s one thing about the “Crossing Delancey” that fully anchors it in the past, and that is its late-1980s Lower East Side setting. While our heroine, Izzy (Amy Irving), lives and works on the Upper West Side, she pays frequent visits to her Bubbe (Yiddish theater actress Reizl Bozyk), her grandmother, downtown. From the moment that Izzy steps off the train at Delancey Street, she’s transported to another world: a bustling Jewish enclave with market-goers shopping for produce, friends and neighbors in the streets kibbitzing and a Hasidic child sitting outside the subway, enjoying a treat from a local bakery.
This dichotomy between the “Old World” of the Lower East Side and the “New World” uptown is the central conflict of the film: Izzy’s inability to reconcile her Jewish roots with her desire to live a secular, intelligentsia lifestyle, as represented by her two love interests (Sam the Pickle Man and Anton, the self-important author).
However, rewatching the film in the present day, I can’t help but wonder: Would Izzy run from the shtetl if she knew that in a few years, it wouldn’t exist anymore? That due to rising rents and a shift in population, many Jewish businesses would meet their end — or, somewhat ironically, be part of the flight to Brooklyn that began in the early-to-mid 2000s? In some ways, 1988 itself was the beginning and the end: It marked the opening of the Lower East Side Tenement Museum, an effort to preserve the neighborhood’s immigrant past, and it was the very same year that Mayor Koch created a new redevelopment proposal for the Seward Park Extension, a canary in the coal mine for the sea change of development the city would see over the next 30 years.
Re-watching the film in 2022, it struck me how the Lower East Side’s bustling Jewish enclave — the same place where my grandparents were born and raised — has since been lost to time, gentrification and re-zoning plans. These days, the neighborhood paints a different picture entirely: giant buildings hog entire city blocks, with construction promising even more sky-high buildings. There’s no specific character to the neighborhood, no story to tell, few places more integral to the city’s fabric than the Delancey-Essex McDonald’s.
Of course, if you’ve lived in the city long enough, you know there’s no getting comfortable. New Yorkers have to, in essence, harden their hearts. We must accept that the local business you love that’s here today very well could be gone tomorrow — even if that business is a Duane Reade. The Lower East Side of today is not the neighborhood of 1988, or 1968 or 1928.
But amongst all of the present-day residential developments, upscale clothing stores and fast food chains, old-school Jewish businesses like The Pickle Guys, Kossar’s Bagels and Bialys and Yonah Schimmel’s Knish Bakery are still thriving. (And, I’d like to think that if you look hard enough, you’ll find some meddling but well-meaning bubbes and yentas, too.)
While we might not be able to fully experience the Lower East Side as the cast and crew of “Crossing Delancey,” here are four places from “Crossing Delancey” that you can still visit, and four that are sadly gone forever.
What Remains Today
Bubbe’s Apartment
154 Broome Street
The interior shots of Bubbe’s apartment, where Izzy fulfills all of her granddaughterly duties, like singing with her grandmother in Yiddish and plucking her chin hairs, were filmed at 154 Broome Street. The 181-unit building sits at the mouth of the Williamsburg Bridge — which is why Bubbe has that spectacular view — and is part of the New York City Housing Authority’s Seward Park Housing Extension. So while you still can visit the exterior of Bubbe’s apartment building today, don’t linger too long — it might weird out the current tenants.
Essex Market
108 Essex Street
This one is a little complicated. The original Essex Market, where Bubbe shows off her Korean-language skills, still stands today. (If you get off at the subway at Delancey Street, you can’t really miss it.) But that iteration of the market closed its doors in 2019 — in order to relocate to a building across the street so big and so glassy it would make Michael Bloomberg blush. In addition to apartments, office space and a movie theater (it’s a truly mixed-use building for our modern times!), Essex Market does boast local, independent vendors, such as Essex Olive & Spice, Porto Rico Importing Co. and Puebla Mexicana food. Per the New York Times, only one of the market’s vendors decided to forgo the move, opting instead for retirement. But you might want to pay a visit to the original Essex Market while you still can — even if only to give it one last look. Following the move, Essex Market initially housed some avant-garde art installations, but it has since seemingly closed its doors for good. According to Gothamist, it’s to be razed to create — what else? — more condos.
Seward Park Handball Court
Essex Street between Grand and Hester Streets
From the moment Sam and Izzy meet, he makes no effort to hide his ardor. In fact, I’d say he uses every weapon in his arsenal to demonstrate his interest — even going so far as to try to impress her with his handball skills when she unexpectedly drops by the court. (You might also clock his CUNY sweatshirt, as I most certainly did.) The handball court is still there, should you decide you want to play a pickup game, but sadly the court’s colorful mural depicted in the film has since been painted over.
Bonus: Gray’s Papaya
2090 Broadway
While this article is focused on the film’s Lower East Side locations, and with good reason, we’d be remiss if we didn’t point out that one important New York institution Izzy visits triumphantly remains: The Upper West Side Gray’s Papaya. There, Izzy celebrates her birthday with a friend and a hot dog — the right way to do it, in my opinion — when a woman bursts in singing “Some Enchanted Evening,” for everyone and no one in particular. It’s one of many of the film’s classic New York moments.
What’s Been Replaced
Steinberg’s Dairy
21 Essex Street
When Izzy emerges from that train at Delancey Street, director Silver takes great care to immerse us in this world. The camera stays on Izzy as she walks from the subway to Bubbe’s apartment, passing a host of local businesses along the way. Among them is Steinberg’s Dairy, which once lived at 21 Essex Street. Steinberg’s Dairy, which also had an Upper West Side location, offered staples like herring, egg salad and vegetarian chopped liver for less than a dollar back in 1941. Today, if you’re in the area, you can grab a drink at the punk rock bar Clockwork, which opened in 2013.
Zelig Blumenthal
13 Essex Street
Izzy also takes us by Zelig’s Blumenthal (also known as Z & A Kol Torah), where three older women sit outside, enjoying the sights and sounds around them. Once a popular Judaica store, it unexpectedly closed its Lower East Side doors in 2010 after 60 years in business. At the time, then-owner Mordechai Blumenthal made the decision to relocate the store to Flatbush due to a dwindling Orthodox population and foot traffic in the area, and a landlord who made clear he “wanted him gone.” It’s unclear if the Flatbush location remains open today, but a vintage clothing store called Country Of has taken up its original spot.
Posner’s Pickles (AKA Guss’ Pickles)
35 Essex Street
Posner’s Pickles, as run by Sam the Pickle Man in the film, was never exactly a real place to begin with. Filming took place at the world-famous Guss’ Pickles, which first opened on Hester Street in 1920, before relocating to Essex Street, where there were once over 80 pickle vendors for locals to choose from. After a stint on Orchard Street, Guss’ Pickles followed in the footsteps of so many others by then, leaving Manhattan to open up shop in Brooklyn’s Dekalb Market in 2017. While Guss’ Pickles is today based out of the Bronx, their delicious pickles are available to order no matter where you are in the country, via Goldbelly. Today, 35 Essex Street is home to Delancey Wine — appropriately named, but doesn’t offer possibilities for a slogan like “a joke and a pickle for only a nickel,” as Posner’s Pickles did in the film.
Schapiro’s Kosher Wines
124 Rivington Street
For 100 years, Schapiro’s Kosher Wines proudly served the Jewish community as the only kosher winery in New York City. It’s where Bubbe chides Izzy for her lack of interest in Sam, and while today the pair couldn’t have this conversation outside Schapiro’s, they could grab brunch at the restaurant Essex. Home to New York City’s “longest-running Brunch Party,” Essex salutes its Lower East Side roots with dishes like potato pancakes and Israeli couscous.
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Carrie Prejean Boller ousted from White House Religious Liberty Commission following antisemitism row
(JTA) — Catholic right-wing activist Carrie Prejean Boller has been removed from the White House Religious Liberty Commission over what the chair called her “political agenda” during a public hearing on antisemitism this week.
The announcement of Prejean Boller’s removal by Texas Lt. Gov. Dan Patrick, an evangelical Christian, on Wednesday came after Prejean Boller spurned calls to resign from her post amid mounting backlash over her remarks on Monday.
“Carrie Prejean Boller has been removed from President Trump’s Religious Liberty Commission,” Patrick wrote in a post on X. “No member of the Commission has the right to hijack a hearing for their own personal and political agenda on any issue. This is clearly, without question, what happened Monday in our hearing on antisemitism in America. This was my decision.”
During Monday’s hearing, Prejean Boller, who was named to the commission in June, argued that anti-Zionism is not antisemitic and said her Catholic faith prohibits her from supporting Israel.
“I’m a Catholic, and Catholics do not embrace Zionism, just so you know, so are all Catholics antisemites?” said Prejean Boller, who wore a pin depicting the American and Palestinian flags.
She also defended conservative influencers Candace Owens and Tucker Carlson against antisemitism allegations, later receiving praise from Owens on social media for her defense.
Following Patrick’s announcement of Prejean Boller’s removal, Owens decried the decision in a post on X, which featured a host of antisemitic conspiracy theories.
“Carrie didn’t hijack anything. You hosted a performative Zionist hearing meant to neuter the Christian faith. Carrie spoke truth, as a Catholic, and Christians, the Truth cannot be defeated. Zionists are naturally hostile to Catholics because we refuse to bend the knee to revisionist history and support the mass slaughter and rape of innocent children for occult Baal worshipers. Your decision will only further the Christian enlightenment which is taking place in this country. And for that, we thank you. ✝️,” wrote Owens in the post, which was reposted by Prejean Boller. “@CarriePrejean1 said no to selling her soul.”
Prejean Boller’s removal drew praise from Shabbos Kestenbaum, an antisemitism activist who was invited to speak on Monday’s panel and had previously called for Prejean Boller’s removal.
“We spoke about Christian Americans and Jewish Americans being under assault. She was interested in discussing the Middle East and non advancing American religious liberties. THANK YOU,” tweeted Kestenbaum.
The post Carrie Prejean Boller ousted from White House Religious Liberty Commission following antisemitism row appeared first on The Forward.
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Art theft, angels and neo-Nazis force a reckoning with the past in ‘The Tavern at the End of History’
Tavern At The End of History
Morris Collins
Dzanc Books, 326pp, $27.95
In Morris Collins’ novel about two directionless adults on the hunt for a famous work of art presumed to have been stolen during the Holocaust, one character theorizes that “the only way towards a moral life” is to let go of the past. But Tavern At the End of History a follow up to Collins’ debut novel — the post-colonial thriller Horse Latitudes — is all about remembering, even that which is painful, and reckoning with it.
When readers are first introduced to Jacob, his inappropriate remarks to a student have cost him his professorship and his marriage, and he’s become an alcoholic. At a park in Brooklyn, he meets Baer, an impoverished Orthodox man living in a ramshackle apartment with only a fat orange cat to keep him company. As it turns out, they are both connected to the disgraced Kabbalah scholar Alex Baruch.
After meeting Baruch at a conference in Berlin, Jacob became a devoted follower. Even after Baruch was exposed for lying about being a German Holocaust survivor, Jacob remained loyal and has agreed to meet with Baruch at his sanitarium in Maine the same weekend Baruch plans to auction off a sketch by the deceased Jewish artist Alexander Lurio.
Baer reveals that the sketch had belonged to his family before the war, but, he says, it was confiscated by the Nazis. Jacob agrees go to Maine and look for the sketch with Baer’s cousin Rachel, an art historian still reeling from her husband’s suicide after she helped him leave the Orthodox community. But art isn’t the only interesting thing on Baruch’s private island. There are neo-Nazis, an erotic statue garden, otherworldly entities, and an eccentric group of Jews, although it’s unclear if they are fellow visitors of the sanitarium or patients.
Jacob, Rachel, and the other Jews at the sanitarium are incessantly haunted by the past — for Baruch, this becomes literal, when a friend he presumed had died in the Holocaust appears at his doorstep. The oddball group spends their five days in Maine, primarily telling stories about their trauma, all linked to the Holocaust either through their own experiences or those of their parents. It may be doubtful that there is any sense to be derived from tragedy, but they try their very best.
For Baruch, this means trying to justify lying about his past and doing unspeakable things to make his life easier. Jacob funnels his confusion into philosophical debates about how — or even if — the Holocaust and Israel should be understood in relation to one another. Rachel seems to believe misfortune can be rectified as she hunts for the stolen Lurio sketch.
The book often veers into unsettling territory, sometimes painting overwhelmingly disturbing scenes from the Holocaust, but Collins’ illustrative writing keeps the story engaging, even in its bleakest moments. His world-building is so convincing it’s almost incomprehensible that the Lurio works are fictionalized. Even the enigmatic Alex Baruch and the fake writings Collins “quotes” from feel real.
Because the book takes place in 2017, some of its musings on Israel and antisemitism feel less jarring than they could be. The characters watch the Charlottesville Unite the Right rally on the television, scenes that could now easily be substituted with more alarming images of government officials cozying up to neo-Nazis. The discussions about the Holocaust and Zionism feel less edgy than they may have almost a decade ago, as so much new scholarship questioning the role of memory and trauma in the creation of Israel has come out.
The book ends with some ambiguity about what exactly transpires on the island and how our characters will be able to move on. Still, Collins crafts a compelling art mystery, buttressed by a tale of a group of lost souls trying to find meaning in a world that sometimes feels hopeless.
The post Art theft, angels and neo-Nazis force a reckoning with the past in ‘The Tavern at the End of History’ appeared first on The Forward.
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Netanyahu returns to Washington — this time to shape a deal with Iran, not fight one
When President Donald Trump and Israeli Prime Minister Benjamin Netanyahu meet at the White House today – their 6th meeting in the U.S. in the last year – their discussion will focus on a shared commitment to confronting the Iranian nuclear threat, but the stakes are different for each of them.
For Trump, a nuclear agreement could cement his legacy as a peacemaker, perhaps even earn him a long-coveted Nobel Peace Prize. For Netanyahu, a deal could bolster his political standing back home in a difficult election year.
In 2015, when President Obama was on the verge of signing a nuclear deal with Iran, Netanyahu cast himself as the indispensable interpreter of the Iranian threat to Washington, as he has again. But back then, Netanyahu came to publicly oppose what he called “a very bad” Iran deal, pushing back against the U.S. president. Now, he is visiting the White House with the hope of shaping U.S. policy on Iran, not challenging the president.
Trump has described the first round of discussions with Iran as “very good,” even as U.S. aircraft carriers and other military assets build up in the region. He has insisted that Tehran is “wanting to make a deal very badly.” Israel, for its part, has made clear that any agreement must go beyond limits on uranium enrichment and also address Iran’s ballistic missile program and its network of regional proxies – Hamas, Hezbollah, the Houthis – that have been attacking Israel.
Netanyahu has said he plans to present the president with Israel’s approach to the nuclear talks led by Trump’s close advisers, son-in-law Jared Kushner and Mideast envoy Steve Witkoff.
Netanyahu is betting that intimacy equals influence. That being the leader who shows up in person — again and again — ensures Israel is not outflanked as decisions are made. Last June, that strategy appeared to pay off. Netanyahu launched a charm offensive aimed at drawing Trump into a more active role in dismantling Iran’s nuclear program. If talks fail, Trump could act again. “Either we will make a deal, or we will have to do something very tough like last time,” Trump told Axios.
But the frequency of these meetings also reflects some vulnerability. It showcases a prime minister who cannot afford distance and disagreement with the White House.
The domestic clock is ticking
The longest-serving Israeli leader is facing a real risk that Israel’s legislature, the Knesset, will dissolve in the coming weeks if his coalition fails to resolve the explosive issue of military conscription for Haredi yeshiva students. The Haredi parties have threatened to vote against the budget ahead of the March 31 deadline — a move that would trigger elections as early as June.
If Netanyahu emerges from the White House visit with rhetorical alignment or symbolic support, he could buy himself time and political oxygen.
These gestures matter for Israel, where the education minister, Yoav Kisch, has formally invited Trump to attend the Israel Prize ceremony on Independence Day in Jerusalem to receive the prestigious award for a “Unique Contribution to the Jewish People.” Israeli officials have also invited him to participate in the annual torch-lighting ceremony, one of the most emotionally charged moments on the Israeli civic calendar.
If Trump accepts the invitation and travels to Israel again, it would be a political gift of the highest order. For Netanyahu’s supporters, that imagery could energize turnout and blunt opposition momentum. For undecided voters, it reinforces a familiar argument: Whatever Netanyahu’s flaws at home, replacing him would risk destabilizing Israel’s most important relationship abroad and its closest ally in any confrontation with Iran.
But Trump’s current position on Iran may still cross Netanyahu’s red lines. And Trump has shown before that he is willing to act unilaterally, even without backing from allies.
Still, he is very popular in Israel, and that benefits Netanyahu. A new survey by the Jewish People Policy Institute showed that 73% of Israelis rate Trump as a better-than-average U.S. president for Israel’s interests and 54% of Jews in Israel view Trump as one of the best presidents in U.S. history.
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