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With her ‘Totally Kosher’ cookbook, Chanie Apfelbaum aims for a wider audience
(New York Jewish Week) — Chanie Apfelbaum’s newest cookbook, “Totally Kosher,” is filled with many inventive, flavor-packed recipes, like “Miso Matzo Ball Soup,” “Berbere Brisket” and “Pad Chai,” a shrimp-free version of the Thai staple.
But while the book is designed for kosher-keeping observant Jews like herself, Apfelbaum — who boasts 101,000 followers on Instagram and runs the popular Jewish lifestyle blog “Busy in Brooklyn” — had a larger audience in mind. Her first book, “Millennial Kosher,” published in 2018, is now in its sixth printing and is available in just about every Judaica store across the country. With her second effort, however, “I wanted to reach a larger demographic,” Apfelbaum, 42, told the New York Jewish Week. “I wanted to reach people that don’t necessarily know what kosher is.”
That’s how Apfelbaum ended up publishing “Totally Kosher” with Clarkson Potter, an imprint of the Crown Publishing Group and publisher of cookbooks by culinary megastars like Ina Garten and Alison Roman. When Raquel Pelzel, the editorial director of cookbooks at Clarkson Potter approached Apfelbaum in 2019 about writing a cookbook — pitched as a “celebration of kosher,” as Apfelbaum recalls it — she immediately said yes.
“I was so excited,” Apfelbaum said.
“We hadn’t published a kosher cookbook in a really long time and, with Instagram and social media, there is obviously a massive kosher community,” Pelzel told the New York Jewish Week. “To not publish a kosher cookbook seemed like a huge omission and a hole on our list.”
“When I scout for authors, I look for someone whose recipes look delicious, original and creative and who has a really strong voice and is clear who their audience is,” Pelzel added. “Chanie certainly has all that.”
Apfelbaum’s decision to go with a mainstream publisher mean the book would appear in “regular” bookstores — and not just Judaica stores — but the change meant some new challenges. One hurdle was the publisher’s decision to feature a large, color photo of Apfelbaum on the book’s rear cover — a decision that could be considered controversial in the haredi Orthodox world where many publishers refrain from showing photos of women in the interest of sexual “modesty.” (Apfelbaum’s photo does not appear anywhere in “Millennial Kosher,” published by Artscroll/Shaar Press, which serves the haredi market. A spokesperson for ArtScroll said that, to date, they have not featured any photographs of women in their cookbooks, but “we are not against putting pictures of women in our books.”)
“If my photo is on the back of the book, maybe the Judaica stores really won’t take it,” Apfelbaum recalled thinking when she was sent a mockup of the cover. “I called friends in the publishing industry. I called Judaica shops and asked if my photo is on the back cover, are you going to carry the book?” The answers, Apfelbaum said, were mixed.
And yet, she didn’t back down or ask for a change in the cover. “I was like — you know what? I’m doing this for my daughters, I’m doing this for the women out there,” she said. “There is nothing wrong with having a photo of a Jewish woman on the back of the book. I’m just doing it, and I stand behind it.”
Fortunately, validation came quickly. “When I walk down the street in my neighborhood [of Crown Heights], I pass Hamafitz Judaica and they have two books in the window — one of the front cover of my book, depicting my Pad Chai, and one of the back.”
Apfelbaum’s mother, Devorah Halberstam, a prominent member of Crown Heights’ Chabad community, couldn’t be prouder. Her first-born son, Ari Halberstam, was killed in 1994 when a Lebanese-born man shot at a van filled with Chabad Lubavitch students, killing Ari and wounding three others. In the aftermath, Halberstam fought tirelessly to have his murder formally classified as a terrorist attack, which eventually happened in 2005. She was also a founder of the Jewish Children’s Museum, which was dedicated to the memory of her son.
Of all people, Halberstam understands the power of a photo. “At Ari’s yahrtzeit [anniversary of his death], I tweet things out,” she told the New York Jewish Week, noting that her son died 29 years ago. “I got 85,000 responses because I put his picture up there. Pictures make you stop. They make you pause.”
Photos, she added, “personalize everything. A story is not a story without pictures. It makes it real. It comes to life.”
Apfelbaum agrees, feeling that her decision to include photos of herself, her boys in their tzitzit (ritual prayer fringes) and her children around a table, is “a huge step in the Orthodox world.”
“I’m doing this because I think this is something that has to change,” she said. “Jewish women should be celebrated just like men.”
As a child, Apfelbaum said, she was a rule-follower who was drawn to the creative world. “I got very into artistic projects for school,” she said. “I loved drawing and craftsy, artsy things.”
Apfelbaum’s culinary journey began in 2002 when she was 22 and newly married. Apfelbaum’s mother had been the chef in the Halberstam home, and Apfelbaum was raised on what she calls “brown food” — matzah ball soup, gefilte fish, potato kugel. She came to her marriage skilled as a web designer but not knowing how to boil an egg. Her Syrian/Argentian/Jewish mother-in-law introduced her to ingredients like rosewater and dishes like empanadas, piquing Apfelbaum’s interest.
“When I started cooking, I was always very artistic and looking for ways to put color in my food and plate it nicely,” said Apfelbaum. “I would make my mom’s recipes. But when I started hosting friends and putting out a spread, with menus and plated meals, I remember thinking, ‘Wow, this is beautiful. Such a beautiful way to express my artistic side.’”
When Apfelbaum left her web design job after the birth of her third child in 2010, she poured her creative juices into her nascent cooking and photography skills, and her family encouraged her to start her own blog. In 2011, she launched “Busy in Brooklyn” — at the time she was raising three children under 5, running a home and teaching Hebrew while taking knitting and crochet classes.
Her first post, in January of that year, was for sauteed chicken cutlets topped with canned dark sweet cherries. Later that year, she gave her first cooking class for the teachers at her children’s school.
In 2013, she enrolled in a program at the Center for Kosher Culinary Arts (now closed). “I started to seek out different cultural dishes and put my kosher Jewish spin on it,” she said. She also took a photography class.
The following year, her recipe for “Drunken Hasselback Salami” — a whole salami sliced, coated in a sauce of jam, brandy and mustard, then baked until crispy — went viral. Later that year, she was featured on the front page of the Wall Street Journal for her creative spins on the traditional Ashkenazi Hanukkah treat, latkes. In 2015, she made the first of many out-of-town food demonstrations, traveling to Montreal to prepare harissa chicken sliders with preserved lemon carrot slaw and a marble halvah mousse.
These recipes, among others, made it into “Millennial Kosher.” And although Apfelbaum swore that she would never write another cookbook because of all the work involved, that call in 2019 from Clarkson Potter made her rethink her decision. Apfelbaum’s global recipes — such as “Nachos Bassar,” nachos with hummus, Israeli salad and pickles — and how she “bounces off of trends that are happening in social media, in restaurants,” as Pelzel describes her, are what drew the mainstream publisher to Apfelbaum
“From the first time I met Chanie, I understood why she was the obvious choice to make kosher cool,” Apfelbaum’s mentor and fellow cookbook author Adeena Sussman told the New York Jewish Week via text. “She’s wildly passionate about her food and her Judaism, and makes no apologies for either.”
“Add to that her natural warmth, sense of humor and willingness to share the ups and downs of life with her followers, and you’ve truly got a recipe for success,” Sussman added.
And there have been plenty of ups and downs: After signing her book contract in 2019, Apfelbaum became a single mom due to divorce. She was also hospitalized with COVID-19 (as was one of her kids) and lost her sense of smell and taste, at a time when nobody knew that this was a side effect of the virus.
Fortunately, Apfelbaum has since regained her sense of taste and smell, and she remains very busy in Brooklyn — and elsewhere. In July, she is leading a food tour in Italy where her group will make gelato, hunt for truffles and taste olive oil. She hopes to continue culinary travel in the future. She has just come out with a line of her own spices called TK (as in “Totally Kosher”) Spices; her first two products are the Yemenite spice mix, hawaijj — one for savory foods and one for coffee, which has a sweet profile. With “Totally Kosher” now in its third printing, she is looking to (finally) hire an assistant and find work space outside of her home.
“There were many times I said I don’t have the emotional bandwidth and strength to do this book — I wanted to give up,” Apfelbaum said. “My friends believed in me and pushed me and made it happen. When I look at this book, I see so much more than recipes. It was really a journey for me.”
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A play about racism in America was a hit in Warsaw in 1935
„מיסיסיפּי“ פֿון לײב מלאך האָט געבראַכט די אַמעריקאַנער ראַסע־פּראָבלעם אױף דער ייִדישער בינע אין פּױלן
סקאָטסבאָראָ, אַ שטעטל אין אַלאַבאַמע, איז אין די 1930ער יאָרן באַקאַנט געװאָרן איבער דער גאַנצער װעלט צוליב דעם געריכט־פּראָצעס איבער נײַן אַפֿריקאַנער־אַמעריקאַנער יונגע לײַט, װעלכע זײַנען פֿאַלש באַשולדיקט געװאָרן אין פֿאַרגװאַלדיקן צװײ יונגע װײַסע פֿרױען.
די געריכט־פּראָצעסן האָבן זיך געצויגן פֿון 1931 ביז 1937 און האָבן אַרויסגערופֿן אַ סך אױפֿמערק צוליב זײערע אױסגעשפּראָכן ראַסיסטישע פּניות. ייִדישע ליטעראַטן האָבן געװידמעט דעם דאָזיקן ענין אַ היפּשע צאָל אַרטיקלען, רעפּאָרטאַזשן און ליטעראַרישע װערק.
צװישן די קינסטלערישע אָפּקלאַנגען אױף דעם סקאָטסבאָראָ־ענין איז געװען די דראַמע פֿון לײב מלאך (אַריה לײב זאַלצמאַן, 1894־1936) „מיסיסיפּי“, װאָס דער באַרימטער פּױליש־ייִדישער רעזשיסאָר מיכאל װײַכערט האָט אױפֿגעפֿירט אינעם װאַרשעװער „יונג־טעאַטער“ אין 1935.
דער טעקסט פֿון דער פּיעסע איז פֿאַרעפֿנטלעכט געװאָרן נאָך מלאכס טױט אין לאָס־אַנדזשעלעס אין 1949. איצט איז „מיסיסיפּי“ אַרױס אין דער ענגלישער איבערזעצונג פֿון עלען פּערעצמאַן און אַליסע קװינט, אונטער דער רעדאַקציע פֿון אַליסע קװינט.
קװינטס גרונטיק געפֿאָרשטער הקדמה דערצײלט די געשיכטע פֿון דער דאָזיקער מערקװירקידער אױפֿפֿירונג.
„מיסיסיפּי“, האַלט קװינט, איז אינטערעסאַנט הײַנט ניט אַזױ װי אַ װערק פֿון קונסט נאָר װי אַ „װערק פֿון דער הומאַניסטישער עמפּאַטיע“ און די ערשטע פּיעסע װעגן אַמעריקאַנער ראַסיזם אױף דער פּױלישער (ניט נאָר ייִדישער) בינע.
אָבער װײַכערטס טעאַטראַלישע אױפֿפֿירונג איז טאַקע יאָ געװען אַ װיכטיקע טעאַטראַלע דערשײַנונג. די 1930ער יאָרן זײַנען געװען די בלי־תּקופֿה אין דער ייִדישער טעאַטער־געשיכטע, װען דער ייִדישער טעאַטער איז געװען אָפֿן צו אַנדערע קולטורן, דערקלערט קװינט. דעמאָלט האָט מען אױפֿגעפֿירט אױף ייִדיש דראַמאַטישע װערק פֿונעם אַמעריקאַנער דראַמאַטורג יודזשין אָ׳ניל, דעם פֿראַנצױזישן שרײַבער ראָמען ראָלאַן, דעם דײַטשישן מחבר פֿרידריך װאָלף און אַנדערע.
לכתּחילה איז װײַכערט ניט געװען זיכער, אַז דער ענין פֿון ראַסיזם אין אַמעריקע װעט געפֿינען אַן אָפּקלאַנג בײַם פּױליש־ייִדישן עולם. אָבער ער האָט געגלױבט, אַז זײַנע „פּראָגרעסיװע צושױער“ װעלן דערקענען אין די אַפֿריקאַנער־אַמעריקאַנער פּערסאָנאַזשן פּשוטע מענטשן און אַרבעטער גלײַך װי די פּױלישע ייִדן.
„מיסיסיפּי“ האָט װײַכערט אױפֿגעפֿירט אינעם סטיל פֿון אַװאַנגאַרד. די פּיעסע האָט העכער װי 30 פּערסאָנאַזשן, װאָס זײַנען געטײלט אין צװײ גרופּעס, שװאַרצע און װײַסע. די פּױליש־ייִדישע אַקטיאָרן האָבן געשפּילט אין „בלעקפֿײס“, מיט שװאַרץ־געשמירטע פּנימער.
הײַנט באַטראַכט מען אַזאַ שטיק װי אַ סימן פֿון ראַסיזם, אָבער עס װאָלט געװען ניט קאָרעקט צו משפּטן דעם ייִדישן טעאַטער אין פּױלן אין די 1930ער יאָרן לױט די איצטיקע השׂגות.
מען האָט געשפּילט דעם ספּעקטאַקל אױף דרײַ רונדע בינעס, געשטעלט אין דער מיט פֿונעם זאַל. די צוקוקער האָבן געדאַרפֿט פֿאָלגן דאָס ליכט, װאָס האָט באַשײַנט אײן בינע נאָך דער צװײטער, װוּ פֿאַרשײדענע גרופּעס אַקטיאָרן האָבן געשפּילט עפּיזאָדן פֿון דער דראַמע. דער עולם האָט זיך געפֿילט אין דער מיט פֿון די געשעענישן, װאָס האָבן זיך אַנטפּלעקט אַרום זײ.
די דאָזיקע בינע־אַראַנזשירונג האָט באַטאָנט דעם קאָנטראַסט צװישן דער „װײַסער“ און דער „שװאַרצער“ װעלט. אין אײן עפּיזאָד זעט מען װאָס ס׳קומט פֿאָר אױף דער באַן צװישן די אַפֿריקאַנער־אַמעריקאַנער און די װײַסע פֿרױען, דערנאָך װערט מען איבערגעטראָגן אין דער דירה פֿון די פֿרױען, װוּ זײ באַדינען זײערע װײַסע מאַנצבלישע „קליענטן“; װײַטער רוקט זיך די האַנדלונג אינעם געריכטזאַל, און אַזױ װײַטער. יעדער עפּיזאָד האָט אַן אײגענע דראַמאַטישע אינטריגע, װאָס האַלט די צוקוקערס געשפּאַנט.
מלאך איז געװען אַ געניטער זשורנאַליסט און האָט געשריבן רעפּאָרטאַזשן פֿון פֿאַרשײדענע לענדער פֿון אײראָפּע, אַמעריקע און פֿון ארץ־ישׂראל. ער האָט אָנגעזאַמלט מאַטעריאַלן װעגן דעם סקאָטסבאָראָ־ענין, װאָס איז צו יענער צײַט נאָך ניט געהאַט פֿאַרענדיקט געװאָרן.
מלאך האָט באַשלאָסן ניט צו שרײַבן קײן „דראַמאַטישן רעפּאָרטאַזש“ און האָט אױסגעטראַכט אײניקע פּרטים, װאָס האָבן אים דערלאָזט דערקלערן דעם אַמעריקאַנער פּאָליטישן און געזעלשאַפֿטלעכן קאָנטעקסט פֿאַרן פּױליש־ייִדישן עולם.
אין דעם שײכות קאָן מען זיך דערמאָנען אָן אַן אַנדער פּיעסע פֿון די 1930ער יאָרן אינעם זשאַנער פֿון געריכט־רעפּאָרטאַזש, אַלטער קאַציזנעס „שװאַרצבאַרד“. פֿאַר זײַן פּיעסע האָט קאַציזנע גענוצט מאַטעריאַלן פֿונעם פּאַריזער משפּט איבער שלום שוואַרצבאַרדן — דעם ייִדישן זייגערמאַכער, וועלכער האָט דערהרגעט דעם אוקראַיִנישן נאַציאָנאַליסט סימאָן פּעטלוראַ כּדי זיך נוקם צו זײַן פֿאַר די בלוטיקע פּאָגראָמען בעתן בירגערקריג אין אוקראַיִנע אין 1918־1919. דער פֿראַנצױזישער געריכט האָט אים דערקלערט פֿאַר אומשולדיק.
אין 1934 האָט די פּױלישע מאַכט פֿאַרװערט צו שפּילן „שװאַרצבאַנד“ אין װאַרשע װײַל מען האָט מורא געהאַט פֿאַר אוקראַיִנישע נאַציאָנאַליסטן אין פּױלן. אין דער געשפּאַנטער פּאָליטישער אַטמאָספֿער פֿון די 1930ער יאָרן האָט מען געדאַרפֿט זײַן אָפּגעהיט, און מלאך און װײַכערט האָבן אױסגעקליבן אַ „פּאַרעװען“ קעפּל, „מיסיסיפּי“. דאָס װאָרט סקאָטסבאָראָ איז צו יענער צײַט באַלאָדן געװאָרן מיט לינקע פּאָליטישע אַסאָציאַציעס.
סך־הכּל האָט מען געשפּילט „מיסיסיפּי“ בערך 200 מאָל אין פֿאַרשײדענע שטעט אין פּױלן. די ייִדישע פּרעסע פֿון כּלערלײ פּאָליטישע שאַטירונגען אױף ייִדיש און פּױליש האָט מיט התלהבֿות געלױבט דעם ספּעקטאַקל. דער קריטיקער משה קאַנפֿער האָט געשריבן, אַז „ייִדן און אַפֿריקאַנער־אַמעריקאַנער זעען אין זיך אַ קעגנזײַטיקע אָפּשפּיגלונג פֿון אײנעם אינעם צװײטן“.
די ענגלישע איבערזעצונג איז זײער פֿליסיק. די רײד פֿון די פּערסאָנאַזשן קלינגט װי די אַמעריקאַנער שמועסשפּראַך פֿון די 1930ער יאָרן, װאָס איז גוט באַקאַנט לױט די דראַמאַטישע װערק פֿון יענער צײַט. כּדי אָפּצוהיטן דעם צײַטגײַסט האָט די איבערזעצערין באַשלאָסן צו נוצן די װערטער װי „נעגראָ“ און אַפֿילו דאָס „נ־װאָרט“, װאָס זענען הײַנט װי באַלײדעװדיקע נעמען פֿאַר אַפֿריקאַנער־אַמעריקאַנער.
אַן אַנדער פּראָבלעם פֿאַר דער איבערזעצונג האָט צו טאָן מיט די ענגלישע װערטער, אַזעלכע װי „מיס“, „קאָנדאָקטאָר“, „באָי“, מיט װעלכע מלאך האָט באַפֿעפֿערט זײַן טעקסט כּדי צו שאַפֿן אַן אַמעריקאַנער קאָלאָריט. אין דער איבערזעצונג זײַנען די דאָזיקע װערטער באַצײכנט געװאָרן מיט שטערנדלעך.
דער ענין פֿון ראַסע און ראַסע־באַציִונגען איז אין די לעצטע פּאָר צענדליק יאָר געװאָרן אַ װיכטיקע טעמע אין ייִדיש־פֿאָרשונג. דאָס איז אַ ניצלעכער מעטאָדאָלאָגישער קוקװינקל, װאָס לאָזט פֿון דאָס נײַ באַטראַכטן די מאָדערנע ייִדיש־קולטור. אָבער ביז הײַנט האָט מען דער עיקר באַהאַנדלט דעם אַמעריקאַנער מאַטעריאַל.
די פּובליקאַציע פֿון „מיסיסיפּי“ איז אַ װיכטיקער בײַטראָג אין דער דאָזיקער בראַנזשע פֿון ייִדיש־פֿאָרשונג. זי באַװײַזט, אַז די פּראָבלעם פֿון ראַסיזם אין אַמעריקע האָט געהאַט אַן אָפּקלאַנג אױך בײַ ייִדן אין מיזרח־אײראָפּע.
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Nithya Raman, LA mayoral candidate who clashed with DSA on Israel, wins their endorsement
Ever since Councilmember Nithya Raman’s last-minute entry into the Los Angeles mayoral race, questions have loomed about her relationship with the Democratic Socialists of America — and whether her stance on Israel would chill the group’s support for her underdog campaign.
Raman, a dues-paying DSA member, had criticized the group for a statement the national organization made after Oct. 7. In 2024, she was censured by the LA chapter for courting a pro-Israel group in her campaign for re-election to city council.
But following weeks of debate in the local chapter, Raman won its official endorsement Wednesday, paving the way for the leftist group to organize for her campaign to unseat incumbent Mayor Karen Bass.
The endorsement, which reportedly came with the support of more than 60 percent of some 1,400 voting members, vindicated Raman’s breaking with the group on Israel and other issues. It also comes after the councilmember stated definitively that she believed the war in Gaza constituted a genocide — a basic litmus test inside the hardline anti-Zionist group.
Raman, 45, seemed to allude to the conflict in a statement thanking the organization.
“This endorsement means something because of what it represents: a coalition of people who don’t always agree on every question, but who agree that LA needs real change,” Raman wrote on Instagram, adding. “It’s not about everyone thinking alike. It’s about building power together toward the same goal.”
The contentious endorsement process around Raman, one of the group’s national success stories and its first member to win citywide office in Los Angeles — three more have since joined her on city council — underscored the fierce ideological commitments in the DSA. Yet its outcome may not be entirely in her favor, as mainstream Jewish groups have come to hold DSA and its candidates in contempt.
Raman has rarely fit neatly into the group’s political conventions. On Oct. 7, 2023, when more than 1,200 people were killed in Israel, the national DSA club publicly blamed Israel for incurring the Hamas-led attack. Raman — whose district included heavily Jewish neighborhoods like Hancock Park and Sherman Oaks — had quickly issued a statement standing with her Jewish and Israeli constituents. A few days later, she also disavowed the DSA response, calling it “unacceptably devoid of empathy.”
Her positions on the Middle East frustrated Israel’s supporters, too. In June 2024, she helped pass a resolution calling for a ceasefire and release of hostages, infuriating the local Jewish federation and other Jewish groups, which said she was selling out Israel’s ability to defend itself.
Nevertheless, she earned the backing of Democrats for Israel-Los Angeles in her run for re-election that year, with the president of the liberal Zionist group crediting her statement that Israel had a right to exist and her general engagement with Jewish constituents. Outraged, DSA’s members voted to censure her.
In the runup to June’s mayoral primary, Raman joined the livestream of leftist firebrand Hasan Piker, telling him she agreed that it was committing genocide in Gaza. But DSA did not endorse any candidate in the June 2026 primary — even as Raman was locked in a tight race with the conservative reality star Spencer Pratt for a spot in the November runoff. (Another DSA candidate, Rae Huang, placed a distant fifth.)
Asked whether she believed Israel was an apartheid state, Raman said, “Yeah, I think that they’re treating people unfairly, that they’re not treating people equally, and I’m critical of that.”
Israel is not the only wedge issue for Raman in DSA. She split with the group — and her democratic socialist peers on city council — on a local “mansion tax,” saying that it discouraged new multifamily housing construction. And she was one of only two councilmembers who railed against a controversial multibillion-dollar expansion of the LA convention center — even as the other DSA members, who have strong backing from the building trades unions, voted for it.
The debate within DSA was framed as ideological purity versus political pragmatism. Bass, a historically unpopular incumbent whose tenure included the most catastrophic wildfire the city had seen in decades, has governed as a centrist Democrat; though Raman is broadly aligned with DSA policy, some of the group’s members who opposed the endorsement wrote in a communist magazine this week that it should not be “rewarded based on ideological proximity.”
The DSA’s endorsement was the second major pickup for Raman in the last week; the powerful hospitality workers union, Unite Here Local 11, officially threw its support behind Raman Tuesday, though organized labor still largely backs Bass.
Now a new question emerges: whether the endorsement of a group with a few thousand members came too late. Peer-to-peer betting markets currently have Bass as a roughly 2-to-1 favorite.
Sean Wakasa, co-chair of the Los Angeles DSA chapter, told The New York Times the group was warming to the challenge.
“We have thousands of members who are ready to organize, talk to their neighbors, knock on doors and build power to shake up Los Angeles and build a brighter future,” Mr. Wakasa said.
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Why is this chef opening a kosher Israeli restaurant in LA right now?
How do you explain Malka, the new kosher Israeli restaurant in Beverly Hills?
I’m not talking about the food — I haven’t eaten there yet — I’m talking about the fact that it’s opening at all. Why would Eyal Shani — many of whose restaurants worldwide have faced protests, vandalism and physical attacks — dare to open another restaurant at this particularly fraught time?
“The whole situation is leading me to open more, more, more,” Shani told me when we met last week. “That is my reaction as a Jewish man. If they are trying to kill you, you should make a lot of children. And these are my children.”
We were sitting in the empty restaurant on the ground floor of the boutique SIXTY Hotel. Shani, who is 67, wore a T-shirt and dark khakis. With his stubbly beard and unruly gray hair, he could pass for an intense, very post-grad philosophy major. He put a plate of farmers market green grapes between us.
The night before, at a pre-opening event for journalists, influencers and, it seemed, models, the same space was packed. Piles of fresh raw vegetables — a Shani signature — filled the long bar counter along with perfect rectangles of toasted focaccia topped with either steak tartare or smoky eggplant caviar. The crowd swelled, the music blared, trays of mojitos and palomas disappeared. It was signature Shani — a frolic of nature, noise and Israeli food.
Now, the large, modern space — a rare high-end restaurant in Los Angeles’ ever-struggling kosher restaurant scene — was quiet. Shani leaned back into an earth-toned banquette and reflected for a moment on how those two words, “Israeli food,” have become so toxic, especially following Oct. 7.
Demonstrators accuse Israeli chefs of passing Palestinian food off as Israeli and of being complicit in their government’s actions. Shani’s business partner, Shahar Segal, did engage in marketing work with the Gaza Humanitarian Foundation, the controversial U.S.-Israeli organization established to feed Gazans. But Israeli restaurants around the world with no such involvements have faced similar protests, as have Jewish-owned restaurants with no ties to Israel.
Malka’s opening follows the closure of Shani’s restaurants Miznon in Melbourne and Gila & Nancy in Berlin, both targeted by mobs chanting anti-Israel slogans.
The rioters in Melbourne entered MIznon, threw chairs, chanted “Death to the IDF!” and only stopped when the two owners of a nearby pizza place — both Lebanese — confronted them.
“In the end, they succeeded to kill the restaurant,” Shani said. “They almost killed our staff there.”
Shani happened to be at the restaurant in Berlin when dozens of protesters surrounded it, shouting, “Stop feeding genocide!”
He raced into the kitchen, put together some food platters and went outside to offer the demonstrators the opportunity to eat and talk.
“They didn’t want to eat,” he said. To them, he added, “Eating from an Israeli is like eating from Satan.”
Shani rejected the charge commonly leveled at Israeli chefs — that they have stolen Palestinian foods and recast them as Israeli.
“I always declare that I took a lot of inspiration from the Palestinians,” he said.
In 1989, Shani opened his first restaurant, Oceanus in Jerusalem. He was 29 and, he said, he knew nothing about food except that he loved bringing people together around it. He wanted to make something like the fresh focaccia an Italian Jewish neighbor once served him. The closest thing to it was the Arabic laffa Shani would buy from a closet-sized bakery in West Jerusalem.
“I had a cook, a Palestinian man from Hebron, a very talented man,” Shani said. “I loved him. He said, ‘Eyal, no problem, my grandmother makes it every day.’ He showed me.”
Shani brushed the finished bread with olive oil and showered it with fresh rosemary.
I told Shani that I ate at the now-closed Oceanus at the tim and to this day remember being served, when we sat down, fragrant sheets of his focaccia-laffa.
“It was a hybrid,” Shani said, “Palestinian, Italian and new Israeli. Each one is getting influenced by the other. You can’t do it with just one brain.”
Malka, a strictly kosher restaurant, presents a different kind of challenge to Shani, who is not an observant Jew. His Michelin-starred Manhattan restaurant Shmone offers, for instance, “A mountain of grilled calamari, okra, tomatoes and yogurt.”
But the chef who turned flour, yeast and water into a hybrid Palestinian-Israeli-Italian flatbread revels in facing constraints like kashrut.
“Each culture leads with its limitations,” he said. “These limitations are a blessing — they’re shaping your creation.”
The kosher stricture against cooking meat together with dairy products didn’t faze him.
“Take me off dairy, put a beautiful bottle of olive oil in front of me — what are the limitations?” he said. “And if there would be no olive oil anymore in the world, I would quit, I would not cook.”
Beyond the kitchen, Shani said he wanted to reach more Israelis with his food. About 70% of Israelis are strictly kosher or prefer it.
“So how can it be that we’re only cooking for the hipsters in Tel Aviv?” Shani said. “It’s unfair.”
The marketplace has rewarded Shani’s ability to combine local ingredients and techniques with creativity and showmanship. The chef has around 70 restaurants — neither he nor his publicist knew the exact number — including Malka’s in Tel Aviv, Miami and New York.
And the backlash isn’t close to stopping him. Shani just announced a new restaurant project in, yes, Melbourne.
“It doesn’t make me frightened,” he said. “It’s the way my personality reacts. I think it’s the instinct of survival. You just keep going.”
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