If you’re Jewish and you write about TV, there’s a type of show you’ve likely gotten to expect. It’s the show that’s obviously Jewy to you, but not as obvious to a non-Jewish audience. This is the category shows like Broad City and Crazy Ex-Girlfriend fall into — Jews have good reason to love their consistent references to Jewish life, but broader TV criticism doesn’t talk it up as their defining trait. “Jewish, Just For Us” is the loving term I’ve come up with for them.

The Marvelous Mrs. Maisel, Amy Sherman-Palladino’s new Amazon pilot, is not that show. It’s “Jewish For Everyone.” It’s all Jewish, all the time.

The Gilmore Girls creator’s new series explores charming housewife Midge Maisel’s journey into stand-up comedy in 1950s New York, and it brims with joyous Semitism from the very first minute — literally. The show gets just 50 seconds in before its first jokey reference to the Holocaust, when Midge — soaking in the spotlight at her own wedding reception — mimics her dad’s reaction to wedding prices: “Do the caterers have any idea what the Jews just went through a few years ago?” Minutes later, she causes a panic by joking there’s shrimp in the egg rolls. The words “rabbi,” “brisket,” and “latkes” are repeated so many times in the episode it’s impossible to keep count. Marriage advice is framed in terms of finding the person who would hide you in their attic. And while it’s bad enough Midge’s schmuck husband leaves her midway through the episode, it’s even worse that he does it on Yom Kippur. A shonda if there ever was one.

Disappointingly, the show does suffer from the lack of ethnic diversity that’s sadly become signature in Palladino’s work. And for such a vibrantly Jewy show, it’s a little ironic to see so few members of the tribe in the main cast. Thankfully, Gilmore Girls alum Alex Borstein seems primed to correct that and take on a more central role in future episodes. But those reservations aside, the show develops into a true celebration of Jewish-American culture and a time when Jewish women specifically occupied a vibrant, brassy space in pop-culture.

Comedy nerds will likely be excited at the prospect of examining this iconic time in when Borscht Belt comedians started to define the art form, and those nerds won’t be disappointed. Lenny Bruce plays a key role in Midge’s transformation, Mort Sahl and Don Rickles get shout outs, and Midge herself is basically Joan Rivers reenacted.

This first episode was released as part of Amazon’s Pilot Season, which lets viewers vote to tell Amazon which of its new shows it should produce more episodes of. With the general buzz and glowing reviews the show is getting, The Marvelous Mrs. Maisel seems likely to get picked up to series, which means we’ll probably see even more references to Jewish comedy greats in future episodes.

Who might we see next? Seeing a young Woody Allen seems likely; Rodney Dangerfield would be better. My vote goes for Sid Caesar or Carl Reiner. But with this era in Jewish history, let’s face it: it’s hard to go wrong.

Image by Sarah Shatz/Amazon Video

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In it’s heyday, the Borscht Belt was a prosperous Jewish resort hideaway filled with hundreds of lively bungalow colonies and hotels. 32-year-old photographer Marisa Scheinfeld grew up among its windy tree-lined roads and empty storefronts; an area replete with magnificent history and looming potential that crumbled along with its tourist economy in the 1970s.

Scheinfeld set out to capture the rich decay and growth of the Catskills in her poignant photo series, ‘Ruins of the Borscht Belt.’ The photographic series, an outgrowth of the artist’s tie to her hometown and fascination with its layered Jewish background, paints the story of an inimitable, iconic area, whose many hotels and landmarks have been reclaimed by the organic forces of nature.

Some of the photos you’ll see below have been published widely throughout the Internet and on her website, although she was nice enough (sister perks) to share a few new ones from the second phase of her project. She’s shifted from focusing on the residual foundations of Catskills resorts, to the comedians, the chefs, the dancers; the people whose personalities helped define the Jewish summer refuge. Marisa plans to publish a book of this series in 2014.

(Guest Room, Grossinger’s Catskill Resort and Hotel, Liberty, NY)

Mal Z. Lawrence (Comedian), Monticello, NY

Indoor Pool, Grossinger’s Catskill Resort and Hotel, Liberty, NY

Leon Gottesman (former cook at at the Concord Hotel in Kiamesha Lake, NY), Sackett Lake, NY

Although these pictures primarily focus on the past life of the Catskills, the area as it currently stands is in the midst of a revitalization, due to an outpour of interest from hotel developers, casinos, and city folk craving country air and close proximity to New York City.

In August The New York Times featured a piece on the rise of city residents renting summer bungalow colony homes throughout the ‘Jewish Alps.’ This November, news also broke of a proposal authorizing the state as many as four full-scale casinos throughout the region. The State Gaming Commission and its to-be-appointed New York State Gaming Facility Location Board will be announced by Governor Cuomo in the new year.

Kutsher’s Country Club, the last of the standing Borscht Belt hotels, was sold this November to Veria Lifestyle, a company devoted to healthy living, whose developers plan to turn the resort and its properties into a “$90 million Nature Cure Lifestyle Management Center.” Basically, everything from yoga, to golf, to biodynamic restaurants.

Amy Goodstein, 37-year-old Catskill native and owner of Catskill Valley Homes elaborates on the area’s surge in real estate:

“We are having our best year in a long time, and it’s mostly from people buying second homes. I think its the sign of a few things; its an easy place to get to, the Catskills is beautiful, and we were always set up for this. It’s not like we’re (Catskills residents) reinventing the wheel, it’s just that everything is now coming full circle and people are re-discovering its glory.”

Bethel Woods Center for the Arts, a performing arts center and museum located at the site of the 1969 Woodstock festival, has brought renewed prosperity and a growing business community in Bethel N.Y. The sloping lawn and massive pavilion have housed big names such as Sting, Bob Dylan, and Santana, and this Memorial Day weekend, will hold a huge European-based electronic music festival, Mysteryland.

The Resnick Group of Rock Hill, NY have opened various restaurants throughout the area along with a luxury boutique hotel, The Sullivan. Their latest venture is, Brew, an artisanal coffee and beer shop set to open this summer with local craft beers and a tasting bar.

As nature continues to reclaim the remainder of what was, the Catskills persists as the underdog, radiating more splendor and potential than ever.

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If you were yearning for a bit of a break to learn about Wilt Chamberlain’s history in the Borscht Belt, check out Grantland’s 30 for 30 Shorts. The short film looks back to when Wilt the Stilt worked as a bellhop at Kutsher’s Country Club in the Catskill Mountains.

In 1954, before his senior year of high school, Wilt Chamberlain took a summer job as a bellhop at Kutsher’s Country Club, a Jewish resort in the Catskill Mountains. By day he was making $2 an hour and getting great tips from the awestruck guests as he lifted their luggage through a second-floor window … while standing outside on the ground. At night, he played on the Kutsher’s basketball team and was coached by the resort’s athletic director, Celtics coach Red Auerbach. Mixing rarely seen archival video and interviews with people who lived and worked with Wilt, this short chronicles a pivotal chapter in the life of one of the game’s greatest players, and gives a fascinating glimpse into a time when basketball met the Borscht Belt in its heyday.

I’d suggest we all go grab a bite to eat at Wilt Chamberlain’s, the restaurant, in Florida’s lovely Boca Raton. But, alas, I think it’s closed. No hamburgers and arcade games for us. At least we have this documentary.

Previous: 30 for 30 Shorts: Wilt Chamberlain: Borscht Belt Bellhop

(Photo by Sporting News Archive/Getty)

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Riding the tour bus with your favorite band—or flying across the world, if they’ve really made it big—is a dream of most music fans. Loren Wohl, a 24-year-old photographer from Monticello, NY, found a way to do just that for a living, taking awesome photographs along the way.

Wohl’s interest in photography grew from his love for another art: music. The musically-driven Wohl was unaware of his photography skills until he picked up a camera for the first time when a colleague at music-based internship inspired him. Now he’s a freelance photographer based in New York City, and tenth on Complex’s list of The 50 Greatest Music Photographers Right Now.

I had lunch with Wohl, an old friend from the Borsch Belt, and it was as if no time had passed since our Monticello days. Only now he’s an in-demand photographer, beautifully capturing the true grit and essence of today’s hip-hop, indie rock, and electronic music.

When did you realize you wanted to be a photographer? Were you always interested in taking pictures?

No, I never was. My junior year of college I was working for RCRD LBL, and one of the writers, who was also a freelance photographer, introduced me to it. I wanted to get closer to the music—it was always about music and I saw the camera as a tool. I got into photography backwards: ‘I like music, I can’t play an instrument, and I don’t really want to manage bands, but maybe this is my way to connect with it.’

And you just happened to be good at photography? It was just a skill you never knew you had?

It wasn’t that easy—it took me a while to get my skills to where they are now. I made a lot of mistakes but learned along the way. It can be that way with anything as long as you’re passionate about it. If something means a lot to you, it will come through in your work. I think it comes through on a subconscious level.

Your job is pretty cool—you’re a professional concert-goer who takes pictures. How much editing goes into your process?

I didn’t plan this! I don’t know how I got here. I don’t do much editing; I have the equipment I need so I can get everything right in camera. I’m not a real tinkerer, but I do edit my photos so they have a certain style to them. It’s more about tonality instead of photoshopping in unicorns.

Do you get a lot of perks, like parties, food, and backstage access?

Yes, all of the above, but that’s not why I do it. Through shooting music and having people see my work, it has connected me to that world. Dillon Francis and Flosstradamus’ management team saw some photos I took of Flosstradamus. They told me they really liked my work and wanted to work with me someday.

At the time I didn’t think much of it, and I was shocked when they reached out and asked me to go on tour with them. I said, ‘Are you kidding?!’ We worked it out, so yeah, I was excited! We went on a nine-day tour in Europe this month.

Who is your favorite artist you’ve taken a photo of?

I enjoy shooting hip-hop and dance music. I find there’s a lot more energy than your average indie band.

I saw that great photo you took of Le1f. What was that like?

That was part of a portrait series I did during SXSW for MTV Hive. I took the photo quickly after he performed. I’m such a big fan of New York hip hop. It’s in a really interesting place right now, with people like World’s Fair and Action Bronson releasing music. There are also a lot of up-and-coming gay rappers, like Le1f. I like how it’s not a gimmick and they’re just being true to themsevles.

Who’s your dream subject?

I did get to shoot Jack White last year, which was amazing. I feel like any photographer would kill for that opportunity. I’ve shot his live set but it’s different when you have the ability to interact with your subject. I did a piece for NPR where Bob Boilen was interviewing Jack around the time his new album was coming out last year. After the end of a 30-minute interview I asked him if could take his photo. I winged it and took five quick shots.

What’s your favorite camera to shoot with?

I shoot with the Nikon D800. I’m a Nikon shooter because that was the first camera that was put into my hands. At the end of the day it’s more about having access and knowing what to do with the camera, and much less about what you’re shooting with. It’s important you know how to use your tools, in any craft.

Where did you go to college and what did you study?

I went to Five Towns College for two years and transferred to Pace University to finish my Bachelor’s degree in Business Administration.

At least you know how to run your photography business, then, right?

Yes and no. I learned everything about running a business from my dad. He ran a family business for many years.

What’s your favorite type of music?

It might be dance music. That’s why I was so excited about the opportunity to go on tour with Dillon and Floss, because I’m a big fan of what they’re doing.

Do you like to dance?

No, I don’t. I’m more of an observer than a participant. One of my favorite events to cover is EDC because all of the weirdos come out in full force. I feel like an anthropologist and not a music journalist—people wear crazy costumes and it’s more about the absurdity of the event. I enjoy the cultural aspect of what it is; dance music is less about the performer and more about what’s going on in the crowd.

How do you feel about the electronic dance scene?

It’s cool because kids are coming out, having fun, and not caring about anything. I think that’s awesome. Even at 24 I feel old at the shows though, because everyone is 18 to 20. I was into European dance music in high school and would vibe out in my room. Now it’s really popular which is weird to me.

I don’t think people mind being documented, especially if they like attention.

People dress up because they want attention, so when you point the camera at them they appreciate it. They put a lot of time and effort into it. The beads they make are impressive to me as well, and the whole PLUR (peace, love, unity, respect) thing. Candy ravers or Kandi kids wear and make these beads. They have a handshake that spells out P-L-U-R. The final step of the handshake is exchanging the beads. You should write a piece on that.

Are there Jewish kids in beads?

Well, I’ve seen some white and blue, so I think so…

In the Spotlight: Ari Brand: Actor, Musician, Summer Camp Alum
Haim: Three Jewish Sisters Who Rock
Alex Karpovsky: Actor, Writer, Director, and Producer

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The post Spotlight on: Loren Wohl, Borscht Belt-Bred Music Photographer appeared first on Jewcy.

• Beardless Matisyahu is so unrecognizable these days, he can’t even get into clubs. [NYP]

• Turns out not everyone is a fan of Mandy Patinkin’s memorable Princess Bride character, Inigo Montoya—a guy flying from Sydney to Auckland was asked to change his shirt, which said “Hello. My name is Inigo Montoya. You killed my father. Prepare to die.” [Gawker]

• Mel Brooks talks Catskills comedy and the garment district. [NPR]

• Gwyneth Paltrow does not tolerate slutty friends. [Jezebel]

• Adam Levine was spotted filming what looks like an SNL Digital Short with Andy Samberg and the Lonely Planet guys. [BuzzFeed]

• Children’s frightmaster and author R.L. Stine discusses the early horror classics that influenced him growing up. [MediaBistro TV]

The post Daily Jewce: Matisyahu Can’t Get Into Clubs, R.L. Stine’s Horror Influence appeared first on Jewcy.

The final chapter of Welcome to Kutsher’s: The Last Catskills Resort, a new documentary centered on Kutsher’s Hotel and Country Club, begins with a prescient clip from Dirty Dancing, the film which serves as a reference point for the former Borscht Belt experience. “It all seems to be ending,” says Max Kellerman, the owner of composite fictional resort Kellerman’s, to his staff member Tito. “You think kids want to come with their parents and take fox-trot lessons?”

The kids may no longer come up to dance, but they are, as some believe, the last hope for revitalizing the once thriving vacation area. A recent New York Times article highlighted the Catskill Park Resource Foundation’s efforts to raise $5 million to rebrand the Catskills. As the article put it, “The idea is to make people think of the Catskills in terms of trout fishing, artisanal cheese and Zen retreats, rather than Simon Says, rimshot comedians and Dirty Dancing.” Brendan Burke, artistic director of nearby Ellenville’s Shadowland Theater, is quoted saying, “You hear [the term Catskills] and think bungalow colonies and resorts with bad carpet.”

The thing is, though, I loved the carpeting at Kutsher’s. In the many years I spent visiting with my family, it was the most memorable physical component of the space. When we arrived, we’d park the car in front, under the neon yellow “Kutsher’s” sign, hand off the keys to a dapper valet, and walk in with buoyant carpeting underfoot. It felt like landing on the surface of distant yet familiar planet.

My aunt, married to my mother’s brother, is the daughter of Helen and Milton Kutsher, the second-generation owners of Kutsher’s. I grew up going to the hotel every Thanksgiving and for various events throughout the years. And while I may have visited the hotel during its so-called decline, in the 1990s and early 2000s, I remember the place as grand and exotic. Its particularities are frozen in my memory, from the pastel coloring of the walls to the pervasive smell of matzoh ball soup that got stronger as you approached the dining room.

I’ve stopped going to Kutsher’s, because it is no longer a fully functioning hotel. The last trip I made was in 2009, to attend the U.S. version of All Tomorrow’s Parties, a music festival which originated in England but was held at Kutsher’s in 2008, 2009, and 2010. While there, I heard a lot of people talk about the hotel’s state of decay. Many attendees seemed to take ironic enjoyment in comparing Kutsher’s to the Overlook Hotel from The Shining. The epilogue of Welcome to Kutsher’s covers All Tomorrow’s Parties and features interviews with people there, many of whom also make that same comparison.

It’s clear from the film that Ian Rosenberg and Caroline Laskow, the husband and wife team who directed and produced the documentary, were charmed by Kutsher’s, just as I was growing up. When I spoke with Rosenberg over the phone, he recounted a trip to the hotel with Caroline as a young couple in 2005. When Laskow asked if he wanted to take a vacation to a Jewish resort in the Catskills, he replied, “Yeah, but we don’t live in the 1960s.” Despite reservations, Laskow assured him it would be affordable and worthwhile. So they went, ate, and came away convinced that Kutsher’s was perfect material for a documentary.

They began shooting in 2007, and returned to the resort in 2010. Much of the footage and interviews come from the Kutsher family, who had been approached by filmmakers in the past though no projects were ever completed. “The topic seems small–one element of the Jewish American experience—but there’s actually so much in it, from entertainment to music to culture and religion,” Rosenberg explained. “Other projects didn’t move forward because they didn’t have the focus that we did: one Catskills resort and looking at the big picture through that one story.”

I completely agree. The joy of Welcome to Kutsher’s is that it captures what was unique and special about the hotel while also expounding on the larger significance of the Catskills in the American Jewish consciousness. In one particularly memorable scene, as Helen Kutsher talks about hiring Wilt Chamberlain as a bellhop, the film cuts to a clip of a young Chamberlain towering over a guest. It’s a larger than life moment, one of many in Kutsher’s storied history.

There have been two screenings of the film in Manhattan, both during the New York Jewish Film Festival at Lincoln Center—the first, the world premiere, sold out before tickets went on sale to the general public, and the second sold out within an hour. During the Q&A session with Rosenberg and Laskow following the first screening, a familiar-looking audience member stood up to tell them what a wonderful film it was, and what a gift it was. He continued, explaining that the Kutsher family was overwhelmingly hospitable to him and his wife, who wasn’t Jewish, when they visited. As the man continued to heap praise on Kutsher’s, Laskow leaned over and whispered, “That’s Jerry Stiller.” Sure enough, it was—and Stiller is giving an interview that will be added to the film this fall.

“People are delighted to see the film, because their goal is to try to preserve this piece of Catskills history before it disappears,” Rosenberg told me. “This is the last of the Catskills resorts and we didn’t only want to look back, but also to show you that it is still existing, though it is about to vanish before our eyes.” Yet while the Kutsher’s resort may be nearing extinction, the name and the emotional resonances it evokes in American Jews continues to thrive in new ways. The latest incarnation is Kutsher’s Tribeca, the trendy downtown restaurant opened by Helen’s grandson Zach Kutsher that serves bug juice, duck schmaltz fries, and delicatessen charcuterie. The restaurant is mentioned in the final scene of Welcome to Kutsher’s, an apt reference to the future of the Kutsher’s legacy. I may not go up to the Kutsher’s Hotel to fox-trot, but I’ll get a Rueben at Kutsher’s Tribeca any time.

Welcome to Kutsher’s: The Last Catskills Resort will be screened at the JCC in Manhattan on Tuesday, September 4. Tickets are available here.

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