Once Ron Arons was over the shock of learning that his great-grandfather had done a 'stretch' in the famed sing sing prison, he embarked on a journey to learn more about his ancestor and how he landed in jail. What he discovered was that between 1880 and 1950 there were thousands of Jews behind bars at Sing Sing, for crimes ranging from incest to arson to selling air rights over Manhattan. The Jews of Sing Sing is the first book to fully expose the scope of Jewish criminality over the past 160 years, and it features famous gangsters like Lepke Buchalter.

Sing-Sing prison opened in 1828, and since then, more than 7,000 Jews have served time in the famous correctional facility. The Jews of Sing-Sing is the first book to fully expose the scope of Jewish criminality over the past 150 years. Besides famous gangsters like Lepke Buchalter, thousands of Jews committed all types of crimes--from incest to arson to selling air rights over Manhattan--and found themselves doing time in Sing-Sing.

All too often an incident or accident, such as the eruption in Crown Heights with its legacy of bitterness and recrimination, thrusts Black-Jewish relations into the news. A volley of discussion follows, but little in the way of progress or enlightenment results--and this is how things will remain until we radically revise the way we think about the complex interactions between African Americans and Jews. A Right to Sing the Blues offers just such a revision. Black-Jewish relations, Jeffrey Melnick argues, has mostly been a way for American Jews to talk about their ambivalent racial status, a narrative collectively constructed at critical moments, when particular conflicts demand an explanation. Remarkably flexible, this narrative can organize diffuse materials into a coherent story that has a powerful hold on our imagination. Melnick elaborates this idea through an in-depth look at Jewish songwriters, composers, and perfomers who made Black music in the first few decades of this century. He shows how Jews such as George Gershwin, Irving Berlin, Al Jolson, and others were able to portray their natural affinity for producing Black music as a product of their Jewishness while simultaneously depicting Jewishness as a stable white identity. Melnick also contends that this cultural activity competed directly with Harlem Renaissance attempts to define Blackness. Moving beyond the narrow focus of advocacy group politics, this book complicates and enriches our understanding of the cultural terrain shared by African Americans and Jews.

Based on extensive research with original sources, Brian's narrative covers every period of the prison's checkered history, from the awful conditions of the 19th century to the relative improvements of the 20th century to today.