BQE Admin, Author at Brooklyn Downtown Star

Architectural Renderings Reimagine SUNY Downstate

BQE Admin on February 26, 2025

The architecture firm NBBJ partnered with local leaders to envision a modernized SUNY Downstate, only a year after the hospital was slated for closure.

Graphics courtesy of Brooklyn for Downstate

By JACK DELANEY | jdelaney@queensledger.com

This past year has been a rollercoaster ride for SUNY Downstate, the only state-run hospital in New York City.

In January 2024, Governor Kathy Hochul announced plans to either shrink or fully close the teaching hospital, relocating its outpatient and urgent care units to a new building in a nearby parking lot. The mood at the time was grim, with SUNY Chancellor John King rattling off a laundry list of problems: “We do have a $100 million deficit at [Downstate],” he said, “and we will run out of cash this summer, and the building is in disrepair and at risk of catastrophic failure.”

But community advocates pushed back, calling the move rushed and arguing that it lacked buy-in from residents. “If everything is dire, if everything is falling apart, come to us and show it,” said State Senator Zellnor Myrie, in whose district Downstate falls.

The response was overwhelming. Most tellingly, a poll released in March showed that approximately 70% of those in the neighborhood opposed a closure. And local politicians and hospital employees alike rebuked the state for only allocating $300 million in capital funding for the smaller facility across the street, claiming that a sustainable solution to the issues plaguing Downstate — which had suffered from decades of shortfalls — would require an injection on the order of $1 billion.

By April 2024, officials had clarified that they would not be closing Downstate in the “near-term,” a win for activists. Yet another twist came in December, when the hospital’s CEO since 2020, Dr. David Berger, resigned amid allegations of financial misconduct. But the tides shifted decisively in January 2025, with Hochul pivoting to allocate an additional $550 million to address Downstate’s woes, for a total of $950 million (the previous funding had included $100 million for operations). The governor then passed the baton, for now at least, to a community advisory board (CAB) she had formed last November, whose recommendations will be due this upcoming April. Karl-Henry Cesar, chair of Brooklyn Community Board 14, said he hoped the board would be “fully empowered and supported to take as much time as needed to talk with the community and faithfully execute its mission” — the group held its first hearing in January, after months of inactivity, and the next is scheduled for February 27 at Medgar Evers College.

It was in this context, of an averted closure and stalled conversations in the aftermath, that the local coalition Brooklyn for Downstate (BfD) partnered with an architecture firm to envision a next-generation hospital. Last week, they unveiled the fruits of that collaboration: glitzy renderings of what SUNY Downstate could look like if lawmakers deliver enough funding for a full revamp. During an online presentation, members of BfD criticized the state’s approach to gathering community input, with many singling out delays around the CAB as particularly frustrating. “From our position, 8 months were wasted,” said Redetha Abraham-Nichols, DNP, MRA, RN. “We think it’s unfair for the commission to take the work of 12 months and have to do it in 3 months.” Yet they were taking matters into their own hands, the coalition’s leaders stated, and the renderings were an attempt to chart a course for the hospital that would have broad appeal.

In drawing up a modern iteration of SUNY Downstate, architects from the firm NBBJ pulled heavily from a report BfD commissioned in December that brainstormed practical alternatives to closing the hospital. Such a tack could prove disastrous, “deepening disparities and straining neighboring hospitals” the report concluded, offering a counterproposal. “Retaining core services, while optimizing capacity and modernizing infrastructure, is the most effective path forward to sustain equitable healthcare access for Brooklyn’s most vulnerable residents.” Specifically, the report laid out four demands: first, to streamline service by reducing the number of beds from 342 to 250. Second, to upgrade technology and facilities for departments like emergency care, while adding rooms for maternal and OBGYN treatment. Third, to create urgent care and ambulatory surgery centers, with the goal of reducing ER visits. And fourth, to funnel resources into outpatient preventative care centers, heading off major health issues before they occur.

During the presentation, the architects placed special emphasis on transplants, noting that SUNY Downstate is the only licensed organ transplant provider in the county. “Patients may be waiting on a transplant list for an extended period of time,” said Christina Grimes, who leads NBBJ’s global healthcare practice, “and it can be a very multi-disciplinary team.” With that in mind, the renderings leaned into a biophilic approach to make long waits more tolerable

Joan Rosegreen, who represents the nurses at SUNY Downstate, asked how the new design would deal with patient overflow, to which the architects responded that they were still working out the details, and that this was just a starting point. Rosegreen also outlined a brief wish list for future schematics: “We have a small oncology unit,” she commented, “so it would be great if we could expand that.”

Downstate has a storied history that can be traced back to 1856, when a handful of physicians opened a free clinic to care for poor German immigrants. The next year, its name changed from the German General Dispensary to The St. John’s Hospital; it was renamed again in 1858, with administrators settling on the Long Island College Hospital. As of 1860, it was one of only 11 medical schools nationwide to admit Black students, and it was among the earliest to admit women, too, in the early 20th century. Today, Central Brooklyn has one of the greatest concentrations of Caribbean people in the country, which is why some critics of the governor’s initial plan cast it as another case of chronic disinvestment in Black communities.

As the MC of the BfD presentation, Abraham-Nichols was adamant that the state support a grander vision for the hospital. “We cannot, and we will not, go backward,” she said. “Only forward.”

George Boorujy’s New Direction

BQE Admin on February 26, 2025

Artist George Boorujy invited the Star to his studio at The Old American Can Factory in Gowanus. Photo: Jack Delaney

By JACK DELANEY | jdelaney@queensledger.com

As George Boorujy was painting his mural in the summer heat, groups of passersby would call out to him on their way to the soccer fields. Boorujy was covering the block-spanning wall across from a public pool in Red Hook with migratory birds, accompanied by tags for the countries they winter in, and the common complaint was that he was missing a name: “What about Jamaica?” someone would tease, while another pedestrian shouted “You don’t have Peru!”

It was hard work. In the end, it only took Boorujy fifteen days to finish the installation on Bay Street: six for the birds and plants, and nine for the solid colors of the background. “I banged those things out,” he’d say proudly, months later. But that sprint belied years of studying the subject matter and many hours spent scoping out the site, which the veteran artist described as “really weird,” and “a very difficult spot to conceptualize” because the retaining wall was low yet long — a daunting 963 feet.

The mural, sponsored by the Red Hook Conservancy as an addition to the Audubon Mural Project, took shape last June. But Boorujy still has fond memories of the commission, in part because of those exchanges with onlookers. If the piece was an homage to the eight bird species it depicts, it was also a statement about migration in general, or the “dichotomy of when you call more than one place home,” as Boorujy put it. “The birds that we think of as ‘our’ birds are not our birds. They’re also Panama’s birds, they’re Venezuela’s birds.” Many of the regulars who play soccer in the adjacent park are from Central and South America, he noted, and amid rising xenophobia, he wanted to acknowledge that parallel. “We welcome our birds every spring as they come in,” he said. “Yet we aren’t necessarily welcoming certain people.”

In a sense, the Red Hook mural expresses a dual interest — nature and migration — that has long been embedded in Boorujy’s art, and has just started to find a new form. Boorujy, who is based out of a studio in the Old American Can Factory in Gowanus, began drawing at an early age. And what he drew, growing up in a small New Jersey town, was animals. Everywhere he looked, he’d “always see the compromise with mankind,” like roadkill littering the highway, yet he initially shied away from portraying humans, even any evidence of them. “Sometimes an animal can function as a mirror better than a person,” he mused. He followed his love of wildlife by majoring in biology at the University of Miami, and eventually swung back towards painting.

Boorujy said the three stone figures in the center of this piece reminded him of himself, with his two sons. Photo: Jack Delaney

Now in his late forties, Boorujy has covered a lot of ground. “I’ve been making work about the environment forever, around 20 years,” he explained. “About climate change, and wildlife, and our relationship to [them].” For a spell, his trademark was rendering an animal, or several, in high fidelity against a massive white canvas, like a god emerging from the blank before the Big Bang. These paintings are extremely detailed — in one 44” by 88” portrait from 2019 of a panther suckling two cubs, it would be easy to miss a tiny mosquito clinging to her paw. Still, they’re not quite hyperrealism, because they’re too laden with symbolic weight. Therein lies Boorujy’s magic: his creatures are otherworldly, but they’re presented with such attention to detail that viewers are compelled to believe that this other world has weather, too, and life and death like ours.

During a visit to Boorujy’s studio this month, he showed off his latest paintings, which maintain that uncanny quality with a notable difference: the tabula rasa backgrounds are gone. Sweeping landscapes have rushed into the vacuums, articulating them with high-contrast rocks, trees, and lakes. In short, there’s a newfound emphasis on worldbuilding, a shift which Boorujy said was intentional. “If we cut carbon tomorrow, we’re still going to be living on a very changed planet,” he said. “And so I was like, Okay, what will it be?”

Though Boorujy’s recent work doesn’t offer definitive answers, each painting reveals a fresh and memorable corner of this hypothetical future. The landscapes are by turns bleak and serene. When his familiar animals show up, they’re altered: one image shows a zebra on its side at either dusk or dawn, its head out of sight — so that it reads more like terrain than living being — with a host of stone figurines sitting on its haunches. These statuettes, halfway between animate and inanimate, are everywhere in the studio. Boorujy sculpts them by hand, then uses them as models when he paints; that impression of a human’s touch is palpable. The overwhelming impression is that people were once here, in the frame, but they’ve since traveled elsewhere. What’s left behind is this makeshift collection of humanoid cairns and religious implements, personified and clamoring, to gesture at a broader story.

Spotlight: The Bed-Stuy Rez Leading JFK’s Big Expansion

BQE Admin on February 21, 2025

Renderings of JFK’s gargantuan new terminal. Photo courtesy of Ghim-Lay Yeo

By JACK DELANEY | jdelaney@queensledger.com

Uzoamaka Okoye is used to managing impossibly large projects. Previously a construction lawyer with over two decades of experience, she now serves as the Chief of Staff for the New Terminal One at JFK, a mammoth undertaking that will leverage $9.5 billion to build 23 gates covering upwards of 2.4 million square feet.

Okoye, a Bed-Stuy resident whose offices are in Jamaica, began her career as an engineer working on water and wastewater infrastructure projects. She said she studied engineering at NYU because she “loved the concept of building something that hasn’t been built, something beautiful. If you’re lucky,” she expanded, “you get to build projects that really change the landscape and have meaning.” That, for her, is what makes Terminal One — which will not only dazzle the eyes, but generate over 10,000 jobs by the time it’s finished — so exciting.

On top of her stellar legal and project management bona fides, Okoye has served on the board of African Services Committee, a nonprofit dedicated to providing services for recent migrants, for 15 years. Having come to the U.S. from Liberia at age 13, and now the board’s chair, Okoye notes that the work has been “really rewarding for me, even through the difficult times.”

Okoye is also inspired by the work of the Queens Center for Progress, saying that she had the pleasure to visit their site and witness an array of vital programs that span from kids in Pre-K to 80-year-olds. In fact, she sees overlap between QCP’s efforts to empower those with disabilities and her team’s mission at Terminal One. “As we look at the people who will be coming in,” she said, “it’s every type of traveler.” Informed by an ethic of accessibility, the new structure will have a range of facilities — including an arrivals lounge, a sensory room, and automated wheelchairs — so that everyone “can be treated with dignity and have a great experience from the minute they arrive at the curb.” Okoye is looking forward to a “long partnership” with QCP over how best to accommodate travelers of all backgrounds.

The Kaleidoscopic Stories Behind the Brooklyn Artists Exhibition

BQE Admin on February 21, 2025

Detail of Shosh Goller’s “Monument to the NRA,” one of many pieces included in the Brooklyn Artists Exhibition at the Brooklyn Museum.

By ALICE MORENO | news@queensledger.com

New York City is easily known as one of the most diverse cities in the country. Thousands of cultures worldwide come together in this one place to live, breathe, and love. Not one story is alike — many come from all walks of life, and it is important to celebrate that aspect.

At the Brooklyn Arts Exhibition, located at the Brooklyn Museum on 200 Eastern Parkway, hundreds of local artists were exhibited. There wasn’t a main idea that followed, instead, many showcased art that described themselves and their experiences, as well as the world around them. Artists used their tools to focus on situations such as queer issues, body image, boyhood, and current events, using their ways to express their thoughts and spark a conversation.

Nevertheless, there is one similarity each artist holds: their connection to the borough of Brooklyn. Whether living there currently or having a long line of ancestry settling in the pre-American Dutch colony, each artist holds the badge of being a Brooklynite high and proud.

I interviewed five local Brooklyn artists who were displayed at the Brooklyn Arts Exhibition. Each artist displayed their work in a thought-provoking manner, leading the audience to dig deep inside to understand themselves and the world they currently live in. These are their stories.

* * *

Erin M. Riley, Violations

The complexities of womanhood can oftentimes be a struggle to face. Erin M. Riley, like most women, struggled with being comfortable in her own body. Now, she embraces it, recognizing her body as well as her history as a form of art, in which to be spoken about.

“In college, I wasn’t using my own body. I was using found imagery and stand-ins for me,” said Riley. “But now, as I’ve made [more of] my work and sort of become more comfortable, I’ve been trying to add my body into the pieces, because the work has always been about me.”

The East Williamsburg-based artist created Violations in 2022 as a woven tapestry made out of hand-dyed wool on a cotton wrap. The piece serves as fragments of her memory, discussing personal experiences stemming from the trauma she had faced throughout her childhood.

The tapestry contains a variety of images all connected to the idea of womanhood. With Riley’s body in the middle, it is mirrored by two images depicting her and her sister. Behind her body to the left sits a Barbie doll – known by many as an “idealistic representation” of a woman’s body – and to her right repeats the words “violations” in bright orange, imitating that of a New York City parking ticket. Pink splatter is spread by her body, covering up an apology below it.

For Riley, the most important thing for her is to continue discussing her experiences rather than shunning them.

“Part of me never wants to get tired. I want to sort of keep the conversation [of sexual violence] going,” said Riley. “I like to have these conversations about violations [and] whatever that implies.”

* * *

Shosh Goller’s “Monument to the NRA.” Photo by Alice Moreno

Shosh Goller, Monument to the NRA

Turning on the news to see another mass shooting has become more of a normalization than it should be. Many Americans are desensitized by the news, giving their “thoughts and prayers,” and moving on with their lives. Though many have pleaded to not forget what happened, the commonality of it has led the people to forget anyway.

Shosh Goller, however, does not forget and doesn’t intend to do so for as long as she lives.

The Prospect Heights-based artist created “Monument to the NRA” in 2012 during the wake of the Sandy Hook shooting, and over a decade later, she is still updating the piece. Modeled after the Washington Monument in Washington D.C., the sculpture’s base is made out of chipboard, and it is filled with thousands of headlines ranging from mass shootings to lawmakers’ decisions on gun control.

“I just remember this one story, […] it had nothing to do with gun violence, but it was a story of a woman who was in a fountain in Forest Park [in St. Louis, MI], who was raped, and it was in front of a crowd of people standing around, and no one did anything,” said Goller. “And it just really affected me. And I can’t say that I have any personal connection to gun violence – because I don’t – but it kills me […] day after day of all these incidents that happen.”

When she began the piece, every headline of a shooting – even if there was one casualty – was added to the monument. As the years went on, it became overwhelming to constantly add, therefore Goller currently adds stories with mass headlines. The latest headline added was that of Trump’s assassination attempt in July 2024.

As the years went on, each headline began to yellow, serving as a testimony of a long-running issue in this country. Goller has also created similar pieces using headlines, such as one designed as the Twitter logo, sporting Trump’s haircut and a mask, surrounded by headlines discussing the issues of the COVID-19 Pandemic. Another features a women’s upper body, with headlines about sexual assault allegations all from the #MeToo movement.

“I keep offering [the piece] to politicians, thinking they can put it in their office for people who come in to show how awful this situation is,” said Goller “But so far, I don’t have any takers.”

* * *

Avram Finklestein’s “Golem 11/71 (BRAF V600E selfie).” Photo by Alice Moreno

Avram Finklestein, Golem 11/71 (BRAF V600E selfie)

Avram Finklestein’s story is that of resilience. His disability does not stop him from creating art – instead, he embraces it, being a frequent theme in his work.

Golem 11/71 serves as a testament to that. As his disability – degenerative neuromuscular disease, which leads his muscle to atrophy – worsened his ability to do art in the long run, Finklestein operated a wheeled metal structure that doubled as a mobility device to be able to roam around his studio. After he finished and took the work of the wall, he realized the translucency of the matte acetate could lead to creating two pieces in one – birthing his self-portrait. One side reflected himself at age 11 and age 71 on the other.

Between the portraits surround a plethora of live-cell imagery of cancer and plasma cells. Battling cancer, Finklestein notes the importance of recognizing disabilities – even if it isn’t clearly visible.

‘And then it started me thinking about the invisibility of [disabilities] and the ways in which […] the person next to us on the subway train could be in pain, but we would have no way of knowing that,” said Finklestein. “What we can see about the world has nothing to do with how the world actually functions.”

As the years pass, Finklestein’s work has moved from social issues to more personal ones. He hopes to use his skills to help people understand him on a deeper level, especially by focusing on the issues he faces with his health.

Rather than making precise, realistic work, Finklestein opts for a more abstract look, feeling as it makes it more honest – not only with himself but with others. His emotions are evident in the piece, whether he is an 11-year-old child in a Xerox photograph using his coat to mask his face or using technology in an advanced world, with 70 years of experience behind him.

“My hands don’t obey me. My body just doesn’t obey me. But I refuse to stop,” said Finklestein. “I can’t see, but I refuse to stop making work.”

* * *

Qualeasha Wood’s “Brooklyn Baby.” Photo by Alice Moreno

Qualeasha Wood, Brooklyn Baby

Qualeasha Wood has a deep connection to Brooklyn. Her ancestor, Charlie Hueston, escaped slavery by fleeing from Tennessee to Canada and eventually settled in Brooklyn. Brooklyn became the home for her family throughout the 20th century, as her parents and grandparents grew up and met in the borough.

In Brooklyn Baby, Wood’s love for the borough — despite not living there, as she is based in New Jersey — family and loved ones shine through, with her descendants’ names being displayed on the piece. The machine-embroidered tapestry featured the subway signage for “Winthrop Avenue,” the block her family grew up in, and the symbol for the 2 train, which she depended on during her time in Brooklyn. The background for the piece is an image of the Brooklyn Botanical Gardens, where she had her first date with her fiancée. The title of the piece derives from the Lana Del Rey song “Brooklyn Baby,” a satirical piece focusing on out-of-towners who live and breathe Brooklyn.

The piece is intermingled with the theming of identity. As a queer, black woman, Wood is finding her role in a society that caters to the cis, white man. A Photobooth app selfie of Wood takes up most of the tapestry, dating from the years she lived in Brooklyn.

“I think right now, as we were all on our phones and just absorbed with the world, it’s so important to kind of just dial it in and just be a little more in our direct sphere, and within our own communities,” said Wood.

Wood hopes for people to enjoy the now with the people they love the most. She is close to her family, inviting them to many of her exhibitions and art events and even helping her with embroidering her pieces. Despite making a last-minute decision to change her career from joining the Air Force — the route her parents chose for her life — to attending art school, her family is still her biggest supporter.

* * *

Melissa Joseph’s “Olive’s Hair Salon.” Photo by Alice Moreno

Melissa Joseph, Olive’s Hair Salon

As a biracial, Indian, and white woman, Melissa Joseph strives for others to see themselves in her work. Each moment with her family is special and unique, meshing together to create a melting pot of culture. To her, these moments feel special – even if it was a small event, Joseph strives to recognize her culture in her work.

Olive’s Hair Salon is a special moment for her. During the COVID-19 Pandemic, many were left to DIY certain services that they would otherwise pay for, including haircuts. During a Zoom call with Joseph’s family, her brother planned to buzz his hair off completely in his backyard. His daughter offered to help and held the clippers upside down. Finding it humorous, Joseph snapped a photo.

“I try to like represent moments, sometimes everyday things that people can recognize themselves in,” said Joseph. “But also, it’s important to me to show kind of like imagery of South Asian culture and biracial culture, mixed families […] the funny things that happen when multiple cultures come together.”

Joseph notes that after seeing artist Henry Taylor’s work at the Whitney Museum in Manhattan – specifically the piece “Gettin it Done,” in which he had painted his neighbors getting a haircut in the vibrant community of Downtown L.A. – she realized that there was a sort of intimacy with getting a haircut. There is a high level of trust given to barbers, as many want their hair to be cut in a specific way. She compared the level of intimacy between a barber with their client and her brother and his young daughter, interested in the amount of trust her brother gave to his daughter, even if she held the clippers incorrectly.

Using wool and felt, Joseph noticed that there was a sort of contradiction. She uses a process called needle felting, in which she pokes the fibers through the surface. Though it is a meditative process, there is an underlying sense of violence: since she uses her images as a base, she “stabs” each image over and over. It took Joseph a while to understand that poking the piece over and over is a part of the narrative, noting that at the end of the process, the fibers are softly woven through the piece, feeling like a fluffy cloud.

The human experience can be simple to others but truly has some artistic measure to it. Joseph proves this with her work, letting the audience know that they too can familiarize themselves with other people’s stories, seeing themselves and their lives in her work.

Joseph was awarded the UOVO Prize, given by the Brooklyn Museum to honor emerging artists in Brooklyn. She was awarded a cash prize of $25,000, an outdoor installation at the museum, and a mural displayed outside of UOVO Brooklyn in Bushwick. UOVO serves as a storage facility and logistics provider for fine arts, fashion, and wine.

CHPE and Rod Strickland Host Hoops Event at Variety B&G Club

BQE Admin on February 21, 2025

By WALTER SANCHEZ | news@queensledger.com

The Champlain Hudson Power Express (CHPE) launched a new NIL (name, image, and likeness) partnership with the Long Island University-Brooklyn (LIU) men’s basketball team that included a visit to a CHPE construction site in Astoria, Queens, and a basketball clinic at the Variety Boys & Girls Club of Queens (VBGCQ).

More than 50 youth were at the clinic at the club, which included hands-on instruction from the LIU men’s basketball starting lineup and the team’s head coach, NBA legend Rod Strickland. Participants split up into teams, learned key basketball skills, and gained an understanding of the life of a student-athlete, something quite important to kids at the club, as many aspire to play sports in school. The children then competed against each other while LIU players served as coaches.

Before the two-hour clinic, members of the LIU men’s team toured a local CHPE construction site near the Rainey substation in Astoria. They learned about the benefits of CHPE, a 339-mile-long clean-energy transmission project that will deliver clean, renewable hydropower to NYC, providing enough clean energy annually to power 1 million New York City homes, and alleviating pollution in disadvantaged communities. CHPE leaders taught players about the direct impact of union labor and grid reliability on the greater New York community.

“Through this community-first partnership, we were able to provide an unforgettable and impactful experience for these kids,” said Hydro-Québec Senior Director of Stakeholder Relations Pete Rose.

“We appreciate members of the LIU men’s basketball team learning about CHPE, and its commitment to uplifting the local community, whether it’s through the benefits of clean energy or reinforcing the value of teamwork by playing basketball with local youth.”

“Paying it forward and giving back is always important, and it was special to share our love of basketball with these local kids,” said Long Island University head men’s basketball coach Rod Strickland.

“Through our tour of the Rainey converter site and our time playing basketball, it was great to hear and see CHPE’s positive relationship with this community.” “This basketball clinic with CHPE and the LIU men’s basketball team created a special opportunity to share our diverse, unique, and robust “give back” ecosystem with kids in the Astoria community,” said WVI DF Founder Jeremiah Schnee. “This shows all the ways that we can give back and provide a positive impact on local youth. Basketball is a far-reaching pastime that can teach kids about the important lessons of teamwork and sportsmanship, and CHPE and the LIU basketball team are wonderful ambassadors for the community.” This Basketball clinic provided a once-in-a-lifetime experience to our kids; we thank CHPE for their continued partnership and commitment to Astoria,” said Costa Constantinides, CEO of Variety Boys and Girls Club of Queens.

Talking Shop with Comptroller Brad Lander

BQE Admin on February 12, 2025

In the first of the Star’s interviews with the 2025 mayoral candidates, Lander discusses his plans to make CUNY free, reveals where the letters of the Kentile Floors sign went, and shares a surprising story from Brooklyn D.A. Eric Gonzalez, involving a murder, a pizza delivery guy, and a priest.

Comptroller Brad Lander stopped by the Star’s offices on Friday to talk about his campaign to become NYC’s next mayor. Photo: Mohamed Farghaly

By JACK DELANEY | jdelaney@queensledger.com

Last summer, as Brad Lander lay in his dentist’s office in Gowanus, the hygienist paused, holding the Novocaine needle in the air so that it glinted in the light. “Comptroller,” she said, “I thought every three-year-old was supposed to get a 3K slot.” Eric Adams had promised universal child care, but the city had since fallen 10,000 seats short of its goal, to the hygienist’s dismay. “I’m 140th on the waitlist,” she said, grimly. Lander quickly committed to seeing that the program covered everyone. But she may not have needed the needle — even when not under duress, Lander has styled himself, in contrast to Adams, as a sober reformer dedicated to fiscal responsibility and accountable governance.

Though a fixture of New York politics for decades, Lander’s rise has been relatively slow and steady. Born in St. Louis, MO, he moved to the city when he was 23 and began to work on affordable housing, eventually running two organizations that advocated for tenants’ rights. Next, he spent 15 years on the City Council, where he helped found the Progressive Caucus. Since 2021, he’s served as comptroller, a role he describes as being the “city’s watchdog,” managing pension funds and auditing government contracts. There’s only one rung higher in city government, and that’s mayor — a post for which Lander will be on the ballot, come November.

Yet roughly eight months out, the race is already crowded. Lander is one of nine candidates who have announced mayoral bids, and that’s not counting former Governor Andrew Cuomo, who leads the polls but has yet to officially enter the fray. To win, he would have to overcome the embattled incumbent, Eric Adams — Politico has called Lander the current mayor’s “archrival” — and distinguish himself from a pack of progressives with similar policies, including state Senator Jessica Ramos and Assemblymember Zohran Mamdani. In the process, he’ll have to navigate two hot-button issues for New York Democrats: affordability and public safety.

“People are pissed off with government that’s not working for them,” Lander told the Brooklyn Star during a recent roundtable. “People feel like the cost of living is going through the roof: the rent’s up, home prices are up, child care costs so much that I can’t afford to live here. It doesn’t feel safe and secure, and I don’t see government fighting for me.”

Subway crime in particular has been a flashpoint for conversations around safety, and left-leaning candidates like Lander have taken note. In an interview with the New York Editorial Board last December, he acknowledged that “progressives, including myself, were slow to respond to the growing sense of disorder coming out of the pandemic,” and at the roundtable he reaffirmed his support for more proactive security measures, albeit with a caveat.

“Sometimes you do still need involuntary hospitalization,” Lander said, adding that as mayor he would expand law enforcement’s ability to require people perceived as “‘dangerous” to undergo medical examination, a proposal that was seen as fraught in 2022 when it was rejected by state Democrats, yet which now has broad approval. “And I support more officers in the subway, especially at night, which is what the governor is doing,” said Lander. “But the real answer is getting people connected to housing with the services they need.” That response dovetails with Lander’s background as a housing advocate, which continues to inform his approach to the city’s problems writ large.

But the issue of subway security had recently become more personal. Midway through the roundtable, Lander paused to take a call from an NYPD officer. The eight-year-old daughter of one of Lander’s friends was pushed to the ground by a homeless person with a mental illness on the subway, and the officer was following up with Lander. “I’m just trying to make sure the dots get connected and that guy can get care,” he said. “And then she also wouldn’t have to see [her attacker] there [in the station] every day.”

Lander’s elevator pitch to New Yorkers is that he’s less corrupt than the big-name candidates, and more proven than the small ones. In that sense, he’s positioning himself as a foil both to Cuomo and Adams — who have a track record of getting things done, but also skeletons in their closets — and to his fellow progressives, whom he portrays as honest yet less battle-tested.

Based on the latest polling, that narrative seems like it could be a winning formula. A survey last week by the Manhattan Institute simulated ranked choice voting and found that Lander survived until the penultimate round, where he was narrowly edged out by Adams, who then lost to Cuomo. Yet pollsters caution that early results like these are often a function of name recognition: over 70% of respondents did not know of Ramos, Mamdani, or state Senator Zellnor Myrie, and despite topping the simulation, both Cuomo and Adams also draw the highest unfavorable ratings. Only 55% knew Lander, placing him in a middle zone along with ex-Comptroller Scott Stringer, but time will tell whose cause is boosted most by greater attention as the race progresses.

A poll by the Manhattan Institute gives Lander the best odds of challenging Cuomo and Adams, the controversial heavyweights. Courtesy of the Manhattan Institute

The deeper issue, one not unique to Lander, is that New Yorkers haven’t been voting. Turnout in the 2021 mayoral election was an abysmal 21%, the lowest in seven decades and a drop from the 26% of 2017 and 2013. To be fair, New York is not an outlier: Dallas saw a shocking 7% turnout in its last mayoral contest, making double digits seem like a blessing. But in an age of bombastic, social media-oriented populists, can a relatively measured, scandal-free white liberal policy wonk like Lander, preaching a message akin to “eat your vegetables,” energize voters enough to reverse that course?

Lander is banking on it. “To me, this campaign is about who can lead a safer, more affordable, and better-run city,” he told the Star, “and get people excited about a [local government] that has their back.” He touted his work on the Gowanus rezoning, which has paved the way for over 8,000 units, with 3,000 earmarked as affordable, as a model for tackling the housing crisis — and the Interborough X (IBX), a proposed light rail line connecting Brooklyn and Queens, would be another opportunity to build homes, he said. He would make CUNY free, he noted, and institute a scheme for teachers and city workers that would leverage pension funds to double their purchasing power when searching for housing.

While leftist candidates are increasingly accepting safety as a paradigm, many of their underlying policies haven’t changed so much as the framing around them has. Explaining his stance on immigration, Lander offered a story Brooklyn District Attorney Eric Gonzalez had shared earlier in the day. He knew that Gonzalez had joined law enforcement after his brother was murdered. But he hadn’t known about the sole witness, a pizza delivery person who hesitated to come to the police precinct because he was undocumented. Five years after the shooting, a conversation with his priest sparked a crisis of conscience, and he finally told the NYPD what he had seen. Yet, sure enough, the defense counsel had him deported before he could testify.

“Downstairs, there are ICE flyers on the doors of the buildings. People are reporting raids, they’re terrified,” Lander said at the Star’s office, casting Gonzalez’s story as a parable of how targeting migrants can backfire. “The city gets more dangerous if you don’t protect people and keep them safe.”

As the roundtable came to a close, talk shifted to local Brooklyn lore. After the legendary Kentile Floors sign was taken down in 2014, Lander’s office saved the letters, but he couldn’t convince the owners of any nearby structures to display them. “We should try again,” he said. “On top of one of those new buildings, maybe!” The light was reddening on the table, and the conversation started to rove across the other boroughs. “This city is so incredible,” Lander said. “During the pandemic, we worried whether people would want to be in this diverse place, but they really do. It’s the most amazing city on the planet — you have things like Shakespeare in the Park, and Diwali at Richi Rich Palace. But,” he noted, growing serious again, “you’ve got to have a place to live that’s affordable.”

At least eight other candidates would agree — there’s consensus that making New York City cheaper and safer is the job at hand. The race is young, but the open question will be whether Lander’s bona fides as a housing activist and resume as comptroller will persuade voters that he’s the one to do it.

Mohamed Farghaly contributed reporting.

Luka to Lakers Shocks NBA ahead of trade deadline

BQE Admin on February 4, 2025

What would it have taken a team like Brooklyn to pry the 25-year-old superstar from Dallas?

By Noah Zimmerman

The Dallas Mavericks traded Luka Dončić to the Los Angeles Lakers. Even after a handful of days there is little sense to be made of the blockbuster trade that shook the NBA and sports world to its core late Saturday night.

Los Angeles also received Maxi Kleber and Markieff Morris in the deal. Alongside Davis, the Lakers sent Max Christie and a first round pick to Dallas, as well as Jalen Hood-Schiffino to the Utah Jazz.

Following the trade, a dejected Mavs team was forced to take the floor against the Cleveland Cavaliers, one of the best teams in the league. The Cavs scored 50 points in the first quarter en route to a 144-101 trouncing, a foreboding sign for the future in Dallas.

Despite bringing Anthony Davis to Texas, the Mavs departure from their franchise player confused fans and risks going down as one of the worst trades in sports history. Only time will tell if this deal damages the Mavs as much as Billy Kingís trade for Kevin Garnett and Paul Pierce crippled the Nets.

To defend his move, Mavs GM Nico Harrison echoed a well known sentiment that defense wins championships. There were many concerns with Dallas regarding Luka’s apathy on the defensive side of the court, as well as his conditioning and injury issues. With Luka due for a max contract extension at the end of the year, Harrison decided it was too risky to pay up.

As a result, Dončić is no longer eligible for the $346M/5-year contract Dallas could have given him. The most he can receive from LA is $229M/5-years.

Another young superstar, Minnesota’s Anothony Edwards had trouble making sense of the deal. “At 25 they traded, probably the best scorer in the NBA,” the 23-year-old guard lamented. “He just went to the finals.”

“I still feel like there is something, some facts that are going to come out over time,” said Denver Nuggets forward Michael Porter Jr. “I can’t really comprehend how that makes sense to be honest.”

What would it have taken other teams to land a player as coveted as Dončić? It’s clear that the Mavericks’ priority was to land a dominant two-way center in Davis, but it’s hard to see any long-term benefit with their new center turning 32 in March. Their inability to fetch more than one first round draft pick is baffling considering the modern trade market.

Other centers like Rudy Gobert netted four first round picks on the trade market. The Nets were able to fetch five first round picks from the Knicks in exchange for Mikal Bridges.

Brooklyn was able to transform their return for a 34-year-old Kevin Durant into 9 first round picks, two first round pick swaps, a handful of second rounders, Cam Johnson, and Zaire Williams. Dallas turned a 25-year-old Dončić into Davis, Christie, and a single 2029 draft pick.

For a rebuilding team like the Brooklyn Nets, young centers and draft stock were aplenty. Surely if Harrison had shopped Luka around the league he could have netted a haul of picks from the Nets alongside younger centers with upside like Nic Claxton or Dayíron Sharpe.

Regardless, whatís done is done. The NBA has been forever changed by the arrival of Luka in LA. With the trade deadline on Thursday afternoon, teams will finish making tweaks to their rosters while carefully eyeing the future.

“I thought I was gonna stay my whole career there. Loyalty is a big word for me,” said Dončić in his Lakers press conference. “But I got the ocean here. I get to play for the Lakers. Not many get to say that.”

Luka also expressed his love and admiration for the late Lakers legend Kobe Bryant. After landing in LA he made sure to mention Bryant and his daughter Gigi, who tragically passed in 2020.

Dončić is nursing a calf injury that has sidelined him since December. He is currently slated to make his Lakers debut this Weekend as LA plays two games against the Jazz ahead of the All-Star Break.

PORCELLI: CTE & Black History Month

BQE Admin on February 4, 2025

By Mike Porcelli

During a previous Black History Month, I wrote about how this annual celebration had its origins in education. Today, CTE provides tremendous opportunities for Black people, as well as people of every race, gender, and ethnicity. Black History Month has been around since 1926, with a different theme each year. This year’s theme, African Americans and Labor, is intended to encourage reflections on intersections between Black people’s work and their workplaces. The good news for young Black people today – There’s never been a better time to acquire abilities that lead to good, high-paying careers in the skilled trades, regardless of who you are – NEVER!

The creator of Black History Month, Carter G. Woodson wrote how educational opportunities determined the life people create for themselves. He believed the ability to make a living is determined by how well people use their educational alternatives. He argued, vocational schools in his time only focused on training Black students to develop a set of technical skills and not on developing all their abilities. He would be pleased that – developing students’ natural abilities and interests are fundamental to today’s CTE, for every race.

Woodson’s philosophy of nurturing critical & creative thinking is central to CTE. That’s why he would recommend it to help his people succeed today. One of the reasons often stated for the low numbers of Blacks in the skilled trades is the lack of notable Black tradesmen as role models, even though there are famous African Americans who’ve done exceptional work in every field – including the skilled trades. For example, Alexander Miles invented a new way to open and close elevator doors. How about Charles Vernon Stewart, who become the first African American admitted into Greer College, a trade school for electricians. After graduation, he founded the Taylor Electric Company.

These pioneers, and countless other African American men and women in the trades have paved the way for young Blacks today to take advantage of the unlimited skilled trade career opportunities with a CTE program. Since the industrial revolution, Blacks have always played a key role in advancing skilled trades. Their contributions deserve recognition.

Through Career & Technical Education, the skilled trades offer endless opportunities for African Americans to become highly successful tradesmen, business owners, or BOTH. Being a tradesman is no longer about race or gender. Countless African Americans are at the top of their field in every industry. The need for skilled workers today is greater than ever before. That’s why CTE is now the best path to successful careers for most people. Is it for you?

I train people of every race and gender to become highly paid professional mechanics. Similar opportunities exist in all
trades. Employers don’t care about your race – only your skills and your work- ethic! They will pay a lot for both. Take advantage of CTE today!

Unlock career doors with CTE!

Penner the Penman

BQE Admin on February 4, 2025

When we meet an individual who is courageously unapologetic about using his unique insight helping the average New Yorker it’s difficult not to take note. Larry Penner; transit guru, letter writer, was that kind of person; curious, insightful and filled with empathy for the working man, and he know transit ridership from the supply and demand ends. And he was not afraid to write about it. Larry had a varied career in government, working for city planning as well as the board of elections. But his love was transportation, serving most of his working career managing and studying transit and transportation programs, working on projects within the MTA, NJ Transit and rail lines throughout New York.

With the knowledge gained throughout his decades of experience, Larry had become a prolific letter and op-ed writer to our newspaper for the past twenty years. He just loved the melodic proficiency in which the trains, busses and automobiles carried people with varied needs, through the city. His knowledge of the system, the movement of transit riders and the wants and needs of transit officials gave our readers the unique perspective few could.

Larry passed away last month after a battle with cancer. There are truly few who could replace the lens in which he saw transportation in New York City. He was born in Bay Ridge and lived most of his life in Great Neck. He was 71.

Pol Position: When There’s No Path, Move The Goal …. And Cuomo Still Leads

BQE Admin on February 4, 2025

The red dress, who had been seemingly inserted in every photo
with Mayor Adams prior his legal troubles, announced a run
for city comptroller in November. Woodhaven Assembly
member Jennifer Rajkumar announced then, with great
fanfare, that she could turn the city around. Her blanket
political promises, of course, covered little specific substance,
just outlined that she fixes things and NYC needs to be fixed.
When others saw she was running, they thought she was quite
vulnerable. Senator Kevin Parker was in the race early. The
political playbook says, ‘raise a lot of money and you scare
people away from running against you.’ Well, it didn’t work
here. Seeing Rajkumar had raised a significant amount of
money entering the race, our sources tell us that Councilman
Justin Brennan and Mark Levine didn’t flinch, saw a path to
win the Comptroller race and joined in on the fun. After all,
Rajkumar’s claim to fame, according to legislators we speak
with, is appearing wearing a red dress, in nearly every photo
op. with the mayor. And as soon as he, and those around him
got caught up in probes and cell phone confiscation, she was a
ghost.

It’s not really her fault though. We were the first to talk to her
when she announced she was running for the Assembly and
faced incumbent Mike Miller in a primary in Woodhaven &
Richmond Hill. Our Leader Observer newspaper has been the
weekly paper of record in that area since 1909. She admitted
she moved here from Manhattan, specifically to run against
him in a district that had a low voter turnout. It’s a great story.
We loved her honesty and gave her a bunch of credit for
wanting to get into the political game any way she could.

It was brilliant. But early success, as we all know, sometimes leads to
a false sense that it’s going to be easy to move up in the
political world. By the way, not every legislator wants ‘to move
up’ as they say. Being an Assemblyman, Council representative
or Senator is a pretty successful thing – and many we report on
here see their service in these positions as a goal. But no doubt
some feel the need to move ‘up.’ But we digress.
The ‘Red Dress’ thing is a great prop. It’s a good way for people
to remember you. But people aren’t easily fooled. These days
they want substance. It’s too easy to run for office now, so we
are getting people who are movers and shakers, civic leaders
and business leaders. They don’t solely come out of democratic
clubs any longer. She happens to be sort of an outcast in the
Queens Assembly Caucus. Why? Because she wants more and
her colleagues see it. There’s time, one Queens Assembly
member told us. You can’t just move up because you are smart,
or because you have a brand. Getting elected takes work. It
takes going door-to-door to talk to the people. “… it takes
proving you can get things done.”

Cuomo Still On Top

Case in point … Andrew Cuomo. This week another poll came
out showing he still has a 25-point lead in a run for mayor ….
and he didn’t even announce. You have Stringer, Williams,
Ramos, Landor, Mamdani and Adams, each under 10%.
Cuomo has a track record of getting something done. Whether
you like it or not.

As of last week, the path to the next level for Rajkumar is in the
Public Advocate office. Moving The Goal… brilliant with
unapologetic moxie.

Jennifer Rajkumar

What would it have taken a team like Brooklyn to pry the 25-year-old superstar from Dallas?

By Noah Zimmerman

Cuomo Still On Top

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