New Grants Seek Local Answers to Brooklyn’s Maternal Health Crisis

 

Brooklyn Communities Collaborative convenes leaders in Brooklyn maternal health for a roundtable discussion (Credit: Brooklyn Communities Collaborative).

By Jack Delaney

A new influx of grants is looking to empower a range of local Brooklyn nonprofits to address the nationwide maternal health crisis from the ground up.

On October 30, health equity nonprofit Brooklyn Communities Collaborative (BCC) announced that it was doling out just under $1 million in grants to 10 community-based organizations throughout the borough, with a focus on equipping mothers with better care, supplies, and information. 

This money comes as alarm bells sound at all levels of government over health data that shows little progress is being made in reducing serious complications and fatalities suffered by women during childbirth, a problem few other affluent nations face. 

In Norway, the maternal death rate is a non-issue: statistically, zero women die per 100,000 live births. In Switzerland, that number is one. Sweden, the Netherlands, Japan? All hover around three. 

Yet the U.S. clocks in at 22, the most significant maternal death rate of any high-income country. This rate worsens if you live in New York City, rising to 43. In fact, the greatest determinant of health outcomes for mothers isn’t geography, but race: Black women in the city are nine times more likely than white women to die during pregnancy.

This gap can be explained in part by a deep-seated history of sexism and racism in the healthcare industry, tracing back to slavery. James Marion Sims, the so-called “Father of Gynecology,” developed his techniques in the 1840s through horrific experiments which two enslaved Black women, Lucy and Anarcha, as well as many unnamed others, were forced to undergo without anesthesia. Sims’ statue was on prominent display in Central Park until 2018, when public outcry finally led to its removal — though not without backlash. 

This history extends to the lack of access to midwives and doulas in the U.S., which persists despite the fact that both figure prominently in most countries with lower maternal death rates. “Gynecologists pushed women out of the field of reproductive health by lobbying state legislatures to ban midwifery and prohibit abortions,” writes Professor Michele Godwin of UC Irvine for the ACLU. “Doing so not only undercut women’s reproductive health, but also drove qualified Black women out of medical services.”

Today, the enormous discrepancy in maternal health outcomes between Black and white mothers is perpetuated not only by ongoing structural racism in the health system, said Shari Suchoff, Executive Director of BCC, but by chronic disinvestment in many areas.

 “It isn’t just a healthcare crisis, it’s not just a nutrition crisis, it’s not an access crisis, it’s not an education crisis,” she noted. “It’s all of those things together. And the only way that we can solve complex problems is by working together with people outside of our immediate sector.”

To that end, the grants engage hyperlocal organizations that collectively represent a constellation of approaches.

One of these is Seeds in the Middle, which is getting $50,000 to offer mothers prenatal movement and yoga classes, breathing classes, emotional support services, and a fresh food pantry.

“Your baby can crawl around. You can have a cup of tea or coffee, something that helps mental health,” said Nancie Katz, the organization’s Executive Director, of creating a space where mothers can access healthy food while decompressing. “It’s preventative. What we know to be true in Black and Brown communities is that the rates of diabetes, heart disease, obesity, premature death, infant mortality, and maternal death are two or three times that of any community that’s wealthier, particularly white communities.”

Suchoff also highlighted the importance of prevention. “So much of this crisis really starts many years before women are pregnant,” said Suchoff, referencing the toll that chronic conditions like diabetes and hypertension can take during childbirth, if mothers don’t have access to preventative measures or medication. “I think that’s why we took a broad approach with this grant program.”

Other grantees, like the Arthur Ashe Institute for Urban Health, which is receiving approximately $120,000, are tackling the issue through outreach and community-building initiatives. 

The Institute was founded by its namesake, the influential tennis pro Arthur Ashe, and “utilizes a model of community health empowerment and engagement to promote health equity and social justice through strategic partnerships, innovative community-based health promotion and research programs, and the preparation of a more diverse and inclusive workforce of health professionals.” 

In this case, that model means meeting residents where they are. “We’re going to be collaborating with barbershops and salons to educate folks on the maternal health crisis,” explained Faven Araya, the Institute’s Director of Community Engagement and Health Equity Research. “Oftentimes, pregnant women are dealing with a lot of changes in their body, and some are abnormal. What are the things that should be concerning? What are the things that you should pick up the phone and call your doctor for? What are some of the things that you should go to the emergency room for?”

Aside from information about recognizing warning signs, the barbers and stylists will also be trained to communicate the rights that residents have around getting connected to appropriate care, and the different venues and spaces that are available to them.

BCC is awarding the largest grant is the Brooklyn Perinatal Network, which will receive $250,000 to “invest in studies of upstream and downstream factors impacting the availability and access to community and social services that address health related social needs.” Other big recipients include the Alex House Project, which will “continue providing career opportunities, comprehensive doula services and mental health, case management and psychotherapy/education sessions,” and the Caribbean Women’s Health Association, which has  a mandate to “strengthen community outreach, workshops, and counseling services surrounding sexual health, birth control, and chronic disease management.”

This is the third round of grants awarded through BCC’s Strong Communities Fund, which has given nearly $5 million to local public health groups since it launched in 2020 during the pandemic. Funding for this latest slew of grants drew support from the Robert Wood Johnson Foundation, which Suchoff pointed to as a significant development. 

“Robert Wood Johnson, a very large national foundation, working in this space is really exciting,” Suchoff said, “because it’s giving up their power to the community to put the money where they think it’s most important. So it represents a real shift in the general funder-fundee power dynamics.”

These local intercessions are especially important, given that a recent report by SUNY Downstate found that the ‘epicenter’ of New York’s maternal health crisis was Central Brooklyn. One hospital in particular, Woodhull Medical Center in Bed-Stuy, has been rocked by claims of malpractice.

But the problem is more systemic than a single hospital. A Department of Health report earlier this year found that “Brooklyn’s communities of color and high-poverty neighborhoods have fewer health care professionals and less hospital capacity per capita than the borough’s wealthier and predominantly white ZIP codes.” And it concluded that wealthier residents went to Manhattan for care, while those on Medicaid were stuck with underfunded local facilities.

City and state officials haven’t been sitting idly by. In 2018, DeBlasio launched a $13 million initiative to close maternal health gaps through implicit bias training, better data collection, support for hospitals, and partnership with community organizations. In 2021, the New York City Board of Health declared racism a public health crisis amid a pandemic that exacerbated longtime inequities, laying them bare.

Governor Kathy Hochul has been proactive on the issue, too. In January, she announced a six-part plan to improve barriers to adequate maternal healthcare, then in May passed a bill making New York the first state to mandate paid prenatal care leave. She penned in $1.6 million for maternal mental health initiatives in the 2025 budget. And in August, she earmarked $27.5 million for maternal and pediatric care at Elmhurst Hospital in Queens, following $8 million in funds for the Morris Heights Health Center in the Bronx to build a state-of-the-art maternal health center. 

Like the BCC, the government is also starting to look beyond the hospital system for answers to the crisis. As of March 1, New York State Medicaid covers doula services — and the Doula Expansion Grant Program will allow the Department to award $250,000 to community-based organizations for the recruitment, training, certification, support, and mentoring of community-based doulas.

Even so, the latest statistics suggest that the maternal health gap may be growing nationwide, even as other countries make strides in closing it. 

Ultimately, Suchoff noted that there’s no “silver bullet” for the crisis. But in her view, the local approach may be an increasingly important component of the solution.

“This is a model that’s worked really well,” she said. “We’ve been able to fund really small organizations who have trouble accessing funding from bigger foundations which can be burdensome to work with, and also created a really nice community of community-based organizations who are working together and trying to break down some of the silos that exist inherently in this work.”

Brooklyn Borough Resident Antonio Reynoso agreed. “For too long, Black and Brown mothers in Brooklyn have been disproportionately impacted by the maternal health crisis,” he said, lauding the grant program. “We cannot secure better outcomes for mothers and infants without first addressing this disparity and identifying the parts of our borough that are most vulnerable. By investing in CBOs that work directly with the most impacted communities, Brooklyn Communities Collaborative is empowering smaller organizations to tackle this crisis and improve maternal health in their own neighborhoods.” 

Industry City Fashion Show Celebrates Brooklyn’s Multicultural Design Talent

 

A runway look from Adeleke Sijuwade’s “L Collection” featured in a “A Very Brooklyn Fashion Show.” Credit: Nicholas Gordon.

By NICHOLAS GORDON

Brooklyn’s multiculturalism and visionary styles were on vivid display at the second annual “A Very Brooklyn Fashion Show” at Industry City in Sunset Park on October 15. It was a kaleidoscopic night of bright fabrics and bold patterns, cool silk and tough denim, graffiti, beads, jewelry, ruffles, and fringe worn by an eclectic medley of fashion models strutting their stuff to a musical playlist as diverse as the borough itself. Hosted by the Brooklyn Made Store during Brooklyn Fashion Week, the show featured the work of over ten local designers with heritage from countries across the globe, including Haiti, India, Nigeria, and Ukraine.

I love seeing all of these different kinds of models and designers in a fashion show,” said  Catherine Schuller, founder of Runway the Real Way, and a curator of the show along with Rick Davy, creator of Fashion Week Brooklyn. “We’re thrilled to be part of an event that honors the spirit and diversity of our community,” Schuller added, in an interview after the show.

As a pioneering plus-size model in the 80’s, Schuller said she was “bit by the diversity bug” and has thrived on creating inclusive catwalks ever since. As a designer herself, Schuller marries comic books with fashion, creating upcycled jewelry and accessories that she describes as “power pieces of heroic adornment,” several of which were featured in the show. 

Catherine Schuller, founder of Runway the Real Way and a curator of “A Very Brooklyn Fashion Show,” addresses the audience on October 15. Credit: Nicholas Gordon.

Designer Adeleke Sijuwade delivered a bracing streetwear collection set to the throwback track “Jump” by 90’s hip-hop duo Kriss Kross, mixing elements of hip-hop, basketball, westerns, cartoons, and Sijuwade’s Nigerian roots. 

“A lot of the things I create for the runway are things I love, and I draw inspiration from things I’m fascinated with,” Sijuwade said, in a phone interview. “It’s natural for me to be attracted to bright colors and patterns with a lot of details, because these are things African people wear everyday.”

Born in Nigeria, Sijuwade moved to the U.S. at age 6. He visits Nigeria a couple of times each year, he said.

While he enjoys being bold and playful with his creative choices, such as by adding Victorian ruffles, wide collar flares, suspenders, sports jerseys, or overalls to his signature baggy looks, Sijuwade said he is always focused on making clothes that are comfortable and accessible for a broad spectrum of humanity.

“It’s about bringing together different design elements in casual structures, clothing that’s wearable for everyone, no matter what shape you’re in,” Sijuwade said.

Several of Sijuwade’s garments featured powerful images of hiphop icons such as Biggie Smalls hand-painted by African artists that he’d collaborated with on trips back to his motherland of Nigeria.

Sijuwade said his goal is to take his painter-designer collaboration to the next level by exhibiting new pieces at a local museum.

Paying homage to heritage through collaboration is a potent approach for designer Renuka Malhi too, whose work was featured in the show under her brand name of “Re’Malhi.”

“Collaborating with other artists really elevates you,” Malhi said, in an interview after the show. “We uplift each other. It’s a different spirit when we work together with other designers because there’s so much to learn.”

Though for her brand she often makes couture gowns for the red carpet, Malhi said she wanted to change it up for this show with a line called “Little Black Secret,” evoking a mysterious autumn vibe. 

In addition to collaborating with shoe designers and Schuller who had some pieces from her line “Power Pieces x S Designs” in the collection, Malhi also teamed up with an artist from Kashmir, India, on a handmade black and white jacket that took several months to complete.

Designer Roselyne Shiyenze takes to the runway with one of her models at the conclusion of the show. Credit: Nicholas Gordon.

“The jacket is coming from the land where artists embroider by hand, sew every single flower, using silks and a lot of fusion with different fabrics,” Malhi said, noting that with her Indian background she’s a huge fan of great textiles and brocades. Malhi was born and raised in Punjab, India, and moved to the U.S. at age 20.

Deeply inspired by the work of her fellow designers in the show, Malhi said she has great appreciation for the creative diversity teeming in Brooklyn and on display in the collections.

“I thoroughly believe that every designer is unique in their designs, everyone brings a story that’s attached to their collection, and I enjoy that,” Malhi said. “I’m looking forward to working with more diversity in the future.”

New Brooklyn Festival Highlights Creole Artists

“What’s beautiful about discovering Creole culture is that you have to embrace multiplicity,” says Kréol Fest organizer Natie.

The idea for Kréol Fest, an upcoming arts bash at Cafe Erzulie in Bushwick on November 3 that aims to celebrate the intersections of Creole cultures through music, dance, visual arts, fashion, and food, came to its organizer, who goes by the mononym Natie, in stages.

The first was in 2020, during the Black Lives Matter protests in Brooklyn. “I felt really lost,” Natie, a classically trained violinist who toured with Beyoncé before launching her solo career in 2018, remembered. “I wasn’t marching, I wasn’t posting about it on social media, and I thought, is this me not being a part of the fight?” But an art curator whom she was friends with told her that while it was important to be fighting injustice, there was also a role for those who could “build something to come back to.” Expanding from that kernel, Natie decided to create a weekly jam session called Sunday Art Hang, based out of the Clinton Hill bar Izzy Rose. 

“It was right after the lockdown,” she said, “and it was about creating a community so that artists wouldn’t go crazy in their heads by themselves. They would have an afternoon to share what they were doing, where they were at, what they were struggling with. It was for us to hear each other and support each other.” Sunday Art Hang is now in its third year, and recently expanded to a new space at another Brooklyn bar, Umbra. 

Yet back during the pandemic, Natie, who is from Réunion, a French department off the coast of Madagascar, found herself for the first time in a bubble with only American friends. “It was a super fun group,” she said. “But when it came to conversations about race, it was really tense.”

“I felt misunderstood, but I realized I also had a lot to learn and understand about the dynamics here: what does ‘Black’ mean, what does ‘white’ mean in this context? That was the awakening of my sense that there is so much to talk about — and without sounding like I’m preaching, I think there’s something to be shared from where I come from, another way to look at how we live together.”

Then, in 2023, Natie connected with a percussion group from Réunion called Rouler Killer that was visiting New York, and convinced them to come to Sunday Art Hang for a night of improvised music. “It was so special,” she said. “That was a preview of what Kréol Fest could be like — that moment really fueled me.”

The third and final component settled into place when Natie’s partner relayed a conversation he’d had with a Haitian artist, whom he was telling about her Creole roots. To the artist, the fact that she came from Réunion seemed disqualifying. “But,” the artist said, “they’re not Creole!”

A recent jazz night at Cafe Erzulie, which will be the venue for Kréol Fest.

It’s in this crucible of questions — about race and belonging, the far-reaching resonances of the term ‘Creole,’ and the role that art has to play — that the festival has taken shape. Running from 6 p.m. until midnight, it will assemble ten artists (including saxophonist Kafele Bandele, visual artist Watson Mere, and fashion curator SA-RA) from a wide range of disciplines, representing five different countries: New Orleans, Réunion, Guyana, Trinidad, and Haiti. The event will kick off with a panel discussion, followed by live performances and an array of vendors. 

“What’s beautiful about discovering Creole culture is that you have to embrace multiplicity,” Natie stressed. “Because by nature it is a blend. It’s even more important now, in such a divided climate. Everything is polarizing, a binary choice, and when you engage with Creole culture you have to expand that vision and embrace the fact that it’s this and this and this, and it coexists.”

Ideally, Natie hopes the event will extend beyond this initial installment to become something more. “I want Kréol Fest to exist in ten years,” she said. “I want it to travel. The idea is to uplift each other, and through this shared history see where we can grow stronger as a community.”

Bagpipes, Neo-Trad, and Everything in Between at NYC Tattoo Con

By Jack Delaney

A visitor to the New York Tattoo Convention last Friday might have been caught off guard by the sudden blare of bagpipes, erupting from three kilted men as they strode down the aisles of artists’ stalls. But to Donal Cranny, one of the event’s three organizers, they were no sideshow. Instead, the marching musicians were emblematic of a broader approach: “We wanted a very global experience,” Cranny said. 

To that end, the show assembled 340 artists from across North and South America, Europe, Asia, and Australia who converged on Duggal Greenhouse in the Brooklyn Navy Yard over the weekend, from October 18 to 20, for the annual convention’s third edition. Their art drew over 4,500 attendees, who clustered around food trucks, danced to live acts like the hard rock outfit Rebel Angels, and lay patiently on tables as steady hands added fresh designs to their collections.

Tattooing has a long and checkered history in New York City. In 1870, Martin Hildebrandt founded one of the first tattoo parlors on Oak Street in Manhattan, catering to soldiers and sailors for whom a tattoo was partly style, and partly a means for their body to be identified if they were killed in battle. The city banned tattooing altogether in 1961, catalyzing a Prohibition-like underground scene and persisting for thirty six years, until 1997. Today, events like the New York Tattoo Convention are evidence that the practice’s old connotations may be slowly shifting.

Michaelle Fiore, who opened a studio in Gowanus this summer and had attended the previous year’s convention at South Street Seaport, said that the pandemic had changed the scene significantly. “A lot of people are either opening private studios,” she said, “or going in the direction of co-ops where multiple artists are pitching in for a space and then splitting rent down the middle, rather than working for a shop owner.” In her view, customers were gravitating more and more towards these new models — studios based out of artist’s homes, for example — and modern styles, too, such as neo-traditional, a digitally-inflected take on classic motifs. Her own preferences are surrealism, anime, and fine line work.

Fiore also noted that she was already seeing a post-pandemic bump in demand for cover-ups and laser removal, as the pent-up demand for tattoos gave way to second thoughts. Fiore’s mother, a painter herself, sat beside her on a swivel chair and chimed in with the refrain of parents everywhere: “Think about what you’re going to get first!”

Nearby, as “Psycho Killer” by the Talking Heads played on the loudspeakers, and a shirtless man showed off two hyper-realistic babies’ faces, one on each of his pecs — plus a third on his shoulder blade, which he displayed with a smile to an admiring passerby — Coy Barrientos waited sagely in his sunny stall for customers. This was his first year participating, and he had only recently moved to Grand Junction, CO, from his home in Costa Rica, for a residency at Elysium Studios. 

“I’m definitely surprised that I’m even able to make a living out of art,” he said, beaming. He had worked his way up from tattooing friends in his bedroom, to a three-month apprenticeship, before landing this position in the U.S. Like Fiore, he was influenced by Japanese iconography, and agreed that the industry seemed to be changing. One factor, with which artists will increasingly need to reckon, is artificial intelligence.

     

“You kind of notice the before and after of someone’s Instagram page,” Barrientos said, “when they start to use AI.” For some artists, he saw a marked improvement in their work, so he hesitated to condemn it wholesale. “I don’t really think it’s bad, but it’s a contradiction. If you’re making art, you’re supposed to be making it yourself — otherwise, you’re not really the artist. At the end of the day, AI art is not yours.”

Chumreon Sutcharitakul, owner of the Tattoo Stock shop in Astoria, said that he occasionally used AI-created designs for reference, but doubted that the artist’s role would ever be fully eclipsed. His own start had been decidedly low-tech: with “nothing much” on Youtube in the early aughts, he had resorted to buying instructional DVDs made by tattooer Jeff Gogue on Google. Then, in 2009, he found a spot at a studio on West 4th Street with a clientele of mostly tourists. 

“I didn’t have the chance to pick something I wanted to do. It was good for me, and it’s good for beginners because they have to practice many styles,” said Sutcharitakul, who transitioned to his own studio in 2016 and moonlights as an amateur billiards player. “Me, I call my style money-listic. You pay me, I do whatever.”

Though not every vendor was so explicitly mercantile, few contested that tattooing was just as much a matter of savvy business sense as it was artistic skill. “Nowadays, social media is big,” Sutcharitakul explained. “If you don’t learn that too, you’re dead.” Upstairs, as the sun began its descent over the East River, fellow industry veteran Ross Given seconded that sentiment. While he called himself a “dinosaur” when it came to social media, he had a secret weapon: his two kids, whom he relies upon when he needs to shoot a video for Instagram Reels or TikTok.

Given, owner of the Anubis Tattoo Studio in Greenock, Scotland, has been tattooing for 17 years, but he stumbled into it initially. “This wasn’t a career plan,” he said, “or a conscious decision.” After leaving the Royal Air Force, where he had served for 12 years, he had been gearing up to start a new job in private security. By that point, he had been tattooing part-time for two years, inspired by an artist in Norfolk, England, who had given him tattoos of his own while he was stationed there. While back home briefly after military service, he ultimately decided to take the plunge and stay to open his own shop.

“I was kind of lucky, I had some money put aside,” Given said. “And I just thought, ‘I’m going to give it a go.’ In my hometown, there were only two other artists. They were older guys, they weren’t very good.” He flashed a grin. “So I thought, I can’t be any worse.”

At the convention, Given’s winding path seemed the rule rather than the exception. Another artist, Alan Gray, had started tattooing at age 14 while part of a gang in Mexico City, and had dreamed of attending a prestigious program at the National Autonomous University of Mexico for plastic arts. At 20, he moved to New York and has been tattooing professionally ever since. “You’ve got to love this,” he said, “and you’ve got to keep working every day.”

Emanuele Baracchi, cleaning his equipment, explained that he hailed from a small town outside Bergamo, Italy. “[Before tattooing,] I was doing a bunch of jobs. My father had a big pub back in Italy, so I was taking care of the pub as a manager. I worked as a gardener, and as a croupier.” His last job was in a factory that made metal connectors for trains, before he promised himself he would follow his passion for tattoo collecting and become an artist himself.

No matter their background — a past life in the Air Force, a gang, or the foothills of the Alps — that devotion to their work, and desire to keep making, were common denominators. Now at The Grand Reaper, a shop in San Diego, Baracchi summed up the profession’s goals thus: “You try to make a living, but by expressing art through people. And you try to make people confident in their lives. It’s like armor. Every tattoo should have a meaning, a reason.”

The convention concluded with a ceremony for the Best of Show, which went to Hugo Feist and Anton Mariushev for a collaborative piece. 

Cranny and business partner Roy Keane conceived of the concept in 2020, as the pandemic was raging. It took two years to actualize that vision, but they are now planning a fourth installment, set to be in Brooklyn again, and this summer they launched a sister convention back in Belfast, Ireland. 

“We’re three years in — it’s become like riding a bike,” Cranny joked. “And I like to think that we’re creating a community for people who want to come back.” 

Until then, the artists will be scattered across the globe, honing their crafts for next year.

Brooklyn Football Club, New York City’s Professional Women’s Soccer Team, is Undefeated Four Matches into USL Super League Play

BKFC forward Mackenzie George maneuvers through Dallas defenders in BKFC’s 2-0 win over Dallas Trinity FC in the club’s home opener at Rocco B. Commisso Soccer Stadium on Wednesday, September 25. George scored a goal in the first half of the match.

By Nicholas Gordon

Under the bright stadium lights in September’s crisp night air, Brooklyn Football Club put on a show in a 2-0 win over Dallas Trinity FC in its home opener in the inaugural season of the USL Super League. Approximately 500 fans attended the match on Wednesday, September 25, at Rocco B. Commisso Soccer Stadium.

“It was a great win tonight,” said Matt Rizzetta, Chairman of Brooklyn Football Club, in an interview after the match. “It’s a win for Brooklyn, a win for New York soccer, and most importantly, it’s a win for women’s soccer.” 

Rizzetta described the vision for the team as one of “bringing hope and inspiration to this generation and future generations of aspiring women’s soccer players,” with a particular focus on local talent and community values.

“The heartbeat of our project is on replicating and representing the Broooklyn spirit, which is built on grit, hard work, and perseverance,” Rizzetta said. “There are a lot of local girls on the roster that understand what this means for the community, what it means to represent Brooklyn and the five boroughs.” 

As New York City’s professional women’s soccer team, BKFC is playing its home matches this fall in the temporary location of Columbia University’s Rocco B. Commisso Soccer Stadium. The move comes due to “deficiencies in the soccer turf installation at Maimonides Park that rendered the field surface unplayable,” as stated in the team’s press release.

Brooklyn FC adapted well to their temporary new field, besting a quality opponent in Dallas, a team that the league website forecasted could take the top slot with a win. Instead, BKFC now moves into second place in the standings, while Dallas slides to sixth.

The scoring came early for BKFC, and it came via a highlight reel worthy goal from forward Jessica Garziano. At the 19-minute mark, Garziano picked up a loose ball in the attacking third, took a few touches towards goal, and cracked a screamer from nearly 30 yards out into the upper lefthand corner of the net, past the outstretched arms of the diving Dallas goalkeeper Madison White.

It wouldn’t be the last time White was called upon to showcase her agility against tough shots: she had several good saves on the night, including a diving stop on a BKFC penalty kick in the second half.

Also fraught was the job of the Dallas defenders tasked with containing BKFC forward Mackenzie George for the match. George routinely beat several players in a run, weaving her way through the Dallas defense with quick cutbacks before setting up teammates with clever flick passes on clear paths to goal or for open shots. George scored at the 37-minute mark after carrying the ball with pace through the attacking third and laying out a square pass for teammate Hope Breslin, whose strong shot on goal from the 18-yard line was batted away by the keeper, only for George to knock home the rebound.

“Mackenzie George is such a fun player to play with because you know she’s never going to give up on a ball, and she can beat four players at a time so you always have to be ready when you’re on the field with her,” said BFKC forward Mackenzie ‘Mack’ Pluck, who won several free kicks on the night. Pluck added that George’s positivity off the field is something that unites their team, too.

BKFC midfielder Sam Kroeger, who earned Player of the Match honors, has transitioned seamlessly from her standout collegiate career at Rutgers to the pros, as a crucial connective tissue for BKFC in the midfield.

“Rutgers did a great job preparing me for this opportunity. They have one of the best coaching staffs in the country,” Kroeger said, adding that the BKFC preseason was key for preparing her and her team for the league’s inaugural season as well. “Now, I’m focusing on doing what I’m best at with my skill set, and continuing on the things that I can grow from,” Kroeger said. 

BKFC’s newly appointed head coach Jessica Silva credited her group for their efforts playing at the new location, noting that while the team had played one pre-season match at the stadium, they had not had another chance to train on the pitch before this match. “The girls did really well adjusting out there, and sticking to our principles offensively and defensively in transition,” Silva said. “We have a lot of leadership on our team, and this is a special group,” 

From left to right: BKFC goalkeeper Neeku Purcell, head coach Jess Silva, center back Allison Pantuso

Brooklyn FC 1 – 0 Lexington SC 

BKFC won its second home match 1-0 in a hard fought battle on a rainy night against Lexington SC on Friday, September 27. Again, the club had the upper hand on shots on goal and corner kicks, while also showing defensive prowess throughout the match.

George once more dipped into her bag of tricks just two minutes into the second half, collecting a pass on the far right wing, torching past a defender to gain the endline, and lofting in a cross to forward Isabel Cox, who settled the ball and then booked it from close range.

At the heart of the stalwart BKFC defense, unflappable center-back Allison Pantuso plays on a string with goalkeeper Neeku Purcell, who now has three shutouts in four matches, conceding only one goal so far on the season.

“We have a lot of trust with each other in the back, so people are confident because they know that the person to the left and the right has their back,” Pantuso said. “And Neeku’s got great feet so that gives everyone confidence, too.”

With their unbeaten start to the season, Purcell said they’re now “hungry for more” and looking for ways to improve their style of play every single day. “We know we can always get better after every game,” Purcell said. “We’re watching film, taking note of what we did well and what we can improve on, and then making sure we do that in the next game.”

The USL Super League kicked off its inaugural season in August with eight teams competing in Division One of U.S. women’s professional soccer. Regular season league play will run through next summer, with additional clubs set to join the league in 2025.

Rizzetta, acknowledging that relocating from Brooklyn for the start of their season was a setback, said he was happy that they were able to find a good solution, and grateful for the support and partnership of Columbia University. 

Brooklyn Football Club’s first pair of home games might have been played in upper Manhattan, away from their home burough, with the 1 train rumbling past in the background instead of sounds from the Coney Island boardwalk, but it was still two wins, and it was still all New York.

Match action, BKFC vs. Dallas Trinity FC on Wednesday, September 25 at Rocco B. Commission stadium. BKFC won the match 2-0, their home opener.

$68 Mil Environmental Fund from ExxonMobil Oil Spill Lawsuit Ends

The Greenpoint Community Environmental Fund sponsored the new Greenpoint Public Library.

By Jean Brannum

Attorney General Leticia James and DEC Interim Commissioner Sean Mahar announced the completion of the Greenpoint Community Environmental Fund Sept 26, which provided $68.8 million for environmental issues after the Exxon Mobil Oil Spill settlement with the state in 2010.

The Greenpoint Community Environmental Fund (GCEF)  concluded as Climate Week concludes. James and Mahar highlighted the many projects made possible by the fund including a new public library, educational center, and green improvements at McGolrick Park and other locations around the neighborhood.

“Although no amount of money can make up for the environmental harm ExxonMobil brought to our neighborhood, funding these incredible projects has been a beautiful start,” said Assembly Member Emily Gallagher.

The projects included the addition of nature walks and bird-watching groups at McGolrick Park in addition to planting and beautification efforts.

The GCEF also sponsored the Greenpoint Library, a brand-new sustainable public library and environmental education center that continues to host programming for local families. A total of 77 grants ranging from $5,000 to $5 million came from the GCEF.

“Working together with the community, and with the generous support of GCEF, we were able to turn the tragedy of an oil spill into a modern, green library which will serve the community for generations to come,” said Linda E. Johnson, President and CEO, Brooklyn Public Library.

Dewey Thompson, founder of the North Brooklyn Community Boathouse, expressed his gratitude towards the fund. The GCEF contributed to the boathouse on the Newtown Creek.

“GCEF offered transformational grants for so many environmentally focused organizations in Greenpoint; not only giving local, volunteer-run non-profits like North Brooklyn Community Boathouse the ability to expand programs and capacity but creating synergies between grantees, such as our partnership with the Greenpoint Library and Environmental Education Center,” Thompson said.

Projects sponsored by the GCEF included improvements made for Msgr. McGolrick Park.

About The Spill

The fund was created in 2011 with funds from the ExxonMobil settlement with the state following a massive oil spill that was discovered in 1978. For 140 years, 17-30 million gallons of oil leaked across 55 acres of underground Greenpoint, according to the Newtown Creek Alliance.

Several years of litigation followed, but eventually, ExxonMobil was on the hook for cleaning up the spill. Since cleanup from Mobil, began in 1979, 12.9 gallons of oil have been recovered. ExxonMobil is currently petitioning the city to allow for consolidation of its groundwater pumping facilities. 

ExxonMobil paid $25 million in total for projects that would benefit the community, restore Newtown Creek, and remediate the land, according to an announcement from the DEC. Funding increased to $68.8 million total.

The Department of Environmental Conservation will continue to require ExxonMobil to protect Newtown Creek.

Businesses, Nonprofits, People Debate Weekend Open St On Bedford Slip

The slip lane at Bedford Ave, is commonly called the Bedford Slip. Credit: Jean Brannum

By Jean Brannum | jbrannum@queensledger.com

An application to the Department of Transportation has triggered debate among business owners, street safety advocates, community members, and nonprofits about whether to turn the Bedford Slip, into an open street on weekends.

The North Brooklyn Park Alliance, a non-profit organization that manages parks in the community district, applied to manage the Bedford Slip as an open street for Fall 2024 per request from the Department of Transportation, which is a 100-foot street near the intersection of Nassau Ave, Bedford Ave, and Lorimer St. The slip became a temporary plaza when the G Train was shut down for six months over the Summer.

The temporary plaza received mixed reviews from people who spent time in the street and the eleven businesses on it. While some said they wanted the slip to become a 24/7 plaza, a weekend open street is the only decision the DOT is considering.

During the six-week shutdown, the North Brooklyn Parks Alliance managed the slip, including installing tables and chairs, managing weekend vendors, and sanitation services. The Parks Alliance applied for the weekend closure at the DOT’s request for the Fall 2024 Open Streets program. The DOT makes the final decision on the Bedford Slip and other Open Streets applications based on information gathered during a review period, according to Katie Denny Horowitz, Executive Director of the North Brooklyn Parks Alliance.

Businesses Push Back

This debate heated up at two Community Board 1 meetings where several members of the public spoke for and against the slip. One of those places was Awoke Vintage. Owner Rachel Despeaux spoke to the board about how the 6-week closure caused her store to lose business. She said the shutdown diverted customers from window shopping and was worried that she would have to move her business if there is a weekend shutdown, which is her busiest time.

“Why would I willingly pay rent to have a street removed, have my sidewalks essentially removed, and people rerouted into the street?”

Despeux noted that all 11 businesses at the DOT meeting were against the slip. This was repeated by Mignar Tsering, owner of ID Menswear.

Tsering said he was always against the shutdown, even on weekends. He said business was down about 40% during the full-time shutdown. The lack of car access also hindered deliveries. Tsering said on weekends, he has to carry stock into his store, which includes heavy candle-making supplies and candles. He said parking is already an issue in the area and carrying supplies in would difficult.

Tsering also said that when the slip was pedestrian-only, street vendors would set up shop directly in front of his store, which led to a further loss of business. Tsering also said he did not see many people use the slip during the G-train shutdown.

“Every day we were there, and we hardly saw anybody using it, just a few people that were using other delivery guys,” Tsering, whose store is open seven days a week, said.

Lediona and Elona Zharku, who own Tired Thrift, wrote a letter to Councilmember Lincoln Restler expressing their opposition to the shutdown. The Zharku’s said that they pay rent specifically for a storefront with high foot traffic and that the closed slip diverted people from the storefront. A 2019 study from the DOT shows the slip area has one of the highest pedestrian volumes in Brooklyn at around 2,000 people. They also said they hardly saw anyone use the slip and saw more people using McCarren Park.

“We find it unnecessary to have an open street here with a public park so close by.  Also, it was very difficult to load necessary supplies and stock into our shop when the street was closed since we could not park our cars outside of the shop.”

Activists Push For The Open Street

This sentiment was a surprise for activist Benji Lampel from North Brooklyn Open Streets Community Coalition, who is for a 24/7 shutdown. He said that in the beginning of discussions about the potential open street, feedback was mostly positive. During the G train shutdown, a petition from Transportation Alternatives pushing for the Bedford Slip garnered over 3000 signatures.

“I was taken very off guard because none of them who I had spoken to had an indication that they absolutely hated it.”

Lampel said that most businesses, except for Billy’s Locksmith and one other place, were on board with the open street. Tsering from ID Menswear said he told some of the advocates that he opposed the idea.

Kevin LaCherra, another resident who was involved in advocating for the shutdown, said that many businesses lost revenue due to the G train shutdown, even outside of the slip. Other reports say the same thing since the G train is the main subway line in and out of Greenpoint.

“I believe that their business was down,” LaCherra said. “They would have no reason to lie, but I don’t think that that is because of the plaza. I think that is because the primary mode into and out of the neighborhood was cut for six weeks. “

While some businesses affirm that they are against it, those for the shutdown continue to say that the open street would help businesses. A report from the DOT in Oct. 2022 said that open streets benefitted businesses overall. LaCherra said he and others spent more money at the restaurants on the slip during those six weeks.

Dan Elstien, a Greenpoint resident who was involved in North Brooklyn Open Streets Coalition, said that while he received pushback from businesses, he thought the six-week shutdown went well and reduced congestion. Elstien said he was at the slip at least once a week.

“It was a lot safer, it was much nicer and helped the bus keep moving,” Elstien said. “We were able to do things you weren’t able to do before,  like put down semi-permanent infrastructure.”

LaCherra said that in 2020,  the idea came after an accident in which a woman was hit by a car. Many people and activist groups discussed the idea of turning the slip into a pedestrian plaza. Advocacy for Banker’s Anchor, a new pedestrian plaza, was also being discussed among residents at the time.

Crashmapper shows nine accidents at both ends of the slip between Aug 2016 to Aug 2024.

LaCherra said he was also part of a group from the Parks Alliance that helped with cleanup after events. The Parks Alliance hosted pedestrian events in the slip before the six-week pilot. When the G Train shutdown began, advocates for the open street wanted to show that the idea was good after several failed applications for the open street. LaCherra also commented that the slip would be nice on Saturdays when McCarren Park was full.

“There’s barely enough room for a picnic blanket next to the next picnic blanket,” He said referring to the crowds at McCarren Park on Saturdays.

LaCherra also said that while he ultimately wants the slip, he does not see the issue as a battle between business owners and residents. He believes that regulation of the space would make the space good for everyone. Furthermore, he said advocates for the slip have also pushed for loading zones within 65 feet of businesses.

“I think that this is something that, like most things, can be solved with some good communication and trying some things out,” LaCherra said.

 

Elected Officials Speak Out Against Cement Mixer That Causes Dust, Noise For Residents

Assembly Member Emily Gallagher, Councilmember Lincoln Restler, and State Senator Kristen Gonzalez speak against DKN ReadyMix. Credit: Jean Brannum

By Jean Brannum | jbrannum@queensledger.com

Outside the DKN ReadyMix facility, Councilmember Lincoln Restler, State Senator Kristen Gonzalez, Assembly Member Emily Gallagher, and other community members spoke out against the cement mixing company for polluting the area and causing intense noise. 

The facility, which has several Department of Buildings complaints for spraying dust into the air, and banging concrete blocks against the ground causing noise and shaking, has received repeated requests from elected officials and residents to be better neighbors, the officials say. However, the facility has allegedly failed to meet with the community and has not fixed the issues. 

The situation has escalated to the point where Restler called for the company to shut down the Greenpoint location. 

“They’ve provided no substantive information, no real answers, most of all, no improvement,” Restler said. “We are gathered as elected officials, the united front, as community leaders, community-based organizations, all together demanding that this noxious business get the hell out of Greenpoint.”

Jens Rasmussen, who lives next to DKN, told Greenpoint Star in a previous interview that he saw workers slamming cement blocks onto the ground, which caused shaking and cracks in his building. The dust in the air has also caused respiratory issues for his two-year-old son. 

The DKN ReadyMix facility at 270 Green St. Credit: Jean Brannum

Another resident, Laura Hofmann, said she could write her name in the layer of dust that coats her car. She lives a few blocks from the facility. 

The DOB fined DKN $620 for performing work with a certificate of occupancy for the sale of used cars and car parts. The dispute was resolved, according to the DOB, and the certificate was corrected.

However, elected officials and residents say they have not seen improvement in the air quality or noise levels. Elected officials sent a letter to DKN demanding a meeting. The meeting was supposed to take place Aug 14 but was canceled the day before, according to Restler. He said that DKN hired a lobbying firm to assist them. There has not been a meeting, or discussion of one, since then. 

The air quality index (AQI) readings have been startling at the exact location of DKN. Lael Goodman, director of environmental programs at North Brooklyn Neighbors, saw a spike with an AQI reading over 500, which she said was worse than readings during the wildfires in Canada that turned city skies orange in 2023.  

Air quality monitors measure for particulate matter less than 2.5 micrometers in diameter, which is small enough to be inhaled, Goodman explained in a previous interview. An acceptable air quality reading is an average of 35 micrograms per cubic meter (µg/m3) over 24 hours, according to NYC Environment and Health. Air quality readings on Purple Air show the average 24-hour amount to be 59 µg/m3 as of Sept 20. The one-week average is 55 µg/m3.

The issues with DKN reflect repeated environmental justice issues in the neighborhood. Gallagher spoke about how she is tired of companies causing environmental issues for nearby residents. She also encouraged DKN to start working with the community to protect residents’ health and well-being.

“They can either work with us and keep their business, or they can work against us and see what happens,” Gallagher said.

Willis Elkins from the Newtown Creek Alliance agreed that Greenpoint already has many environmental issues from an industrial history. 

“It’s not that this is anti-business. This is being a bad neighbor, and DKN ReadyMix has this proven history of polluting our air, polluting our waterways, and congesting our streets, making it dangerous for everybody in the community, Elkins said. 

Elkins referred to DKN’s previous establishments at Maspeth Ave and in Long Island City. Riverkeeper, a nonprofit that advocates for the protection of the Hudson River and its tributaries, sued DKN in 2016 for allowing stormwater runoff from their facility to pollute nearby waterways in Long Island City. A judge ruled in favor of Riverkeeper and DKN had to pay $10,000 to the Newtown Creek Alliance.

While Restler ultimately called for DKN to relocate, he and his elected counterparts clarified that they are not against all businesses or industrial establishments in the area. He simply wants these businesses to be good neighbors. Gonzalez said that DKN can choose to comply with regulations and be a better neighbor. 

“We want a new industrial business providing good jobs to our community, who will be a good neighbor for Greenpoint, Restler said.”

DKN ReadyMix did not respond to requests for comment.

 

Read, Play, Love; Brooklyn Children’s Book Author Randall de Sève on Process and Purpose and Her Latest Release

Photo Credit: Alexander Bernhardt Bloom

 

By Alexander Bernhardt Bloom | alex@queensledger.com

 

Students in our city’s five boroughs returned to school last week, a moment which,  —  as anyone who has been a student, or the parent of a student, or the teacher of students, will know  —  summons fear, anxiety, courage, and exhilaration in them all at once.

The materials mailed during the summertime to the caregivers of many of those students offered suggestions for best preparing their youngsters for the return. One of those suggestions was reading. 

Children see themselves in the stories they read and have read to them; they identify with stories’ characters and wade through the conflicts they might encounter only to rejoice with them at their resolution. Story books, especially those concerning schools and lessons and learning, can be a terrific way for a young person to simulate the experiences they will begin to face for real when the first day arrives in September, goes the suggestion, and so off went many parents of students-to-be in search of just those for use with their youngsters during the waning days of the summer recess.

They’d encounter an excellent one in Sometimes We Fall, the latest release from children’s book author Randall de Sève, which arrived on the shelves of book shops in her home borough of Brooklyn, in the rest of the city, and elsewhere last month – just in time.

That the story concerns a family of bears and that its setting is a plum tree is no matter. Most children’s books can be understood as parables in some way or another, their apparent simplicity a thin disguise for the powerful, universal themes they usually make their focus. Clever, clipped language and cute characters and eye-catching illustrations are simply devices that the children’s book author reaches for to help deliver a message about those themes, and if you think about it, most every children’s book has a message to deliver about something.

 

*      *      *

 

Sometimes We Fall opens with an image of a great, brown bear nestled high in the branches of a tree whose limbs are decorated with ripe fruit. Another bear, much smaller, sits stock still below, half-hidden in the tall grass, looking up at her in awe.

“It’s a problem when…,” the text begins. Told using the little bear’s voice both spoken and in narration, the story goes on to pose hypotheticals considering all of the things that might go wrong along the way, from the little bear’s spot in the grass to their consumption of the rich, ripe plums in the branches up high. “What if?,” asks the little bear.

The bigger bear, the cub’s mother, we learn, answers each of these queries from above: “Sometimes,” she replies repeatedly, “(said misfortune occurs).” Adding, “It’s okay.”

The bear cub continues with concerned questions. 

The tree’s solemn branches play witness. The ripe summer fruit continues to beckon.

 

*      *      *

 

That Sometimes We Fall is thematically-suited for the apprehensive child approaching the new school year did make its arrival feel just in time this summer, but that wasn’t exactly a marketing scheme. In fact, the process by which a picture book is produced, unlike the narratives they usually contain, is frequently long and nonlinear. So it was, in the case of Sometimes We Fall, explained de Sève, on a late-summer afternoon at her home in Park Slope.

Her most recent release, the author’s eighth picture book for children, was written over the course of a year and produced and prepared for publication over the course of several. It started with a short and fleeting moment.

Photo Credit: Alexander Bernhardt Bloom

On a visit in Connecticut, she watched through the window of a house in the country while a mother bear scaled a towering tree beside it, finally reaching a height as tall as the top stories of the brownstones that populate de Sève’s neighborhood in Brooklyn.

“And then there were these two cubs, and they were tiny at the bottom,” she recalls, “and they were watching and they kept trying, and they kept trying and falling and trying and falling.”  She looked on in awe and sympathy and identification. There was something big in this little moment and de Sève would carry it with her for a time afterward.

“I couldn’t stop thinking about it,” she remembers, and finally realized she had the seed for a new story. “I lived with those bears, the real bears, for a long time before I realized what I wanted to say with them. I didn’t start writing until I knew. ”

It was a similar generative process for de Sève as with previous projects, a period of rumination and selection and development most readers are surprised to learn about. “The golden rule is 500 words or less,” she confided, although some children’s books authors bend, break or ignore it. To begin with at least, there are many more than that. “In my first draft I do write a lot of art notes, particularly when there are pauses in the telling but the story goes on with showing.”

As the narrative shape of the story begins to take form, so too do the visuals that will support or even drive it: “I’ll sometimes have a line that will say, ‘no text, art:’ and then a description of what I imagine.”

Image Courtesy of Random House Studio

In the end de Sève takes most of these notes out, an act of confidence comparable to stripping the scaffolding off of a nearly constructed building, but also a way of expressing trust in the collaborators who will see the book through its next steps of development. Leave room for the artist to do their job too, an editor told de Sève early in her career.

In most cases she’ll never actually sit down with those collaborators. It is a curious question of chicken or the egg for most consumers of children’s picture books, who imagine that when a story’s illustrations form such an important part of its telling they must have been proposed first, or at least at the same time the story’s text as the thing was being written. Not so. Always first is the story, explained de Sève, and most times  the choices about art and design and story-mapping happen afterward, far from the person who first wrote it.

For Sometimes We Fall de Sève communicated with illustrator Kate Gardiner by email, and indirectly, sending notes through the editor as a third party while the artist sketched through the story’s pages. De Sève was finally very pleased with her work. Gardiner’s clean and serene landscapes, her obvious, touchable objects as props, and the simple lines used to create deeply expressive characters, all seem uniquely-suited to de Sève’s story, but really the artist’s work represents a sort of intuitive connection with the story’s text and themes.

Image Courtesy of Random House Studio

Which brings us back to the story’s writing. “When a child has a favorite book,” de Sève pointed out, and as every parent knows, “you’re going to have to read it a hundred times, so it has to keep giving.” It’s a delicate balancing act, for the story must come through clearly for the child but also be related in a voice imaginative enough to hold their attention and that of the grown-up reading it to them. Not every children’s book does this effectively, and the young and old consumers of these stories recognize the difference pretty quickly.

They are the children and their caregivers both who reach for certain books over and over again while others languish on the shelf, and you need only listen in: “When a parent or caregiver appreciates the voice or the characters or the writing, that comes through in the reading too,” remarked de Sève, “They read that story with a greater degree of care.”

Equally important is the content of the narrative, and for de Sève, generally, less is more. “Children’s media can be very loud – and I don’t mean audible level.” She appreciates books with a linear narrative, clear settings, sparse use of things like text balloons and the absence of what she calls “visual screaming.”

Indeed, Sometimes We Fall could be described well the way de Sève describes her favorite children’s books: “Stories where not much happens, that are calm and beautiful and honor the bigness of a tiny moment. Because that is life for a child – a string of tiny moments.”

Photo Credit: Alexander Bernhardt Bloom

It is the author’s intention to capture those tiny moments in her stories, and create a chance for children and their caregivers to enter them together. It starts with the child’s sensibility. “When you’re walking around in the world with a child, they’ll bend down and pick up a stone, or find a little shell on the beach, or see a little flower, or hear a siren. These things that we take for granted as adults – it’s all new for children, and you realize how much magic is in our world.” Reading a story book gives these parties a chance to examine that magic together.

How true.

My three year-old furrows his eyebrows, reading Sometimes We Fall, with the little bear’s first attempts to climb. He cries “oh no!,” when the cub slips or a branch breaks. He caught the repetitive pattern and soon began to join in chorus for the mother’s responses, “it’s okay,” and he laughs with glee at the cub’s satisfaction with its first fruit. When the little bear is finally reunited with its mother – forgive the spoiler – my son turns away from the story book’s pages, nuzzling into my side as does the bear in the tree in the illustrations. “I want a plum,” he usually concludes.

Children don’t read stories, they live them.

 

*      *      *

 

Back in the garden of Randall de Sève’s home in Brooklyn, she paused for a moment from what she’d been saying as a helicopter flew overhead. In an adjacent backyard motorized garden-grooming tools made their terrific racket, and traffic and faint music and the sounds that come off of Brooklyn avenues met our ears from afar.

Our children live in a noisy world, and story books can be a way to quiet it and give them a supportive nudge as they muddle through the complicated parts of growing up and becoming themselves.

“What a privilege it is – to be able to talk to young children and their caregivers through this work that I do. The big emotions that they grapple with growing, and honestly, that we all grapple with throughout our lives, can be explored through these stories.”

For returning New York City school children – and their caregivers, and their teachers – de Sève had a clear message to offer in Sometimes We Fall. “A life well-lived requires risk. Sometimes we do fall, and hopefully we get back up and try again, because it’s usually worth it.” She laughed softly, reaching skyward, “Get that plum.”

 

Photo Credit: Alexander Bernhardt Bloom

Brooklyn Heights Medical Facility Hit with Federal Drug Raid

By Celia Bernhardt 

The storefront unit at 142 Joralemon St where a DEA raid took place. Attorneys and locals say this storefront has been the center of quality of life issues plaguing the neighborhood for a year and a half. Credit: Celia Bernhardt

In the middle of a posh, tree-lined block in Brooklyn Heights, one unit in a large medical complex has been hit with a federal Drug Enforcement Agency raid. 

The August 14 raid targeted the sole ground-level, storefront unit in the Medical Arts building, a 50-unit commercial co-op consisting mostly of medical offices located at 142 Joralemon Street — just steps away from the prestigious K-12 Packer Collegiate Institute. The raid is part of a larger investigation by the DEA and New York State’s Department of Health. 

It was no surprise to local residents, business owners, and other medical practitioners in the building, who say that ever since the storefront facility began operating a year and a half ago, they’ve been distressed by a sharp influx of open drug transaction and use, shoplifting and sometimes violent altercations on their block involving patients of the storefront. 

“We knew drugs were involved, but it became dangerous,” Glory Mendez, a receptionist at an ophthalmology practice in the building, said. “The aggression, the yelling, the fighting — it just got bad.”

The storefront is open on Tuesdays, Wednesdays, and Thursdays every week. The venetian blinds that cover its broad windows are always shut. During its three days per week of operation, traffic in and out of the facility is high; patients often have to wait outside on a nearby bench to enter the premises. Locals and attorneys representing the Medical Arts Offices Corporation complain that patients frequently loiter in the area, leave behind trash and take and exchange drugs.

“I’m probably not as uncomfortable as a lot of people, but we have patients that are,” Mendez said. “Most of the building is elderly patients — it’s a lot of specialists. There’s a lot of children, because there’s a lot of after-school and tutoring centers here.” 

As part of a state-level litigation process separate from the federal DEA investigation, the Medical Arts building’s management company president, Douglas Rosenberg, described in a December 2023 affidavit his sense of what could be happening within the unit. 

“Based on complaints that I have received,” the affidavit reads, “some ‘Doctor’ that is using the Premises under some form of sublet arrangement is dispensing pills to admitted addicts who have engaged in threatening, violent behavior at the Premises and in the Building [sic].” 

Mendez recalled witnessing the tail end of the raid while taking a brief break from work. 

“The cops were still there, they were moving things outside the little office…They all had bulletproof vests and all that stuff,” Mendez said. “I texted a ton of people upstairs in my office, like ‘Yo, I think they’re getting raided, we’ll finally be free.’” 

The DEA declined to comment on the raid, citing an ongoing investigation. An attorney representing the individual who owns the unit told the Star that one employee, Gilbert Charles, was arrested during the raid for distribution of Schedule 2 substances containing fentanyl. 

Four weeks later, the facility is still in business.

A picture taken during the August 14 raid. Courtesy of Glory Mendez.

The facility does not currently appear to go by one particular name. Business cards for the location obtained by the Star in August 2024 did not list any title or practitioner, only a list of services — psychiatry, pain management, “Foot Doctor,” and neurology — and two phone numbers. Neither number responded to attempts by the Star to reach them. In its early days of operation, court documents show, multiple signs on the premises advertised it as Fulton Medical Group — a facility which previously operated on 350 Fulton Street (where signs were posted in the window stating that it had indeed moved to the Medical Arts location, documents also show). That sign listed the facility’s services as pain management, psychiatry, “medical doctor/primary care,” podiatry, physical therapy, massage therapy, and gynecology. 

The DEA raid marked a significant escalation of legal action and a milestone for concerned neighbors on the block. The storefront’s state-level legal battle, though, has been underway for a year and a half: the Medical Arts Offices corporation has been attempting to terminate the unit shareholder’s lease or force them to remedy alleged violations since early 2023, when the storefront first began operating. 

Watching it Happen

Across the street from the Medical Arts building, a steady stream of regulars — students, parents, nurses, a postal worker, old and young neighbors — passed through the Sunny Gourmet Deli on Wednesday, September 4. Deli owner Joe Kim greeted many by name, particularly middle and high school students. He gave out high fives and asked them about the start of the school year as he rang them up. 

“I’ve had this store for over 15 years. I know who comes to the neighborhood,” Kim said. “I know everybody, almost.” 

Kim and his colleague Dante Espinoza have kept the small and lively deli running for 16 years and 14 years, respectively. They both said that a lot has changed in the past year and a half. 

“Ever since that place opened up, it’s bringing a lot of drug addicts to the neighborhood. It brings a lot of drug dealers to the neighborhood. It’s making the street so messy. There’s been times where they did drug deals inside the store. You know when addicts… look they’re about to fall down, but they don’t?” Kim said, referring to the “nodding off” behavior caused by opiates. “They do that a lot in the store. And even outside, they shoot up outside.”

“I’m surrounded by schools,” Kim added. “When [storefront patients] come in here, you hear the most worst profanity ever. They curse at each other, they argue, they fight outside. So it’s not good for the neighborhood.” 

Joralemon Street. On the left, the awning for the Medical Arts building, marked 142, is visible. Sunny Gourmet Deli is located in the building second from right. Packer Collegiate Institute is just around the corner. Credit: Celia Bernhardt

Videos from the deli’s security camera are cited multiple times as evidence in the corporation’s litigation against the storefront. The footage documents drug deals, drug use, shoplifting, and more. Some footage also shows the individuals crossing the street to enter the storefront unit after leaving the deli. Pictures of drugs allegedly left behind in the store are also cited. 

Kim said the uptick in shoplifting was particularly difficult to manage. 

“I get so stressed out because when I’m busy, I don’t have time to look. And then when I go over the video after they leave, they’ve taken something,” Kim said. “So I have to go over there and tell the workers that I don’t want these people in the store.”

In a January 2024 email to Naomi Gardner, president of the Medical Arts Offices corporation, Kim described the ongoing situation as “a traumatic experience” for him and Espinoza.

Mendez, too, said she frequently sees patients using drugs outside her place of work during the day. 

“I come outside to smoke, so I see more than anyone else,” Mendez said as she motioned to spots on the sidewalk in front of the Medical Arts building. “Got out of work, there was someone shooting up over here. My manager parked her car right here on this block so we were walking around the corner, and someone was shooting up.”

Mendez said she worries about the impact the situation is having on patients of her own office, who she says are largely elderly. 

“They would sometimes have to wait for Access-A-Ride,” Mendez said. “They stopped waiting outside. Now they’ll just ask, ‘Hey, can we wait inside?’ Because no one’s comfortable going out there.”

Joe Kim, left, and Dante Espinoza, right, stand behind the deli counter. Credit: Celia Bernhardt

Mendez said she herself has taken steps to avoid the vicinity while on her breaks. She believes the issue is exacerbated when patients wait outside the facility for long stretches of the day.

“Sometimes they’re great. Some of them — happy as kites. Some of them are upset. It takes a really long time, sometimes the people will be there from morning to mid-afternoon. I’ll get in and it’ll be some of the same people still around. And they’re already frustrated,” Mendez said. “They get kicked out and told to wait outside a lot. And when they’re told to get outside, now they’re upset. And every time they’re upset, God forbid I walk by and someone’s just like, ‘What? What?’”

In Court 

The shareholder of the unit, by way of an LLC called SPD 2010, is a physical therapist named Svetlana Kibrik who operates a practice called Tender Touch Physical Therapy PLLC. Kibrik purchased the unit’s shares entirely upfront, without a mortgage, in 2022. Court documents show that she is not licensed to provide either psychiatry, pain management or neurology, three services advertised in the unit’s business cards and previous signage.

Much of the year-and-a-half long legal battle between the Medical Arts Offices Corporation and Kibrik centers on the obscured nature of who is actually operating the storefront unit. Kibrik’s own attorney in an April 2023 letter to the co-op’s attorney stated that another practitioner — LC Nurse Practitioner Psychiatry Services LP (LCNP) — was also operating in the unit. The co-op’s counsel argued in December 2023 that this was a sublease in practice, violating the terms of Kibrik’s lease. Attorneys later identified LCNP as belonging to a practitioner who goes by the names Leslie Curtis and Lesly Curtis.

In February, two months after the corporation’s attorney submitted that argument, Kibrik’s counsel requested to be relieved of representing her, citing “irreconcilable differences and disagreement on legal strategy” and a “fundamental breakdown of the client/attorney relationship.” 

The Medical Arts Building. Credit: Celia Bernhardt

Medical Arts has been unable to simply evict Kibrik in large part because she filed for a Yellowstone Injunction — a protective legal mechanism commercial tenants can invoke after their landlord gives them a deadline to cure a lease default, which can restrain the landlord from moving forward with any eviction proceedings until the court itself can determine whether a default exists. 

This has left the corporation under a temporary restraining order since November as litigation moves forward. In the meantime, Kibrik has not been made available for a deposition; the corporation’s attorney argues that this is an intentional move to stall legal consequences. 

“Despite the passage of seven (7) months, for various reasons that have not been corroborated or documented by Kibrik’s counsel, Kibrik continues to be, purportedly, unavailable to complete her deposition,” the corporation’s attorney wrote in a memorandum in late July. “Clearly, SPD and Kibrik are using this stay to actively prevent the Corporation from obtaining evidence that will fully expose SPD’s continued, material breaches of the Lease.”

Neither Kibrik’s nor the corporation’s attorneys for this case responded to requests for comment by press time. 

An attorney named Igor Niman currently represents Kibrik with respect to the DEA’s August 14 raid exclusively. When asked what kind of business Kibrik operates at the storefront unit, Niman said “she operates a pain management clinic and basically there are other offices like psychiatrists and maybe some other doctors, but I’m not sure what other doctors besides psychiatrists and pain management.” 

When asked whether he himself was aware of any misuse of prescriptions at the location, Niman said “definitely not.” 

“Basically, my client operates a legitimate business, and that’s our position. She is not aware of anything,” Niman said. “In terms of that somebody’s selling something or somebody’s doing any type of illegal activity, she’s definitely not aware.” 

A picture of a bench just outside the storefront unit, where patients often congregate, taken on Tuesday, July 18 2023. Increased litter is one of the many complaints local residents have about the facility’s presence. Courtesy of Jane McGroarty, who lives next door to the facility.

The Medical Arts Offices corporation’s legal documents, spanning the past year and a half, describe a litany of other allegedly drug-related harms surrounding the unit’s operation. 

A timeline of incidents filed as an exhibit in late July cited multiple incidents of violent altercations. An arrest was made after one of the facility “regulars” brandished a gun in an argument on the sidewalk. A video posted to the Citizen app showed a security guard for the facility punching someone to the ground. Written concerns from neighbors, incidents of vandalism, and a “menacing” confrontation between an individual entering the store at night and Gardner were also listed. 

In a July 2024 affidavit, Gardner wrote about the facility’s potential negative financial impacts on the building’s co-op. 

“Before SPD became a shareholder, the Corporation’s shareholders never feared for their own personal safety because of another shareholder’s use and occupancy of the premises,” the document reads. “The ongoing incidents at the Store Premises [sic] have affected other business negatively, and I have been approached by certain shareholders who stated that they are considering selling their units and moving their practices from the Building [sic] due to the ongoing objectionable activities occurring in the Store Premises.” 

In Business — For Now

On Thursday, September 5, the unit’s waiting room was busy. At least a dozen patients filled the room at all times; several entered and several left within five minutes. 

When asked by the Star for a description of what the unit is used for, a front desk worker named Natasha, who declined to give her last name, replied, “You’ll have to ask the office manager. I can’t say anything.” Natasha identified the office manager as Galina, saying she did not know her last name, and provided the Star with an email to contact her. 

Galina did not respond to emailed requests for comment from the Star by press time. 

A security guard for the storefront who identified himself as Philip but declined to give a last name told the Star that he worked only occasionally for the property. When asked if he was aware of the recent DEA raid or any ongoing issues with drug use and exchange, he said he was not. 

“My duty is just to look after this entrance and if I see someone smoking, or something happens, I have to report it to Galina,” Philip said. 

A window in the storefront unit. Credit: Celia Bernhardt

Both Kim and Danielle Jenkins, an employee in the Medical Arts building, said they had been excited to witness the raid in mid-August. Jenkins said she rushed into the deli to talk to Kim when it happened. 

“I was jumping up and down,” Kim laughed. 

“When the cops came, I came over here, I’m like, ‘Do you see what’s going on out there?’” Jenkins said. “But now they’re back.” 

As of press time on Tuesday, Kibrik and Curtis (or their attorney) are set to attend state court in person on September 25 to justify why the court should not void the restraining order that has so far protected them from eviction, deny their motion for a Yellowstone Injunction, and mandate a deposition from both Kibrik and Natasha, the facility’s front desk worker. 

“We just want them gone,” Mendez said when asked what she hoped would unfold in the future. 

“At this point, it’s not getting any better. It’s gotten better since the raid — but if they stay here, it’s just gonna keep getting worse.” 

Joralemon Street. Credit: Celia Bernhardt

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