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The Dubious Theory That Working-Class Voters Want Candidates Who "Look Like Them"

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Like many other center-left parties across the Western world, the Democratic Party has experienced a significant decline in support among working-class voters over the past two decades or so—whether class is measured by household income, occupational status, or educational attainment. This trend has confronted Democrats with a particularly acute electoral challenge in parts of the country where blue-collar white citizens constitute a majority of the voting population, including much of the Midwest and interior West as well as small towns and rural areas across most of the nation.

This partisan realignment is primarily driven by the rising salience of cultural conflicts, Compared to citizens with socioeconomic advantage, working-class voters are more patriotic, nationalistic, traditionalist, and skeptical of social change; they also consistently hold more conservative preferences on subjects like abortion, LGBT rights, gun control, environmentalism, and immigration. As the public image of the Democratic Party has become more associated with cultural liberalism, it has lost its formerly durable popular reputation as primarily concerned with representing the political interests of the working class.

If winning a greater share of the working-class vote in the future requires the party to become more moderate on cultural issues, liberal Democrats would be forced into an unappetizing choice between ideological purity and electoral success. But if another path exists to reverse the party’s growing unpopularity among this key voting bloc, such a dilemma might be happily avoided. Thus an alternative hypothesis has attracted considerable acceptance among progressive activists and primary voters in recent years: Democrats can appeal to blue-collar Americans by nominating performatively “working-class” candidates who nonetheless champion progressive issue platforms.

This idea has a long history, but its most prominent recent manifestation was the Senate campaign of Pennsylvania lieutenant governor John Fetterman in 2022. Fetterman became nationally famous for dressing casually and speaking plainly, with his tattoos, hooded sweatshirts, and running shorts featuring prominently in press coverage of his candidacy as supposed authentication of his Everyman identity. To some observers, especially supporters on the left, Fetterman’s victory served as proof of concept for the claim that liberalism in a Carhartt wardrobe was a formula for success in a critical battleground state.

Unfortunately. it’s very difficult to analytically isolate Fetterman’s presentation of self from the other factors that might have contributed to his election in 2022; he faced a weak carpetbagging opponent, and Democrats nationwide performed better than the president’s party usually does in a midterm election (probably due to the Supreme Court’s unpopular Dobbs ruling issued that summer). But another test of the theory arrived two years later with Kamala Harris’s selection of Minnesota governor Tim Walz as her vice presidential running mate. Democratic supporters and sympathetic media figures celebrated Walz as a “regular midwestern dad” who wore flannel shirts, went pheasant hunting, and had coached high school football, and was therefore an ideal ambassador to blue-collar and rural voters.

It didn’t work. The Harris-Walz team was the worst performing presidential ticket in rural America in modern history, receiving just 32 percent of the total vote in non-metropolitan counties nationwide. Vice presidential nominees usually don’t matter much to electoral outcomes, and this was likely true in 2024. But it’s fair to say that Walz did not electrify the campaign trail or dominate in his debate against J. D. Vance.

This year, Graham Platner is the leading test case for the dress-down-and-win hypothesis. Platner’s profile as a bearded and tattooed military veteran turned oyster farmer with a sharp-edged speaking style and strongly progressive political views attracted early support from Bernie Sanders and several labor unions. While his actual “blue-collar” credentials are somewhat arguable (he attended two private prep schools and has received regular financial assistance from his attorney father), Platner’s candidacy caught fire among Maine Democrats. He succeeded in driving Maine’s sitting governor Janet Mills from the primary race and now stands as the presumptive opponent to five-term Republican incumbent Susan Collins. But the relative political novice has had some skeletons emerge from his closet since he declared his candidacy; even the tattoos turn out to be a bit of a problem.

While we wait to find out whether Platner’s flaws render him unacceptable to the Maine general electorate, it’s worth considering how much of the strategic argument for candidates like him is founded on assumptions that working-class voters respond very powerfully to superficial signals of “blue collar” identity (like personal appearance or language style), and that nominating candidates with these attributes is a more effective path than ideological repositioning on substantive policy matters to winning elections in competitive constituencies. After all, the most popular politician in our lifetimes among small-town Americans is a super-wealthy business tycoon from New York City who only takes off his neckties when he’s playing golf on the courses that he owns.

A common touch is surely an asset in politics; this is one reason why Elizabeth Warren underperforms other Democratic candidates in Massachusetts elections. But it’s not the only thing that’s important to voters, even those of modest social status. We should be suspicious of the implication that working-class citizens care more about vibes than policy, especially when such suggestions come from well-educated white-collar activists who themselves hold very strong ideological commitments. Whether or not it’s offensive condescension in the guise of sympathy, there’s just not much evidence that it’s true.

One person who has come to agree is John Fetterman himself. Fetterman has continued to insist on maintaining his casual fashion style while serving in the Senate, but he responded to Donald Trump’s 2024 victory in Pennsylvania by starting to break with other Democrats on multiple issues. His constituents have noticed, now perceiving him as significantly more moderate than the rest of his party. This reinvention may doom Fetterman in the 2028 primaries—if he indeed runs for a second term as a Democrat—but it’s a tried-and-true method for winning general elections in a competitive state. Just ask Susan Collins.
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deebee
3 hours ago
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How Comedy, Streaming, Gaming, and Live Content Started Overlapping Online

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Image by standret on Magnific

Entertainment habits have changed dramatically over the past decade. What were once separate forms of media consumption, comedy specials, gaming sessions, livestreams, podcasts, sports broadcasts, and online communities, increasingly overlap within the same digital environments.

Modern audiences rarely focus on only one form of entertainment at a time. Many users now move fluidly between streaming clips, live gaming content, social media interaction, podcasts, and mobile entertainment throughout the day. Smartphones and faster internet infrastructure made this constant accessibility possible, while streaming culture helped normalize entertainment built around immediacy and continuous engagement.

As a result, online entertainment increasingly feels less like isolated activities and more like interconnected digital ecosystems shaped by convenience and interaction.

Streaming Culture Changed Audience Expectations

The rise of livestreaming platforms heavily influenced how people engage with entertainment more broadly. Audiences increasingly prefer experiences that feel active, responsive, and continuously updated rather than passive or heavily delayed.

This shift extends across comedy content, gaming communities, sports coverage, creator platforms, and live online entertainment environments. Real-time chat systems, instant reactions, audience participation, and livestream-style interfaces all contribute to stronger engagement across digital platforms.

Many entertainment businesses adapted quickly to these changing expectations by creating more interactive environments designed around mobile accessibility and continuous participation. Fast-paced content delivery, live notifications, and real-time interaction now shape much of modern entertainment culture.

The growing popularity of livestream comedy clips, reaction videos, creator collaborations, and live gaming streams reflects how audiences increasingly value entertainment that feels spontaneous and socially connected.

Gaming Platforms Became Part of Mainstream Entertainment Culture

Gaming itself also evolved significantly alongside these broader digital trends. What was once considered a niche hobby increasingly became integrated into mainstream entertainment culture through streaming platforms, creator communities, esports events, and interactive social spaces.

Today, gaming environments frequently overlap with comedy, livestreaming, influencer culture, and casual online interaction. Many users no longer separate gaming from the rest of their entertainment routines. Instead, gaming platforms often function as social environments where people watch content, interact with creators, communicate with friends, and engage with multiple forms of entertainment simultaneously.

This shift also influenced online casino and betting platforms that adapted to streaming-era audiences through live dealer systems, real-time gameplay, responsive mobile interfaces, and faster interaction models. Entertainment-focused environments such as betting on Mr Q alongside live roulette tables, blackjack streams, instant-play games, and mobile-friendly access increasingly reflect broader digital trends centered around accessibility and continuous engagement.

Rather than existing separately from mainstream entertainment culture, many gaming environments now operate within the same broader ecosystem as streaming media, creator content, and social interaction.

Comedy Content Adapted to Faster Digital Consumption

Comedy culture changed significantly as online platforms reshaped audience attention spans and viewing habits. Short-form clips, livestream appearances, reaction content, podcasts, and social media snippets increasingly became central parts of modern comedy distribution.

Comedians and entertainment creators now often rely on multiple digital channels simultaneously rather than traditional media formats alone. A stand-up clip might circulate across livestreams, social media platforms, podcasts, gaming streams, and meme pages within hours.

This faster content cycle changed how audiences discover and engage with comedy itself. Many viewers now consume humor in smaller but more frequent sessions integrated into broader online routines alongside gaming, streaming, and mobile entertainment.

At the same time, live interaction became increasingly valuable across entertainment formats. Audiences often prefer creators and platforms that encourage participation and feel more directly connected to viewers in real time.

Mobile Technology Accelerated Entertainment Overlap

The rapid expansion of smartphone usage played a major role in blending entertainment categories together. Consumers increasingly access entertainment throughout the day in shorter sessions rather than planning activities around fixed schedules or dedicated devices.

Streaming content, gaming apps, social media feeds, sports highlights, comedy clips, and livestreams now all compete within the same mobile ecosystems for user attention. This environment naturally encouraged platforms to become faster, more interactive, and easier to access.

Entertainment companies increasingly optimize around mobile-first behavior by simplifying interfaces, improving loading speeds, and prioritizing responsive design. Convenience now influences engagement nearly as much as the content itself.

Because audiences move quickly between different entertainment formats, businesses capable of maintaining smooth and immediate experiences often perform better in highly competitive digital markets.

Real-Time Interaction Continues Expanding Across Entertainment

Modern entertainment increasingly revolves around immediacy. Audiences often expect content to feel live, reactive, and continuously active rather than static or disconnected.

This trend can be seen across livestream comedy events, gaming broadcasts, sports commentary, creator communities, and interactive entertainment platforms. Real-time participation systems help create stronger engagement by making users feel directly involved rather than simply observing content passively.

Research and reporting published by The Verge continue highlighting how mobile technology, streaming infrastructure, and interactive digital culture are reshaping online entertainment habits across multiple industries.

Improvements in internet infrastructure and cloud-based systems also made these interactive environments significantly more accessible across smartphones and tablets over recent years.

Entertainment Culture Will Likely Continue Blending Together

The future of online entertainment will likely involve even greater overlap between comedy, gaming, livestreaming, creator culture, and interactive digital experiences. Artificial intelligence, cloud infrastructure, and faster mobile connectivity are expected to continue accelerating these trends.

However, the main drivers behind this shift remain relatively straightforward. Consumers increasingly prefer entertainment that feels flexible, social, and easy to access from virtually anywhere.

As digital habits continue evolving, entertainment formats that once existed separately will likely become even more interconnected through streaming culture, mobile accessibility, and real-time interaction.

 

The post How Comedy, Streaming, Gaming, and Live Content Started Overlapping Online appeared first on The Interrobang.

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deebee
19 days ago
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Jfc
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The 1922 West Side Meeting House - 550 Cathedral Parkway

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photo by the author

After having moved several times since 1886, the Unity Congregational Society of New York purchased the five plots at 244-252 Cathedral Parkway (West 110th Street) between Amsterdam Avenue and Broadway in 1921.  The firm of Hoppin & Koen was commissioned to design a church-and-community-house on the site.  Associate architect A. D. R. Sullivant was given the project.  His grand, initial design included a cupola reminiscent of Independence Hall in Philadelphia.

Sulllivant's 1921 rendering was more than twice the width of the subsequent building.  The Christian Register, June 16, 1921 (copyright expired)

But before ground was broken on June 2, 1921, the plans were grossly reduced.  Completed in 1922, Sullivant's dignified three-story, neo-Georgian-style edifice engulfed only two of the plots.  Above a limestone base, the upper floors were clad in red brick.  A centered, temple-like composition of double-height stone pilasters upholding a triangular pediment distinguished the upper sections.  (Sullivant's subdued Colonial design would reappear in a much more exuberant form in Thompson, Holmes & Converse's 1929 Tammany Hall on Union Square.)

On June 16, 1921, The Christian Register explained that the building would be called the West Side Meeting House for two reasons:

First, the name is in accord with the Pilgrim Congregational tradition of Unitarianism; second, it is planned to keep the building open throughout the week for any activity that tends to improve the personality of man, woman, or child.  Religion embraces not only the worship of God, but also the service of man.

To address the second reason, said the article, "religious, civic, educational, dramatic, literary, musical, recreational, and social gatherings will be held under church auspices and the building will therefore be a meeting-house--a house of meeting--for all who are seeking to build their own characters and to improve the neighborhood and the city."

The West Side Meeting House was completed in 1922.  In the basement was an auditorium-theater.  It was available for civic meetings and would become the home of the church's own theatrical troupe.

from Little Theatres, December 1923 (copyright expired)

Many mainstream Christians viewed Unitarianism sideways.  Its liberal doctrine included the belief in one God while denying the Trinity.  Its focus was on reason and tolerance over restricting creeds.  

Having a theater within the building offended many Christians, who still considered plays sinful.  Rev. Charles Francis Potter had to defend the theater in general.  In his sermon on April 22, 1923, he insisted, "There is more obscenity in the Bible than in any current New York play."

Born in 1885, Potter had degrees from Bucknell University, Brown University and Newton Theological Institution.  By the time the West Side Meeting House opened, science was making discoveries that fundamentalist preachers deemed heretical.  The well-educated and Modernist pastor Charles Potter went on the offensive.

Rev. Charles Francis Potter, Dictionary of Unitarian & Universalist Biography

On March 8, 1924, The Universalist Leader said he had initiated a Modernist Bible class, "whose teaching will be broadcast through the United States by radio at 8 p.m. every Sunday."  The article said it, "is intended to offset the attacks of the Fundamentalists, who have succeeded in excluding the teaching of science and evolution in regard to religion."  Potter told the reporter, "A faith that is disturbed by learning the facts of science is no real faith; it is largely prejudice and superstition."

The following year, Rev. Potter traveled to Dayton, Tennessee to advise Clarence Darrow in the famous Scopes Trial.  Potter was open about his disdain of the Fundamentalist Christians who had initiated the suit.  He scoffed that the "Holy Rollers" might introduced "a bill prohibiting the teaching of geography in public schools because the Bible indicates that the earth is flat."

Potter was replaced by the erudite Rev. Arthur Wakefield Slaten.  He received his Ph.D. from the University of Chicago in 1916 with a thesis titled, "The Qualitive Use of Nouns in the Pauline Epistles, and Their Translation in the Revised Version."

In reporting on his first sermon, on October 19, 1925 The New York Times said, "Dr. Slaten is an advocate of Humanism, noting, "He was dismissed as professor of Biblical literature and Biblical education by [Rochester Theological Seminary] for heresy, based upon his book, 'What Jesus Taught.'"

Barnard Bulletin, November 13, 1925 (copyright expired)

The year before Rev. Slaten's appointment, the Meeting House Theater troupe was organized.  On October 16, 1926, The Billboard noted that it "has become favorably known for its good work during the last two seasons.  It has won twice successively the cup offered at the little theater tournament of the Metropolitan Federation."  The Meeting house Theater premiered Edna Ferber's $1,200 a Year on October 28 that year.

Like his predecessor, Slaten found himself defending the theater.  The following month, on November 28, he declared in his sermon, "a play is morally bad only when it represents life falsely."  Saying that plays were "valuable contributions to the study of human nature," he insisted, "In no one of these plays is vice made attractive, nor are the facts of life falsely presented."

Slaten continued to raise eyebrows among mainstream Christians.  In his sermon on January 2, 1927, he described the book of Genesis, "One of the folk-lore classics of the world's literature."

Rev. Slaten resigned in January 1929 "because of illness," according to his resignation letter.  Guest preachers took the pulpit of the West Side Unitarian Church for an extended period.

Two years later, the congregation merged with the Community Church and moved into its facility on Park Avenue and 34th Street.  In the meantime, the auditorium, known as the Community Church Centre, continued to be the scene of lectures and meetings.  On the evening of February 3, 1933, Dr. Gustav F. Beck addressed an audience of about 100 on the topic "A Philosopher's View of Immortality."  In discussing whether there was an afterlife, Beck said it "was a mystery which could not be proved of disproved."  The New York Times reported, "Several persons in the audience arose to give their views."

One man, who was around 55 years old, "jumped to his feet and, speaking with a foreign accent, started a fervent comparison of Oriental and Western philosophy," said the article.  The impassioned man contended, "When you are dead, you are dead.  If these were my last words, I would still maintain it."  Ironically, a few seconds later he grasped his chest and fell dead, apparently from a heart attack.

Frank Wilson headed the cast Black, which opened here on May 15, 1934.  His career had skyrocketed after starting out in vaudeville.  He was in the 1925 Broadway revival of The Emperor Jones, and was part of the original 1927 cast of Porgy.  Two years prior to his performance here, he made his film debut in The Girl from Chicago.

image via the NYC Dept of Records & Information Services

The building was leased to Congregation Ramath Orah, a Modern Orthodox congregation.  It was founded in 1942 by Dr. Robert Serebrenick, who had been Grand Rabbi of Luxembourg from 1929 to 1940.  He had assisted approximately 250 Jews in escaping Luxembourg following the Nazi invasion in 1940.

A troubling incident here in 1944 was made even more so given Rabbi Serebrenick's background.  On April 12, The New York Times reported, "A swastika was found crudely painted on a wall outside the Congregation Ramath Orah at 550 West 110th Street yesterday morning."  The hateful graffiti was discovered by two police officers passing by in a patrol car.  The cops not only reported on the vandalism, but "then helped remove the marking with turpentine and a steel brush," said the article.  Rabbi Serebrenik was surprisingly charitable, saying he presumed "that children probably drew the symbol."

The following year, the congregation purchased the building.  The dedication ceremony was held on February 11, 1945.  Among the speakers was Edgar L. Nathan, the Manhattan Borough President.

Rabbi Robert Serebrenik died of a heart attack at the age of 62 on February 11, 1965.  In reporting his death, The New York Times recalled, "After the Nazis occupied [Luxembourg], he stayed on until 1941, when he was seized by the Gestapo and beaten unconscious.  After that attack he escaped by way of Lisbon and came to this country."

photograph by Beyond My Ken

Congregation Ramath Orah continues to occupy the building.  Other than the stained-glass windows added in 1955, it survives essentially unchanged after nearly a century.
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deebee
32 days ago
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I see this building all the time and always wondered why they built the synagogue to look like the stonecutters hall. Well done tom
America City, America
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I’m not a fan of the first part of this music...

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I’m not a fan of the first part of this music video (reminds me too much of dipshits I had to endure at school), but the single-take choreography from ~4:18 is great.

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deebee
33 days ago
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Pretty cool wedding party dance if you could pull it off
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The Democracy of Death

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GLOUCESTER  O, let me kiss that hand!
LEAR  Let me wipe it first; it smells of mortality.

This (gift link) is an interesting and disturbing essay about the increasingly pharaonic obsessions of the authoritarian/plutocrat/Silicon Valley of the Kings class in our midst:

The man perhaps most associated with this desire is Peter Thiel, who once outlined his interest in blood plasma transfusions from the young as a means of extending life. But more practically, and less vampirically, he has also invested many millions of venture capital dollars in various biotech concerns, seed-funding a flourishing Silicon Valley longevity ecosystem. “There are all these people,” as he put it to Business Insider in 2012, “who say that death is natural, it’s just part of life, and I think that nothing can be further from the truth.”

The OpenAI chief executive Sam Altman has invested $180 million of his own fortune in Retro Biosciences, a Bay Area biotech concern aimed at stalling and potentially reversing human aging. Jeff Bezos is reportedly among the major funders of Altos Labs, a company that hopes to find stem cell therapies to extend human life spans. The treatments pursued by such initiatives exist somewhere on the spectrum of plausibility; you could even imagine a scenario in which some of them eventually become accessible to ordinary people. Yet it also seems obvious that the tech moguls’ obsession with longevity most specifically applies to their own. Thiel has signed himself up to be cryogenically preserved. Altman has said he takes the diabetes medication metformin as part of an anti-aging regimen, despite somewhat shaky evidence of its efficacy.

And then there is Bryan Johnson, who has devoted his online-payments fortune to the monomaniacal pursuit of eternal life through a bewildering array of approaches: prodigious consumption of supplements, gene therapy, immunosuppressants, transfusions of plasma from his son and the taking of detailed measurements as to the quality and durability of nocturnal erections. A lot of Johnson’s endeavors are, at best, long shots — or less charitably, symptomatic of some deep pathology — but his naked yearning to escape the human condition itself exposes the half-sublimated desire at the heart of the more scientifically reputable life-extension projects.

The goal of this enterprise, of Johnson’s sacramental observances in a monotheism of the self, is to slow and eventually reverse the processes of aging, and to thereby become (and remain) biologically indistinguishable from an 18-year-old. Johnson’s motto, and the tagline of his proprietary longevity regimen, Project Blueprint, is “Don’t die.” In its reduction of multiple disparate imperatives — of the pharmaceutical industry, of the Christian faith, of American individualism — to a single command, it must be admitted that this formulation has about it the simple-minded genius of a classic advertising slogan. Dont die is the precise message audible in your heart’s every finite beat, encoded in your troubled dreams and futile anxieties.

It hadn’t occurred to me that Donald Trump’s increasingly unhinged obsession with his ballroom is of a piece with this general trend, but Jamelle Bouie makes the connection, which is all too plausible. The point of the ballroom is to create a kind of living tomb, so that Trump never leaves it, at least as a sort of ghost, but with the more concrete goal shared with his fellow autocrats of simply not dying. (The “ballroom” is actually more of a massive bunker complex, which will become Trump’s very own private residence, complete with state of the art medical facilities etc.)

All this in turn reminded me of how the democracy of death has always filled the great and powerful with rage against the sheer unfairness of how biology and/or the universe treats them as really no different in the end than the lowliest peasant.

Once property had been officially deified, it became the measure of all things. Even human life was weighed in the scales of wealth and status: ‘the execution of a needy decrepit assassin,’ wrote Blackstone, ‘is a poor satisfaction for the murder of a nobleman in the bloom of his youth, and full enjoyment of his friends, his honours, and his fortune.’ Again and again the voices of money and power declared the sacredness of property in terms hitherto reserved for human life.

Douglas Hay, “Property, Authority, and the Criminal Law”

It was Tar-Atanamir who first spoke openly against the Ban and declared that the life of the Eldar was his by right. Thus the shadow deepened, and the thought of death darkened the hearts of the people. . . The power and wealth of the Numenoreans nonetheless continued to increase; but their years lessened as their fear of death grew, and their joy departed. . . . And Sauron lied to the King, declaring that everlasting life would be his who possessed the Undying Lands, and that the Ban was imposed only to prevent the Kings of Men from surpassing the Valar. ‘But great Kings take what is their right,’ he said.

At length Ar-Pharazon listened to this counsel, for he felt the waning of his days and was besotted by the fear of Death. . .

Lord of the Rings, Appendix A

With my own eyes I saw the Sibyl at Cumae hanging in a bottle and, when the attendants asked her what she wanted, she replied, “I want to die.’

Petronius, Satyricon

Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Yeats, “Sailing to Byzantium”

The post The Democracy of Death appeared first on Lawyers, Guns & Money.

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deebee
40 days ago
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Can’t decide if I want Presidenta Ocasio-Cortez to bulldoze it or just re-christen it the Rosie O’Donnell Ballroom
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Upper West Side Pastrami Queen To Become a Chinese Deli?

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The shuttered Upper West Side Pastrami Queen storefront with a new Deli Chin sign. Photo by Gus Saltonstall

By Gus Saltonstall

Since the end of March, Pastrami Queen’s Upper West Side location on West 72nd Street, between Amsterdam and Columbus, has been closed “due to renovations.”

Within the last few days, though, a new sign has gone up on the storefront, announcing “Deli Chin — Home Of The Pastrami Egg Roll!”

The new Deli Chin sign on the shuttered Pastrami Queen storefront.

There are also multiple work permit signs from the Department of Buildings on the storefront, including one for an alteration that includes “Renovation of eating and drinking establishment. Partition work. Finishes.”

Pastrami Queen did not immediately respond to West Side Rag’s request for comment on the future of the eatery at the location.

Much about the situation remains unclear, including whether Deli Chin would be a venture from Pastrami Queen ownership or a new ownership group, but the sign does indicate that pastrami will be sold in some capacity.

Pastrami Queen sells pastrami egg rolls at all of its locations.

The Rag also did not find any existing Deli Chin outlets on the Upper West Side or in New York City.

When Pastrami Queen announced the Upper West Side location’s shuttering in March, it described it as a “temporary closure,” and a representative told West Side Rag that the plan at that time was to “reopen as soon as the repairs are complete.” There was no mention of a Deli Chin.

When the Rag visited the location on Monday, construction workers were flowing in and out of the storefront, and it was clear that extensive work had taken place inside. The workers turned down requests from the Rag for more information.

The Rag will update this story when we are able to find out more.

Subscribe to West Side Rag’s FREE email newsletter here. And you can Support the Rag here.

The post Upper West Side Pastrami Queen To Become a Chinese Deli? appeared first on West Side Rag.

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deebee
46 days ago
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rip
America City, America
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