Second chance at love? After Valentine's Day disaster, Skokie restaurants plan Feb. 28 do-over
Skokie restaurateurs were left heartbroken on Valentine's Day when a broken water main disaster in northeastern Skokie left the village without drinkable tap water from Feb. 14 through 16. The lack of water meant most Skokie restaurants had to close on Valentine's Day, one of the most profitable days of the year, and offer only limited service that weekend.
To mend those broken hearts, Skokie officials began a campaign titled 'Double the Love' for Skokie restaurants to have another shot at offering Valentine's Day on Feb. 28.
'Valentine's Day weekend is typically one of the most lucrative weekends for local restaurants – a time when couples brave the cold to celebrate love over a delicious meal,' the village's Economic Vitality Coordinator Carol White said in an email.
The 'double the love' slogan is a call for customers to support local restaurants, White said, and it doesn't mean that there are deals or discounts associated with it for businesses that closed on Feb. 14.
According to White, there are nearly 400 restaurants in Skokie. 'Everyone suffers from an unprecedented loss like this,' she said.
Marcos Rivera, owner of Libertad restaurant, said he is hopeful customers will patronize his business on the 28th. Libertad saw losses between $15,000 and $20,000 after having to close on Valentine's Day, after the business placed special orders for filet mignon, salmon and oysters.
'So far, the support from the community has been great,' Rivera said. A special menu for the do-over day is being planned, but it won't be the same specialty dishes that were originally planned for Feb. 14.
'We've seen a spike in reservations, and hopefully that will continue,' after the village began the 'Double the Love' campaign, Rivera said.
'All we can do is hope we continue to get the support the community has given us… without them, it's very difficult to make it,' he said.
But not everybody in Skokie was hopeful that the village's efforts could match the dinner rush and weekend business that Valentine's Day usually entails.
Desi Mulingbayan, the owner of Village Inn Pizza, said that while his restaurant will serve heart-shaped pizzas on Feb. 28, the restaurant is largely moving on.
'We have fellow restaurateurs who have their biggest weekend on Valentine's Day weekend. They stock up with filet mignons and oysters and what-have-you… I can see how it works out for them… not that we're ever a destination for Valentine's Day,' he said.
Mulingbayan said his restaurant booked Love Sick, an adult drag show, for Feb. 15th to coincide with the holiday. He said he can't get them for the upcoming weekend because they are already booked up.
And on the 29th, the Village Inn will host a pay-per-view viewing of a boxing match between Gervonta Davis and Lamont Roach, he said.
Over at Will's Place, Manager Jeff Hallagan said the café was able to sell all of its Valentine's Day baked goods on Feb. 14, before many restaurants closed in the afternoon.
'Thank you to the community for rallying and helping us and (we are) thankful everybody can come out this weekend and help all of the local restaurants keep doing what they're what they're doing,' he said.

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USA Today
4 days ago
- USA Today
Juneteenth marks end of slavery, but not the start of equality. We can change that.
Ben Crump Opinion contributor Hear this story Juneteenth is a sacred day for Black Americans, an occasion to honor the end of slavery and recognize the progress made. But as we celebrate how far we've come, we must confront how far we still have to go. Because while we may have gained legal freedom in 1865, true freedom remains out of reach for too many in our community. On June 19, 1865, enslaved people in Galveston, Texas, were finally informed of their emancipation, more than two years after the Emancipation Proclamation. That moment marked the end of slavery, but not the beginning of equality. Freedom is more than the absence of physical chains. It is the ability to own property, to build wealth, to create opportunity and to pass that opportunity down to future generations. For Black Americans, that kind of financial freedom has been systematically denied over and over again. The racial wealth gap we see today is no accident. It is the result of policies and practices that have locked Black families out of the American dream. Prosperity of Black Wall Street was annihilated by White mob After emancipation, formerly enslaved people were encouraged to deposit their savings into the Freedman's Savings Bank, an institution chartered to help Black people build wealth. But when the bank collapsed due to mismanagement, more than 60,000 Black depositors lost nearly $3 million in savings. Need a break? Play the USA TODAY Daily Crossword Puzzle. That early betrayal set a precedent. In the decades that followed, redlining, exclusion from the GI Bill, predatory lending and discriminatory hiring practices continued to widen the gap between Black and White households. When Black communities did manage to prosper, their success was too often cut down in an onslaught of violence. The Greenwood District of Tulsa, Oklahoma – known as Black Wall Street – was one of the most vibrant Black economic centers in the country. But in 1921, a White mob destroyed it in one of the deadliest acts of racial violence in U.S. history, destroying generations of Black wealth. That legacy still haunts us. Today, Black families hold just a fraction of the wealth White families do. About 10% of Black households are unbanked, often forced to rely on payday lenders and check-cashing services that charge punishing fees. Without access to affordable credit, safe banking and financial education, it becomes nearly impossible to build generational wealth – even when working hard and doing everything right. Despite these systemic obstacles, the power of the Black dollar remains undeniable. We've seen it time and again, most recently when a boycott of Target sent ripples through the chain and Wall Street over the retailer's decision to remove diversity, equity and inclusion (DEI) programs and back out on its promise to invest in Black-owned businesses. That wasn't just consumer choice, it was a message. Black economic power is real. When united, Black consumers can shift markets, influence corporate decisions and demand accountability. Imagine the full potential if we had equitable access to capital and the tools to build wealth. Unlocking that power wouldn't just benefit Black communities. It would strengthen the entire U.S. economy through increased innovation, entrepreneurship and consumer spending. Teaching Black youth financial literacy builds generational wealth To truly seize that potential, we must also invest in the future – especially in our youth. Financial literacy should be treated as being just as essential as reading and math, particularly in predominantly Black and underserved schools. Teaching young people how money works – how to budget, save, invest and grow – is one of the most powerful tools we have to push back against systemic inequities, break the cycle of poverty and build generational wealth. When we equip the next generation with financial knowledge, we give them the power to own their futures. Individual empowerment, however, isn't enough on its own. To make real, lasting change, we must also confront the systems that have held our communities back. That means expanding access to banking, credit and capital. It means supporting Black-owned businesses, investing in underserved neighborhoods and holding financial institutions accountable for equitable treatment. It means policy reforms that correct historical injustices and create real pathways to wealth for those long denied it. When Black communities thrive economically, it lifts everyone. America is stronger when all of its people have the tools and the opportunity to succeed. We honor our ancestors not just by remembering their struggle, but by continuing their fight. Economic justice is the unfinished business of civil rights. As we celebrate Juneteenth, we must recognize that financial freedom is not a luxury – it is a right, one we must keep pushing to secure, for ourselves and the generations to come. Ben Crump is a nationally renowned civil rights attorney and founder of Ben Crump Law. Called 'Black America's attorney general,' he has represented families in some of the most high-profile civil rights cases of our time, including those of George Floyd, Breonna Taylor, Tyre Nichols and Ahmaud Arbery.


Los Angeles Times
6 days ago
- Los Angeles Times
Vendor Spotlight: Emma Rothschild, Bitchin' Blooms
Floral designer Emma Rothschild's job title? 'Founder, marketing director, creative director—all of the above.' However, despite her dizzying array of responsibilities, including starting and running her own business from scratch, Rothschild never breaks a smile when talking about her work. 'We're all just playing with flowers,' she says, and, undeterred by the incontrovertible challenges and intensity of what she does, she never seems to stop having fun. Within a short couple of years, starting with only her own apartment and a resume consisting of a Master's in Nonprofit Administration and Management, corporate work, and no floral design experience whatsoever, Rothschild has turned play into work, founding her own floral design business, Bitchin' Blooms, that has worked with brands including Nike, Glossier, Totême, Ana Luisa, and more. I always really loved art in design and color. My mom does floral arrangements from the garden. My grandpa always did really fun and unique fruit plate designs. So, I always just was interested. And then, when I was in grad school, I basically emailed every florist I could find under the sun in L.A. asking if I could freelance, if I could do it for free, get any experience I could. And luckily, a few people said yes. So, that's when I started doing it. And then, I worked at some flower shops, and then started Bitchin' Blooms. My first experience doing flowers, I lied a little bit and said that I already had flower experience because there was a florist that needed a lot of freelancers for Valentine's Day, and, I figured, 'It's the busiest holiday of the the year, they're not going to know if I have no idea what I'm doing.' So, I just kind of jumped into it and, like, the night before, was researching flower names to make sure that if they asked me anything, I knew what it was. And, I was just making little bouquets for Valentine's Day. Before Bitchin' Blooms, I did a bunch of freelancing under florists, and then I worked at two different flower shops. One of them had a very distinct kind of classic style, and then the other one was a lot of building bouquets on the spot for people. So, whatever they wanted, you just kind of had to make it, and make it quickly. What led me to open my own business was really wanting the creative freedom to do, kind of, whatever I wanted at any given moment. I would say that when you work at a flower shop, sometimes you have to adhere to specific styles. So, I really like having that ability to do anything. I got my master's in nonprofit administration and management. So, I had quite a few internships in the nonprofit arts world, and then I also worked in marketing at a women's healthcare clinic. And, although that fulfilled a different part of my personality and what I enjoy, I really missed the creative aspect. So, when I realized that Bitchin' Blooms could be my full time job, I just decided to kind of dive in. Switching from corporate America-y jobs to this was kind of scary, mostly exciting. I have a lot of really supportive people around me that were urging me to make the jump for a long time before I did it. And, I just kind of had a moment where I was always doing Bitchin' Blooms while also working. But, it just got increasingly more difficult to split my time, and I had wanted to do flowers since I started it. And, it just felt like it was a moment where I could actually sustain myself and do something I really wanted to do. I would say the biggest trends right now are more color and more unique and interesting flowers. I think people are starting to veer away from the whites and greens and those, kind of, classic looks and going for bright 'pops.' Some of the trends right now are Ikebana style—so the minimalist arrangements that just have a few different really cool stems. I would also say anthurium and orchis are specifically really big right now. And, just more color. Lots of color—which I love. 'I'm really excited that there's a lot of young women that are starting to be floral designers,' says Rothschild. I would say the main thing that sets me apart from other floral vendors is the personal aspect. When you're coming to Bitchin' Blooms for your wedding, you're going to be working with me, specifically, from start to finish. So, I'll give you my cell phone number, so if you see flowers out in the wild that you love, you can send it to me so that I know something that you're, you know—that's popping up that you're really into. I also would say that I use really unique flowers and designs. And then, another thing is that I don't have a minimum for my weddings, so even if you have a really small brunch or a microwedding, we can definitely make something that'll be special. I think that people choose me because of the colors that I use and the natural style that I go for. So, something that's more unique. You're not going to see just roses—well, sometimes you do, but they'll be with reflex, or there'll be something that's different about it, that you wouldn't just see typically. And, I do think that there is a personal aspect to coming to someone like me, where you know that you're talking to the person who's designing your flowers, and they're overseeing everything, and there's that direct communication so that it's not just, you know, hiring 1-800-FLOWERS to do your arrangement or your wedding. You're hiring someone that you know and you can talk to and bounce ideas off of. I ruptured my Achilles last year, and a week after I did that, I had a wedding on the Malibu Pier. So I was in a cast on crutches. But, when you're running your own business, and you want to make it work, you do. So, I had my mom help, I had my boyfriend help. We ended up forgetting the crutches when we got there, so we had to zoom over to CVS. But, luckily, we had plenty of time, and it actually ended up being one of my favorite weddings. Some of the challenges during peak wedding season are definitely… sleep. You get up at 5:30 in the morning to go to the flower market, and then you have to stay fresh to make sure that your designs look the way that you want them to. And, another challenge would be knowing when to turn your phone off, when you're running your own business. You want to answer every email within 15 minutes and just be really on top of it, but that's just not possible, and it's definitely good to know when to take a break. I would say the most challenging aspect is more the mental side of it. Because, you know, you're doing a wedding—it's a really special day for people, you want to make sure that the bride loves her bouquet, that the photos turn out just how she wants them to. So, I would say the most challenging part is just making 100-percent sure that you're on the same page as the couple, so that the end product really reflects what they want. 'The secret to my success is blind optimism—and,' Rothschild jokes, 'having a mom and boyfriend who will work for free.' My flower style is very colorful and architectural and really plays with heights and textures. Something that's always inspired me, and that I've always loved, is art, in general. I almost was an art history major in college, and I've loved Impressionists and just seeing those vibrant colors and the way that they melt together. So, I think that definitely inspires me. And then my biggest inspiration is, just, what's freshest at the market. Because sometimes you can go into the market, and you think you're going to do something, and then you find out that the dahlias look terrible that week, and you just have to pivot and find something else that matches what you're thinking. And, the colors of the market are just so fun and exciting to look at. Thank God [my style] has evolved, because sometimes I look at old pictures, and I'm like, 'Oh my God, I can't believe that passed. But, I would say the main thing that has evolved is being able to play with the depth and texture. I think, when I started out, arrangements were really flat, and although they were colorful, and pretty flowers were in them, they were very one-sided, and you couldn't see the different flowers because they were kind of just too mushed together. And now, I've really been playing with depth and height and just trying to make the shapes a little more interesting than your average flower arrangement. My personality is definitely not go-with-the-flow—and I think all of my friends would say that, too. I think I'm a problem-solver type. If there's something that needs to be figured out, I don't stress out about it. I'm just going to make sure that it happens and go for it. And, I'm a perfectionist sometimes. Like, when it comes to flowers, I will be looking at something forever to make sure it looks perfect. And then, for other aspects of the business, like Instagram or something, I just want it posted, and I don't want to think about it anymore. And then, I think being light-hearted is just an important part of owning your own business and going for it, because you can't take things too much to-heart—even though sometimes I do—because it's just, you're in customer service, at the end of the day. So, you can't take every little comment to, you know, impact your entire business or being. 'I think being light-hearted is just an important part of owning your own business and going for it,' Rothschild says. The most difficult part of my job? I don't know—I feel very lucky to be able to do flowers for my job. I think the most difficult aspect would be admin stuff, in general. Like, you have to figure out taxes and bookkeeping and become an LLC, and all of these things that you just don't think of when you start arranging flowers. You think that you're going to get to do creative stuff all the time, but there's a lot of backend work. And then, also, cleaning up is always hard, and you never want to do it at the end of the day. My approach to marketing at the beginning was—none. I just posted everything. And, sometimes I'll scroll all the way back on my Instagram, and I think about deleting things, and I don't, because I feel like it really shows the evolution. But, I think when you're starting out, you know, you just have your friends support you and follow you and go along. And then recently, I've tried to have a more strategic angle to my marketing, where I'll show people how I make the arrangements, going to the market, and kind of the behind-the-scenes of it. And, I also got a little pedestal to put in my apartment so that all my photos look more professional. What do I hope for the future of my business? I would love to be, well—currently my flower studio is my apartment, so I would love a formal flower studio with gorgeous lighting to take pictures in. And, just more of what I'm doing now. I do, you know, brand events and weddings. And, you know, having a wedding a week, or a brand event and then a wedding, or something like that I think would be really cool. Sometimes, I'm like, 'Yeah, I want to have a staff'—I kind of like just having it be me, and making everything, and doing these more 'micro' weddings. I think it's nice keeping it small. My team generally consists of my mom, and my boyfriend will do all the heavylifting. I have hired freelancers in the past—luckily, from my past flower experiences, I have a lot of friends in the flower world doing their own things or working at flower shops or have moved on, but still have that skillset. But so far, I don't hire a consistent team. [Note: Emma has, since we interviewed her, moved into her very own 'formal' flower studio and done a series of events and collaborations with various brands.] My favorite flowers to work with—I'll probably just keep going and going—but I love sweet peas, peonies, anthurium, orchids, dahlias… I'll keep it to those five, I would say, are my top, top flowers. I think my dream flower arrangement would be really colorful. I love working with pinks and oranges and vibrant greens and, like, a pop of purple. And, it would definitely have a lot of orchids, anthurium, sweet peas—all those. And also allium, which are the giant, purple, ball flowers. They're in the garlic family, and they're just a really fun flower to work with. I know what my dream wedding would be, and it would be at the Ojai Valley Inn, specifically, and it would have a lot of orchids and anthuriums and dahlias and sweet peas and all the flowers that I mentioned. And, it would be very florally dense. I think something that I do in my arrangements is I don't use a lot of greenery at all, if any, so it would definitely be bloom-centric. And, just, everywhere, flowers—flowers up the trees, down the centers of the tables. And, also, food styling. I think food styling with flowers is really cool.


New York Post
7 days ago
- New York Post
Manhattan's power scene is back in full force at this luxe new Italian restaurant from Michael White: It's Marea 2.0
Midtown has its pre-pandemic swagger back — and People's Exhibit No. 1 is Santi (11 E. 53d St.), the buzzing new modern-Italian restaurant from celebrated chef Michael White. Its nexus of corporate power, great pasta and fun people-watching make it the area's hottest scene since White's Marea opened in prehistoric 2009. After splitting with the Altamarea group in 2021 due to disagreements over the company's direction, White has spent most of his time launching new venues in Florida. (A consulting gig at the Lambs Club on West 44th Street lasted only a few months in 2022.) 10 Michael White is back in NYC with Santi. EMMY PARK 10 The elegant midtown address was once home to White's Alto. EMMY PARK Santi, launched by his BBianco Hospitality Group with business partner Bruce Bronster, marks his triumphant, full-scale Big Apple return. Marea's still going strong and Midtown has other established, excellent Italian restaurants such as Il Gattopardo, Cellini and Fresco by Scotto. But others faded and the scene needed new blood. Santi delivers it for everyone — from shoppers and museum-goers to a Who's Who of Midtown glitterati. Once home to White's aughts-era hit Alto, the venue has overnight became a haunt where the city's prime movers wheel-and-deal over homemade gnocchi and tagliatelle, and cocktails such as the Fifty-Fifty, which features Taggiasca gin, made with prized Ligurian olives. Santi's pleasures unspool through several main areas designed by Michaelis Boyd, gorgeously lit by L'Observatoire International and festooned with luminous portraits from Bronster's private collection. Each section draws a different crowd. The front dining room, a few steps down from a horseshoe-shaped bar for the after-work, sip-and-flirt set, draws movers and shakers to its semicircular booths and banquettes. It's become a canteen for bankers at market-moving investment firm Jefferies Group and its CEO Rich Handler, who work upstairs. On any given afternoon or evening, you might spot Henry Kravis, Barry Diller or real estate mogul Bill Rudin, who's planning a new skyscraper a few blocks away. 10 Midtown power players are flocking to Santi. EMMY PARK 10 With dishes such a succulent veal chop, Santi's food is worthy of the five Michelin stars that White has earned at previous restaurants. . EMMY PARK Boldfaces such as Eva Longoria and Queen Rania of Jordan have popped in, too. Pop star Beck ordered a comfort dish from heaven — hand-folded tortellini ($36) filled with prosciutto, mortadella, pork and Parmigiano Reggiano, finished in a creamy sea of cheese and butter. A circular staircase leads to the slightly more intimate mezzanine, after passing a huge,1800s mirror that Bronster found buried under a Southampton barn. The upstairs area has attracted art and fashion luminaries such as designers Diane von Furstenberg and Michael Kors and painter Kehinde Wiley. The restaurant's noisiest section is the ground-floor atrium, where light globes suspended from the double-height ceiling suggest a galaxy in formation. On my visits, it drew canoodling couples in the corners and noisy groups of guys at middle tables. Fortunately, new wall fabrics and sound bafflers have begun to soften the din. 10 Amberjack crudo is one of many great seafood dishes. EMMY PARK 10 Gnocchi in tomato sauce is a standout pasta dish. EMMY PARK The menu, executed by the kitchen team of Jason Lin and Sol Han, is worthy of the five Michelin stars White earned at his other places. It boasts splendid seafood, both raw and cooked, like tasty, toothsome amberjack crudo ($32) and pleasingly moist halibut ($55) pan-seared on one side and then poached in extra-virgin olive oil. But the pastas — all original, none replicating White's previous plates — are the crowning glory. 'We've been deliberate about not copying expected dishes because that's not fun or challenging, and our guests deserve more than a rehash of old ideas,' White told me. The sautéed Italian breadcrumbs known as mollica, a White hallmark in the past, are mostly absent, letting the pasta and sauces speak for themselves. 10 Some notable guests, such as musician Beck, favor the booths in the front room. EMMY PARK 10 Beyond the front room is the elegant-but-noisy atrium. EMMY PARK Tagliatelle Ragu ($36), which Wiley has ordered more than once,gets my vote. The coarse-ground beef and pork are gently broken down to a velvety texture by a judicious infusion of milk. My favorite, though, was ricotta gnocchi ($28), lighter than the potato-filled variety and bathed in San Marzano tomato-and-basil sauce — a brave statement when too many chefs shy away from red sauce lest their dishes be mocked as Italian-American dinosaurs. 10 A sweeping staircase leads up to a mezzanine. EMMY PARK 10 The mezzanine dining area is slightly more intimate. EMMY PARK But I miss White's legendary fusilli with braised octopus and bone marrow, his heart-stopping, red-sauce masterpiece at Marea. Per Se's Thomas Keller once called his favorite dish in New York. Is there any chance we'll see it again at Santi? When asked, White smiled and said coyly, 'I'm talking to my chefs about it.'