Profile: Josh Neuman

It might raise an eyebrow or two that Josh Neuman, former editor and publisher of Heeb magazine — the irreverent, youth-oriented Jewish magazine that shut down its print operations in 2010 — is now in charge of editorial content at GOOD, a multiplatform media outlet dedicated to helping “people who give a damn” do well by doing good. 

GOOD, a lifestyle magazine for the well-intentioned (but not overly self-righteous), might seem a strange fit for a guy who brought the world a view of Sarah Silverman’s breasts — seen through a hole in a bed sheet — and who had Jonah Hill photographed holding a well-lubricated bagel. 

But Neuman has grown up some since those early days of deliberate Jewish-informed provocation. He moved to Los Angeles. He turned 40. He got married. He’s about to resume work on a long-simmering short-film project about his younger brother, a would-be punk rocker who died of leukemia right around the time Heeb was getting off the ground. 

And since July, Neuman has been working as head of programming and editorial director at GOOD, which last month officially launched its new online platform,, while still putting out a quarterly magazine. Neuman said he’s hoping to bring to GOOD part of the playbook that worked for him at Heeb, which will mean treating readers not as an “audience” but as part of a “community.” It will also mean spending as much energy on planning the next party, conference or Web video series as on publishing words and pictures.

“Heeb wasn’t something that resided on the page,” Neuman said, sitting in GOOD’s Wilshire Boulevard office earlier this month. “It was something that happened in real time.” (Full disclosure: This reporter was at one time an unpaid occasional contributor to Heeb.)

In June, when Neuman’s predecessor, Ann Friedman, was fired from GOOD, along with six of her editorial colleagues, it seemed to many media watchers that GOOD was about to reside less on the page and more in real time — and on the Web — than ever before. 

The move made waves, in part because of how the news was delivered to the employees — at a meeting the day after a party celebrating the publication of the Summer 2012 issue — but also because magazine lovers saw it as the demise of yet another journalistic outlet. (“BAD! Major Editorial Layoffs Hit GOOD,” wailed one blog’s headline.) 

Neuman said he has been a fan of GOOD since its beginning — in 2007, co-founder Ben Goldhirsh was featured as one of the “Heeb 100” list — and Neuman says he is still committed to journalism, even if he’s not quite sanguine about the sustainability of the print model. 

“As much as print is dead, Adbusters launched Occupy, and Mother Jones got that ‘47 percent’ video,” Neuman said. 

But Neuman, who was teaching philosophy of religion as an adjunct professor at NYU when he joined the Heeb editorial team, said he intends to steer GOOD in a direction that won’t include the kind of long-form journalism of the magazine’s previous incarnation. 

“For the former editorial board, GOOD just meant journalism,” Neuman said. “For me, journalism is one of many ways to deploy interesting content.”

It’s worth noting that Friedman, who declined to comment for this article, doesn’t appear to have arrived at GOOD an overly sentimental editor attached to traditional journalism and deaf to the needs of the Web, either. 

“Here, we all understand that ‘magazine’ doesn’t refer to the paper-and-ink product sitting on your coffee table,” Friedman wrote in a post on that appears to date back to when she started as executive editor, around March 2011. “It’s also a way of describing a community and daily reading experience.”

What shape GOOD will take in the coming years remains to be seen, but Neuman talked  less about the upcoming print issues of GOOD — the Winter 2012 issue is set to include the GOOD 100, a list not unlike the one Neuman was known for at Heeb — than about the work taking shape on GOOD’s new Internet platform. 

Posts are organized into two categories: Learns, which teach and inform, and Dos, which are aimed at spurring readers to some kind of action — anything from moving their cell phones and tablets out of their bedrooms to signing an anti-corruption pledge to get the money out of politics. 

“Anyone can submit Learns and Dos,” Neuman said. From there, a team of about eight full-time editorial staff based all around the country, called curators — “kind of the midpoint between an old-school editor and a community organizer,” Neuman said — take the content and present it on GOOD’s platform, alongside their own writings and any new content that the magazine commissions. 

One of the newest bits of original content — a Web video featuring actor Rainn Wilson of “The Office” — is part of a GOOD campaign urging voters to “Take Back Tuesday,” and “make voting less of a pain in the ass.” 

And on the other side of the technological spectrum, GOOD subscribers will soon receive a packet of postcards in their mailboxes, each one with a rumination on the history of good. 

Both comprise GOOD’s coupling of learning and doing. The video is part of a multipost series urging readers to turn Election Day into a national holiday. The postcards are designed to be sent by the recipient to another person — “Send this to a politician who puts people before politics,” reads the legend at the bottom of the postcard about direct democracy. 

And both fit neatly into the overall framework of GOOD’s goal of being a community dedicated to organizing active citizens by deploying various media, which is, Neuman pointed out, exactly what he did with Jews and Heeb — mobilize a community of people with a shared interest in Judaism, pushing them to have fun together on a weekday evening or a Christmas Eve. 

Among Neuman’s curators at GOOD are some journalists he worked with at Heeb. He said that everyone he’s hired is very much on board with the new model for what GOOD is becoming. 

“Maybe it’s just because it’s a job, so they’re excited about anything,” Neuman said, “but a lot of them say, ‘I think this may be the future of journalism.’ ”

Hey, Hipster Jew — you probably think this book is about you

You’re sporting a Batman yarmulke on your head and a cubic-zirconia-studded Star of David pendant around your neck that would put Flavor Flav to shame. A plastic Moses figure stands posed next to your computer, ready for some sea-splitting action.

If you count yourself among the Heebsters and Sheebsters, you’re proud to be a Jew and have no reservations when it comes to flaunting your J-bling. If this is all new to you, welcome to the world of hipster Jews.

That’s the thinking behind Lisa Alcalay Klug’s new book, “Cool Jew: The Ultimate Guide for Every Member of the Tribe” (Andrews McMeel Publishing, $12.99), which seeks to catalogue hip Jewish trends, from He’BrewBeer to Heeb magazine, while looking at Judaism and its culture through a post-denominational lens.

Also referred to as “The Heebster Handbook,” Klug describes “Cool Jew” as “a field manual for 21st-century Jews.” With chapters ranging from “Heebster, Know Thyself” to “Heebster Spoken Here,” the book captures the social and cultural zeitgeist that defines modern cool Jews. “Cool Jew” picks up where the do-it-yourself “Jewish Catalog” series left off, aiming its content at the iJew who feels no shame in giving the gift of a virtual matzah ball to a Facebook friend.

After writing articles on Jewish culture for several Jewish newspapers, Klug decided it was time to compile all aspects that make Jews “cool.” She spent two years writing the book, which drew on 15 years of Jewish trend spotting.

Klug’s own Sheebster practices extend to teaching Kabba Lah Lah yoga at the Jewlicious Festivals and judging at the Simply Manischewitz Cook-Off. Based in the Bay Area, she also spends time in Jerusalem, Los Angeles and New York.

Unlike 1982’s “The Official J.A.P. Handbook,” which relies heavily on anti-Semitic clichés as the basis for its humor, Klug says “Cool Jew” follows her father’s ideology of being proud of Judaism.

Born to immigrants from Poland and Panama, Klug is also a descendant of Rabbi Yehuda Alkalai, a 19th century Zionist from Sarajevo.

It’s “all about celebrating who you are … in a joyful way,” she said.

Between numerous “Hebrew Hammer” illustrations and “ShaBot 6000” cartoons, the “Cool Jew” takes a half-joking approach to Jewish lifecycle events, cultural mores, history, food and religious practices.

” target=”_blank”>The Jewish Television Network (JTN) interviewed Klug last month

Want to know what message the different black hats or kippot intend to communicate? Klug provides the “Headwear Decoder: What the Lid Says About the Yid,” which identifies head-covering styles, who wears them and what their spiritual conviction is. For example, the black leather kippah — worn primarily by Modern Orthodox Jews — might just be for the “wannabe Hell’s Angel.”

In the subsection on Sukkot, “Recycle, Reuse, Reschmooze,” Klug provides fun post-holiday activities and suggests what to do with your now-unholy lulav and etrog. “Play bookie and collect bets on whose etrog stays yellow the longest,” she writes.

Klug also draws postmodern parallels between Jews and other cultures, including the Japanese, Hawaiians, Mayans and Rappers. In one quiz she asks the reader to determine whether lyrics were written by Bob Marley or Matisyahu. For instance: “Five descends from on high in the shape of a lion; burn the sacrifice up right and right under Mount Zion.” (Spoiler alert: It’s Matisyahu.)

While the book is intended to be funny, Klug says that most of the information she provides is based on reality. In fact, directories of kosher products and religious customs contained in “Cool Jew” can serve as a helpful guide for Jews looking to express themselves and non-Jews interested in learning more.

Klug says, however, that the main message of the book is actually quite simple.

“You don’t have to work hard to be cool. You just gotta be a Jew,” she said.

Lisa Alcalay Klug will appear Nov. 6, 7 p.m. at UCLA Hillel, and Nov. 9, 10 a.m. at the American Jewish University Celebration of Jewish Books.

VIDEO: Heeb Olympics 2008 — Gefilte Fish Wrestling

Four modern-day gladiators do battle for the gold (a lifetime supply of Gold’s mustard) in the Heeb Olympics. For more information, check out

Pain and Pleasure and Guilt, Oh My!

Late last Saturday night, a thin strip of indoor/outdoor red carpet led from the parking lot of the Magic Castle in Hollywood to a small, close-ceiling function roombehind the glamorous house of tricks.

Inside, 100 or so young Jews gathered to celebrate the third issue of Guilt & Pleasure, a literary quarterly out of New York whose first issue featured a cover photograph of a border collie smoking a cigarette. Stacks of the summer 2006 issue lay about, but it was too dark in the small, nightclub-like space to read anything but the turquoise-colored title: “The Magic Issue.”

A bar anchored the back of the narrow room, featuring no-host, all-you-can-afford $10.50 cocktails, and several rows of folding chairs faced a teensy stage.

The young man next to me, a writer with darkly alert eyes and a sardonic smile, said the magazine serves a young, hip, intellectual Jewish audience “not quite being served” by Heeb, another magazine out of New York.

It seems to me the distinction is perhaps the Gen Y equivalent of the differences among the AJCommittee, AJCongress and the ADL — that is to say, indecipherable to outsiders. As near as I can tell, both publications are aimed at young Jewish men with darkly alert eyes and sardonic smiles, and the women who hope to marry them.

All around me were plenty of examples of both: dressed up (the Magic Castle has a coat-and-tie policy, even in its dungeon), animated and about as cool as Jews who aren’t Leonard Cohen can possibly be.

The emcees, Jill Soloway and Jessica Chaffin, took the stage, having won the thankless job of trying to figure out exactly what kind of Jewish jokes would make these particular Jews laugh. Both were trying hard for laughs, which of course is the death of cool.

They brought on the magician, Andrew Goldenhersh, who looks like Rasputin but otherwise seemed very nice. He held two raw eggs, had volunteers strap him into a straight jacket, and said he would wrestle his way out without cracking the eggs. When he had freed himself, he reached inside the white coat and pulled out two fully alive chickens.

It was brilliant, but that’s not magic, of course; that’s tricks.Out came a contributor to the issue, Gregor Ehrlich, who read his essay on how his life has intersected with the lives of various chickens. After a few very dry, very sardonic minutes, a heckler called out, “What’s this about?”

“It’s about chickens,” Ehrlich said — unflappable — and continued.

Indeed, what is it about?

Ever since national studies back in the 1990s showed a marked decline in the numbers of young Jews affiliated with Jewish life, along with a rise in intermarriage rates, Jewish professionals and the foundations they hit up have made it a priority to captivate this precious demographic — aka, the future of our people.

No one knows what works, so everything gets a try. Salons? Here’s a couple grand. Yiddish rappers? Here’s another thou. Leadership seminars in a snowy resort town? Here’s $100K.

Both Guilt & Pleasure and Heeb are nonprofit publications that required substantial donations to get them going and keep them afloat. The former distributes 20,000 copies of a 154-page, four-color journal on heavy stock. That’s a lot of cholent for the poor. Heeb received its tens of thousands from foundations established by Andrea and Charles Bronfman and Steven Spielberg, and G & P has tapped many of the same resources. The idea is that publications will reach and give voice to a generation of Jews otherwise cut off from their roots, thus drawing them back to the fold.

They cost a lot. But do they work?

There is no hard evidence. But the media echoes Heeb produces make Judaism palatably hip to the youth market, at a time when Israel, that other noticeably Jewish product, has been less than beloved by college kids. And every Jewish generation needs a safe place for its intellectuals to play among themselves, whether it was the original Yiddish Forverts or Commentary, Lillith or G&P.Back at the Magic Castle, the comedians finally took hold of the night.

Jeffrey Ross, a standard fixture at celebrity roasts and my favorite un-famous comic, got up and killed. He insulted the venue — “I had to put on a tie for this s—hole?” — insulted the organizers and insulted the audience.

When he called the cheeky Times columnist Joel Stein “just like Tom Wolfe, but without the talent,” some in the audience gasped at the audacity, because Stein, like Jon Stewart, is Jewish hipster royalty — the court jester with mainstream media exposure. Plus Stein was sitting in the front row. (No worries, he has a sense of humor.)

Ross got big laughs with well-told Jewish jokes. “The other night my girlfriend and I rented a Jewish porn movie,” he deadpanned. “It was called, ‘I Don’t Do That’ … which I think was a remake of ‘Eeeew.'”

Rewind 40 years, clean it all up a bit and you’re back in the Catskills.Same with the next comedian, Jeff Garlin. The co-star of “Curb Your Enthusiasm” turned out to be a real Falstaff in the faux-English venue, one-upping Ross in viciously insulting the hosts, the Castle, the audience, then improvising a set that ranged from anti-Semites trying out their accents to comedian Dane Cook.As I left, an embarrassed magazine promoter pulled me aside. “Write about the magazine,” he said, “not the evening.”

OK: Guilt & Pleasure is good, often very good, and the magic issue is its best.But the evening wasn’t all bad, either.

What seemed to work was what Ross and Garlin did, which, really, was the stuff that worked for Mason and Rickles and Groucho, and no doubt for generations of tummlers and badchanim before them. Insults. Self-deprecating humor. Mockery. Screwing with the status quo, even when the status quo are hip Jews who think they’re the ones screwing with the status quo.

Every generation of Jews thinks it is the revolutionary one, the one that will upturn the traditions and set the old ways. But we are a people with a long, valued tradition of invective and obstreperousness. This week’s Torah portion makes a point of singling out the wayward son for punishment, but centuries of rabbis afterward found a way to soften the harsh decree, and bring him into the fold.

The strength of Jewish culture is its ability not just to give birth to its own critics, rebels and jesters, but to set an honored place for them at the table. To think there is a status quo that Jews will not attack, or to think any one generation is the first to attack it — now, that’s illusion. l

7 Days in the Arts

Saturday, June 18

The near month-long dance-on-film extravaganza that is the Dance Camera West International Dance Film Festival offers a poignant Jewish dance piece this evening. Head to the Redcat to view Kaeja’s Dance Company’s short dance film, “Departure,” which evokes the Jewish experience through the tale of a husband and wife forced apart as the war draws near.

6 p.m. $10. Redcat (Roy and Edna Disney/Calarts Theater), 631 W. Second St., Los Angeles. (213) 237-2800.

Sunday, June 19

Two Father’s Day events to consider: The Workmen’s Circle offers a klezmer brunch today, complete with Klezmer orchestra entertainment and plenty of good food. Or honor his memory at Hillside Memorial Park and Mortuary. Special memorial services with music and song will be held this morning and afternoon.

Workmen’s Circle: 10:30 a.m. $5-$10. 1525 S. Robertson Blvd., Los Angeles. (310) 552-2007.

Hillside: 10 a.m. and 2 p.m. 6001 Centinela Ave., Los Angeles. (800) 576-1994.

Monday, June 20

The title sounds unlikely enough: “Rescued From the Reich: How One of Hitler’s Soldiers Saved the Lubavitch Rebbe.” But it’s nonetheless true, and only the tip of the iceberg in the remarkable tale of how one highly decorated Nazi soldier saved the Lubavitcher Rebbe’s life. Meet Bryan Mark Rigg, the author, at the Jewish Community Library this evening. Rigg is also the author of “Hitler’s Jewish Soldiers: The Untold Story of Nazi Racial Laws and Men of Jewish Descent in the German Military.” The event is co-sponsored by the Jewish Genealogical Society of Los Angeles.

7 p.m. 6505 Wilshire Blvd., Los Angeles. (323) 761-8644.

Tuesday, June 21

Leave it to Heeb to make storytelling hip. The cutting-edge Jewish mag brings the party west today with their “Heeb Storytelling” series. Tonight’s event at the Three Clubs bar offers irreverent Jewish entertainment hosted by the Sklar Brothers. You’ll hear stories and monologues by Aimee Bender, Eric Friedman, Stephen Glass, Journal singles columnist Lori Gottleib, Jonathan Kesselman and Wendy Spero. Then after-party at La-La Land Gallery around the corner.

7:30 p.m. Free ($5 suggested donation). 1123 N. Vine St., Los Angeles.

Wednesday, June 22

Diverse paintings by Israeli artists make up the Michale Hittleman Gallery’s strong “Summer Exhibition of Israeli Masters.” View images from abstracts to still lifes to Jerusalem landscapes in the show that includes works by Moshe Gershuni, Samuel Tepler, Moshe Kupferman, Jan Rauchwerger, Pinchas Cohen-Gan, Pamela Levy, Itzhak Livneh and Lea Nikel.

Through Sept. 1. 8797 Beverly Blvd., Third Floor, Los Angeles. (323) 655-5364.

Thursday, June 23

Hebrew poetry becomes performance art in the one-woman show, “And Then I Went.” Utilizing dance, theater, music, video-art and animation, the show creates visual poetry based on the classic writings of some of Israel’s best-loved poets, including Leah Goldberg, Yonatan Rathosh and David Avidan. English subtitles are projected during the performance.

8 p.m. $20. Gindi Auditorium, University of Judaism, 15600 Mulholland Drive, Bel Air. (310) 440-1246.

Friday, June 24

Summer nights at the Hollywood Bowl kick off tonight with “Opening Night at the Hollywood Bowl,” a benefit concert for “Music Matters,” the L.A. Philharmonic’s youth music education program. Tonight’s theme is music by the bowl’s two Hall of Fame inductees, Trisha Yearwood and Joshua Bell, who’ll be singing a number with his friend, Josh Groban. Quincy Jones will also lead a special tribute with Frank Sinatra Jr. in honor of “old blue eyes” himself.

8:30 p.m. $15-$97 (concert only), $425-$1,500 (pre-concert benefit reception, dinner and concert). 2301 N. Highland Ave., Hollywood. (323) 850-2000.

Young, Hip, Heeb

It could have been a scene from New York’s beatnik past: A group of young hipsters gathered at a Greenwich Village apartment for an artistic venture they hoped would change history — or at least rock the establishment. But these beats call themselves Heebs, and their universe is the alternative Jewish world.

"Heeb is a special subset of the genus Jew," explained Joshua Neuman, 31, the new editor-in-chief and only paid staffer of Heeb magazine, a hipper-than-thou take on modern Jewish identity. With its gritty irony, the nearly 2-year-old magazine taps into a young Jewish generation that thirsts for Judaism but rejects its standard trappings.

Other cultural phenomena of the same trend is the blaxploitation spoof "The Hebrew Hammer," starring Adam Goldberg; and Jewish apparel like Rabbi’s Daughter’s tank tops such with words like "Shiksa" and "Meshuggah," and Jewcy, a clothing line that also sponsors entertainment events and gives the proceeds to Jewish non-profit organizations.

But not everyone is sold on Heeb’s message. The magazine’s debut prompted concern at the Anti-Defamation League (ADL), and the groups says it’s still concerned.

Adopting a "title for a publication that is offensive to many Jews is unnecessary and in my view counterproductive," said Ken Jacobson, ADL’s associate national director.

Others say the magazine fills a critical niche.

Rejecting Heeb is like saying "the Beatles were bad for today’s youth when they appeared on the Ed Sullivan show," said Roger Bennett, vice president of the Andrea and Charles Bronfman Philanthropies, whose network of young philanthropists, Natan, gave Heeb a $20,000 grant last month.

Heeb, which publishes twice a year, has maintained a circulation of roughly 20,000, but Neuman estimated that its readership has reached 90,000. A quarter of the magazine’s subscribers are in New York, followed by Los Angeles, Chicago, San Francisco and Seattle.

Though the magazine is crammed with kitsch, it also tackles issues of substance. In the current issue, for example, editorial director Mike Edison goes undercover in Jews for Jesus as a would-be convert. Describing with humor the tactics of the Christian missionaries, Edison adds a jolt of Jewish pride.

"I’m a New York Jew. I can kvetch and haggle with the best of them," he writes. "Salvation, however, is the one thing I will not buy wholesale."

Hair Club for Jews

Hi. My name is Carin and I have a Jewfro.

Heeb hair. A Moses mop. A latke lid. I’m down with my fun
girl curls, but I can’t say the same for the men I meet. My big hair is the Mason-Dixon
Line of my L.A. dating life. Some men love the untamed, wild, bed-head look of
my natural waves. But many men prefer I play it straight.

Take lawyer dude Rich, who I picked up at The Arsenal on Pico
Boulevard on a Saturday night. I was wearing my jeans low, my heels high and
my hair straight. Rich grabbed my digits and we went out on two successful
straight-haired sit-down dinner dates. For our third date, he suggested Cabo
Cantina, margaritas with salt and the Sunday night football game. Since we
decided to skip formalities, I decided to skip the blow dry. Poor play call on
my part. I threw open my door and surprised Rich with my long, flowing,
sandy-blond curls. He gasped, grimaced, then covered his eyes.

“What happened to your hair?”

Apparently Jewish men like blow dries. And not just Rich.

One date asked me, “What’s with the curls?”

Another asked if I wanted to finish getting ready.

A third offered me the scrunchie some JDate left on his
stick shift. Great, I have bad hair and you’re seeing other women. I’d cry but
the moisture might make my hair frizz up.

I’m not alone in this hair crisis. Thousands of Jewish women
just like me face similarly challenging locks. I’m talking big, puffy,
out-of-control, coiled bird’s nest curls. We’re asked to sit behind the
mechitzah because our big hair blocks the men’s view of the bimah. Coveting J.
Crew catalog-straight hair, we brush and comb and mousse and spray. We steam
and set and wrap and treat. But we still show up to parties looking like the
Bride of “Welcome Back, Kotter.” That’s why I started the Hair Club for Jews.
Where I’m not just the hair club president, I’m also a member.

My teenage years were a blur of bad hair. I spent high
school as a frizzy triangle head with flip-up/flip-down bangs. Moviegoers
behind me switched seats and the yearbook photog took my pic with a panoramic
lens. When I hit college, I straightened my mane with a smokin’ hot flattening
iron. I blew my book money on hair spray and scorched my forehead twice, but
hey, I love the smell of burnt hair in the morning. Now, with heightened
self-confidence and a bathroom overstuffed with hair products, this Jewish babe
swings both ways.

But which do I do on a first date? One wrong tress can send
a fine man running. Do I rip off the Band-Aid and open with big curls? Should I
ease my man into the fro? Is straight sexier? Do curls have more fun? And
what’s the deal with the babushka? Curly. Straight. Curly. Straight. No wonder
Jewish women give up and wear a sheitel.

Perhaps this hair dilemma has deeper roots. Talmudic
scholars might argue that by wearing my hair curly, I am broadcasting my Jewish
pride to the single men of the 310. The great Rabbi Abraham Paul Mitchell might
argue that by straightening my hair, I am denying my Jewish heritage. I am
turning my back on a hairstyle passed down by The Matriarchs. I say anyone who
spends 10 minutes with me knows I’m a Member of the Tribe — no matter how I
wear my hair. I also say men tend to spend more than 10 minutes with me when I
wear my hair in pigtails.

Speaking of men, Rich apologized as we waited for our table.

“The curls aren’t that bad, C, I guess I could get used to
them. I just like your hair better straight ’cause I can run my fingers through

Then he gently brushed the hair out of my face, kissed my
forehead and all was forgiven — until he broke down and offered me the Yankees
hat off his head halfway through our date. But who could fit his tiny
peanut-head cap over my gargantuan hair? Things didn’t really work out between
Rich and me. And not just because he’s a Yankees fan.

When it comes to my guy, I need a man who’s in it for the
long haul, who’s up for any hair catastrophe. If a guy’s not there for me on a
bad hair day, he won’t be there for me on a bad work day. He won’t be there for
me when I spill red wine on my wedding dress, when I lose my keys, when I burn
dinner, when the kids get the flu, when I’m 75, less flexible and my hearing
aid whistles. I need a man who’s in it for richer or poorer, for curly or for
straight, who can laugh with me through a hair disaster and any disaster.

As president of the Hair Club for Jews, I urge other Jewish
women to stand up for their locks. If you embrace your big hair, you can get
ready for a date in five minutes, you can get your hair wet at the beach, you
can live in a humid climate. And, as far my dates go, I’m taking a “love me —
love my hair” attitude. Single Jewish men shouldn’t be so quick to judge my
Jewfro, ’cause I know they carefully position their kippot to hide their bald
spots. Â

Carin Davis, a freelance writer, can be reached at