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September 7, 2000

Balancing Acts

A common complaint of the unaffiliated Jew is having to buy tickets for the High Holy Days services they choose to attend. They see it as being required to “pay to pray” and often get quite huffy about what they see as a predatory hunger for cash on the part of synagogues.

The temples, on the other hand, see charging for High Holy Days tickets as a matter of survival, and their leaders and staffers are understandably annoyed at religiously marginal Jews’ stubborn cluelessness about what it takes to run a house of worship.

“In addition to the extra time for hourly staff, we rent chairs for additional attendance, we pay child-care workers, we order supplies for the children, we bring in special outside program runners for junior congregation and children’s services, we pay for valet parking, and more,” said Lisabeth Lobenthal, executive director of Adat Shalom in West Los Angeles. “The amount for seats barely offsets our additional expenses.”

Brenda Brook, a staffer at Temple Emanuel in Beverly Hills, reeled off a similar litany: “Increased security, Beverly Hills police and fire protection, increased payroll costs, musicians, music, audio technicians, publicity, printing, additional maintenance help, child care, temporary office help.”

And those are temples that stay in their own buildings for the holidays. Many synagogues, whose sanctuaries don’t accommodate the extra crowds that come for holiday services, rent larger spaces, with good-sized congregations going into hotel ballrooms, theaters, and civic auditoriums, while small congregations go into churches, larger synagogues, and secular spaces such as hotel meeting rooms. Those rents constitute a hefty expense.

And for a lot of temples, the sale of High Holy Days tickets is an important and necessary fundraiser. “Ours is a small congregation comprised mainly of older people on fixed incomes who are not able to endow us with large sums of money,” said Harvey Malloy, president of Congregation Beth Ohr in Studio City. “This is the one time of year that we are able to raise money to support our rabbi and pay our overhead for the year. We welcome guests, but we will only be able to meet our financial obligations if everyone contributes.”

“It’s simply a matter of keeping the doors open,” said Rabbi Michael Beals of B’nai Tikvah Congregation in Westchester. “For us, High Holiday tickets are a budget item. The synagogue counts on a certain number of High Holiday tickets sold to make the budget each year.”

There are philosophical considerations at work too. Synagogues want Jews to become members, supporting the institution year-round – and coming to services year-round. “The only way we can create a synagogue that really makes a difference in people’s lives is through Jews supporting [them] by being members of the congregational community,” said Laura Geller, senior rabbi at Temple Emanuel.

“We’re here for the community all year because our member families support us,” said Sheryl Goldman, executive director of Congregation Beth Am near Beverly Hills. “On the High Holidays, those who choose not to affiliate by way of full synagogue membership are asked to do their financial part for the community.” To encourage membership, many congregations allow purchasers of holiday tickets to apply the cost of the tickets to membership dues if they decide to join.

Some institutions, of course, do offer free seats for holiday services, most visibly the Chabad network of Chassidic congregations and the Chai Center, whose rabbi, Shlomo Schwartz, expects to host more than 2,000 worshipers in a user-friendly, English-language Orthodox service near LAX.

“At Chabad, you don’t have to pay to pray. It’s a fundamental belief we have that goes back to the Baal Shem Tov, the father of Chassidism,” said Rabbi Chaim Cunin, director of public relations for West Coast Chabad Lubavitch. “If someone comes to us on Rosh Hashanah for their first encounter with Judaism, the last thing we want to do is ask them to pull out their checkbook.”

In an unusual move, a small Conservative congregation in Gardena that’s planning a move to Torrance, Southwest Temple Beth Torah, is opening all its services to the public without tickets. “We’d like to offer Jews a place to go,” said Jo Kahn, one of the temple’s vice presidents. “And we’d like to have as many unaffiliated Jews as possible join us for holiday services, because we want them to see what we’re all about and if they’d like to join us once we relocate.”

Goldman pointed out that her temple never turns away anyone who truly can’t pay for holiday tickets, a policy of many area synagogues. And while horror stories abound of temples that have given financially strapped would-be congregants a hard time, and while it isn’t a lot of fun to approach a synagogue kippah in hand, so to speak, it is often possible to arrange for tickets at a congenial shul at little or no cost.A number of congregations keep their ticket prices well under the local median of about $175 for the full series. “We charge $95 because it’s enough to help the budget without scaring people off,” Beals said. “Some synagogues make the tickets so expensive that it’s cheaper to become members. But we realize that people are at different levels of Jewish growth, and we don’t want to shut people out of the experience because they can’t afford it. So we’re not going to price them out.”

“If someone calls a synagogue and are told they can’t go to services unless they pay $300, that could be the last Jewish decision they make in their lives. We can’t let that happen,” said Rabbi Yaacov Deyo, education director of Aish Los Angeles, an Orthodox institution.

But Aish does charge a nominal fee these days for its beginner’s High Holy Days services, which used to be free. “We found that if we didn’t [charge], people didn’t take it seriously,” Deyo said.Keep in mind that some synagogues, for reasons of space or for philosophical reasons, don’t make tickets available at all to nonmembers.

When Rabbi Elazar Muskin arrived at Young Israel of Century City 15 years ago, he was informed that the Orthodox shul does not distribute High Holy Days tickets. “I thought to myself, ‘Finally, somebody understands. It’s not a show,'” Muskin said. “The philosophy is to encourage membership, involvement and commitment.”

While synagogues, like businesses, have financial bottom lines, they also have a doctrinal bottom line: Jewish worship is a week-in, week-out proposition, not a once-a-year event, and week-in, week-out worship is absolutely free. “Synagogue doors are open daily, on Shabbat and for every other holiday of the year for those who wish to worship, all without a fee,” Goldman said.

Rabbi Mark Diamond, the new executive vice president of the Board of Rabbis of Southern California, fielded many angry e-mails on the issue of buying holiday tickets when he administered an “Ask the Rabbi” board on America Online. “When we think of the question, ‘Why do I have to pay to pray?’ that’s a very consumer-oriented way of looking at spirituality and synagogue membership. It’s unfortunate,” he said. “My message would be to convey to people the importance of belonging to a congregation. That’s what it means to be a part of the Jewish community.”

“There was a time when Jews were involuntarily taxed to support the community, the rabbi’s salary, maintenance of the building, et cetera,” Lobenthal said. “For better or worse, we no longer enjoy that luxury.”

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The Meanings of Rosh Hashanah Traditions

Some of these practices have fairly obvious meanings, like apples dipped in honey to represent the hope of a sweet new year and round challot to symbolize wholeness and continuity. But some meanings are slightly more obscure.

Take the eating of pome-granates. True, some thinkers believe we eat them for the new year because their many seeds represent fertility. But others say it is because the pomegranate has exactly 613 seeds – which neatly corresponds to the number of mitzvot that Jews as a society must perform each year. And what better time to be reminded of them than at the beginning of the new year?

In fact, many Rosh Hashanah customs are associated with food. Some families eat fish on the Jewish New Year as a sign of fertility and prosperity. Fish are also a sign of knowledge, because their eyes are always open and they see everything. In fact, in some homes, the head of a fish is placed before the head of the family and he or she recites, on behalf of everyone at the table, “May it be your will that we be like the head (or leaders) and like the tail (or followers).”

According to Rabbi Michael Azose of the Sephardic Congregation of Evanston, some Sephardi families would also put the head of a ram on the table for Rosh Hashanah. In fact, there is a story of a shidduch (match) that was made between an Ashkenazi boy and a Sephardi girl, but it came to an end when the groom-to-be arrived at the girl’s home for the New Year and saw the ram’s head on the table.

“Apparently, it was too much for him,” Azose explained. “It’s a sad story, isn’t it?”

Azose added that Sephardim place great emphasis on the talmudic dictum that omens and symbols bode for the future. Consequently, they take certain foods and play on their names to create good omens. This is done in Hebrew or in other languages. For example, a gourd can be served and a recitation of an omen can be presented that discusses how a gourd represents a fullness of blessings, how our enemies gird us, and how G-d guards us.

Of course, many customs associated with the holiday extend beyond food. The giving of charity is also an important mitzvah associated with Rosh Hashanah. But in Eastern Europe, the giving of tzedakah for the New Year was practiced a bit differently. Just before sunset, a messenger would go from house to house with a sack. Those who could afford to give put coins in the sack. On the other hand, those who needed assistance would take coins out. No one knew who gave and who took, and no one was embarrassed by need.

The blowing of the shofar is one of the most familiar tradi-tions of the High Holy Days, but opinions vary widely about why it is blown. A shofar can be made from the horn of any kosher animal except a cow, and today ram’s horns and antelope horns are very popular.

According to Maimonides, we blow the shofar to wake up those who are asleep, both physically and spiritually. The sound should help listeners remember G-d and remember that all their daily activities are nothing compared with making themselves better people.

Rabbi Saadia Gaon (882-942 C.E.) agreed with Maimonides that the shofar should remind us of G-d’s redemption but added that it should also remind us of the ram that Abraham sacrificed in place of his son Isaac. He also wrote that when the Israelites received the Ten Command-ments, they heard the sound of the shofar, and its sound should always remind us that G-d has given us laws to obey and traditions to remember.

This article appears courtesy of the JUF News.

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Finally, A Women’s Yeshiva in L.A.

Have you ever really studied Torah? Really studying means you take one verse, one legal phrase, even one word, and look up every commentary on it, and then the commentaries on the commentaries, and then you and the medieval and contemporary sages work together to dissect and extrapolate and interpolate until that one word yields a bounty of wisdom that leads to a stunning insight that gives you a spiritual boost like no other.

The best way to do this kind of learning is to have a partner, a chavruta, who can complement your insights and knowledge, and for the two of you to have the kind of teacher who can take you up and around and through the layered levels of discourse.

That’s the kind of learning done in the best yeshivas, the kind of learning scholars spend their lives on.And it is the kind of learning that will be going on at Netivot: Women’s Torah Study Institute, a new broad-based endeavor aimed at bringing high-level textual study to women. (Full disclosure: I am personally active in Netivot.)

Netivot opens this October, after Sukkot, with a schedule of 10 classes that are meant to be accessible and convenient for women. There are advanced and beginner classes, held in the Valley and at the Westside JCC, in the daytime, evenings and weekends, and – since the founders are mostly women who know what it means to take two hours off to go to a class – there will be child care.

The impetus for Netivot, a Hebrew word that means “pathways,” came from Irine Schweitzer. She spent years searching in vain for a program that offered a full schedule of shiurim (classes) where women with either advanced or rudimentary Jewish text skills could directly encounter the biblical, legal and philosophic books. What she found instead were a few scattered classes for those with strong backgrounds in Jewish studies, more for beginners, and a rich and varied pool of lectures where no text was actively engaged.

It is an often-heard frustration that though there might be opportunities for Torah study in school or in Israel, there has been very little serious Torah study available in L.A. for adult women.

Says Rabbi Asher Brander of the Westwood Kehilla, who has been instrumental in getting Netivot off the ground: “We have a whole cadre of women who have been taught to use their minds, to express themselves creatively, and then we tell them to stop at the age of 20. We don’t create institutions for them.”

What has finally emerged – after some negotiating and compromising and hours of hard work by many volunteers – is an impressive faculty that pulls from a broader range of the Orthodox community than is represented in almost any other educational institution.

Rabbis who are at opposite ends of the Orthodox spectrum have put aside their political differences to lend their knowledge, talent and stature to Netivot’s mission.

B’nai David-Judea’s Rabbi Yosef Kanefsky, who has played a key role in getting the project off the ground, says, “What we’re seeing in the broad-based founding of Netivot is the ever-widening recognition that we will be a richer, holier community when we are being powered by the entirety of our creative engine, not just half the pistons.”

Sari Abrams, Kanefsky’s wife, who is heading up the fundraising efforts, says, “So many different educators have put aside their differences, because they realize that in order to have Orthodoxy survive into the next decades, both genders need to receive solid, serious religious education.”

The Westside Jewish Community Center dedicated a classroom to Netivot at no cost, recognizing its significance not just to the Orthodox com-munity, but to women of all denominations who are expected to become part of the student body.

“There is something very empowering about being able to decipher the texts on your own,” says Schweitzer, Netivot’s founding president. “This is the kind of learning that will give women an experience from which they can derive a lot of wisdom and really grow, intellectually and spiritually.”

Netivot is holding an open house on Sunday, Sept. 10, 10 a.m.-noon, at the Westside Jewish Community Center, 5870 W. Olympic Blvd., where faculty members will lead active, text-based classes on the pre-Rosh Hashanah topic of “Hayom Harat Olam, Today the World Was Born.” For more information and a full schedule of classes, contact (310) 286-2346,info@netivot.org or www.netivot.org

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Debunking the Deniers

All evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby Dick. He piled upon the whale’s white hump the sum of all the general rage and hate felt by his whole race from Adam down. – “Moby Dick”

Before a rapt audience, author Michael Shermer read a passage from Herman Melville’s metaphor-laden classic, but this was not a discourse on classic literature. The venue was the Los Angeles Museum of the Holocaust, and Shermer was using the excerpt to illustrate the psychology of the anti-Semite, as he does in his new book, co-written with Alex Grobman: “Denying History: Who Says the Holocaust Never Happened and Why Do They Say It?” (University of California Press).

“The deniers need the Jews as much as Captain Ahab needed the white whale,” the authors write.Published with grants channeled through the Holocaust Museum, a beneficiary agency of The Jewish Federation of Greater Los Angeles, “Denying History” strives to debunk Holocaust revisionists such as the Institute for Historical Review (IHR) and acolytes Mark Weber, David Irving, Robert Faurisson, Ernst Zun-del and David Cole, the last a Holocaust denier of Jewish descent.

“Denying History” explores the motivations of men perpetrating manipulative and erroneous information; a tradition going back to the influential revisionist Paul Rassinier, a French socialist who made the transition from helping World War II Jews to refuting death-toll numbers. In the process, the book dismantles the arguments of “historians” who would like people to believe that no organized policy resembling the Endlosung (“Final Solution of the Jewish Question”) existed among the Nazis; that gas chambers and crematoria were not employed in genocide but were used for delousing clothing and the disposal of bodies felled by disease, respectively; and that the well-corroborated estimate of 6 million Jewish deaths has been inflated from a figure closer to 300,000 to 2 million.

From the Pasadena offices of Skeptic magazine, which he edits, Shermer told The Journal that “people like David Irving, they’re not fringe nuts. They know their stuff. They’ve studied the Holocaust, they’re very bright, they know how to make their arguments.” And that kind of command over information makes them especially dangerous, as they are equally convincing when manipulating facts.

Perhaps the most edifying part of co-writing “Denying History” for Shermer has been learning “how ideologues operate. How they distort, how you can take one little factoid and subvert the truth.” The author admits that he doesn’t believe “Denying History” will convert any Holocaust deniers. But it’s “that vast middle ground” of people unarmed with knowledge of the Holocaust and susceptible to gullibility that Shermer is worried about. And “the Internet feeds that like crazy,” he says.

“The deeper message of our book is that history can be a science,” says Shermer. “It should be conducted vigorously.”

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Investigating ‘September’

Kevin Macdonald never expected his documentary “One Day in September” to win the 2000 Academy Award. Wim Wenders’ “Buena Vista Social Club” was the docu favorite, while “September” already had raised eyebrows.

An exposé of the 1972 Munich Olympic Games massacre of 11 Israeli athletes by members of the Palestinian group Black September, the movie answers questions that have puzzled investigators for decades. But even before the stunning, suspenseful film was widely viewed, it was controversial.

Some Israelis were disturbed that “September” included the Palestinian point of view, courtesy of the sole surviving terrorist, whom Macdonald had tracked down in hiding.

The director says his film also angered the Germans, who are accused of bumbling incompetence during the hostage crisis. When the Palestinians and their captives fled the Olympic Village for the airport, the movie asserts, no one bothered to warn the authorities there were eight terrorists instead of the presumed five. No one called ahead for armored cars as the terrorists raced toward their jet to Libya. The Germans mustered only five sharpshooters, none of them in radio contact with each other. And at the last minute, the policemen – disguised as crew members aboard the jet – voted the plan “too dangerous” and aborted the mission.

No wonder some Germans saw red. “One Day in September” was turned down by German distributors and attacked in the German media, according to Variety. And Macdonald, for one, was “shocked” when the film was rejected by the Berlin Film Festival. “Not only did they turn it down, they hated it,” he says. “They made it clear… they were appalled by the film and found it unfair. We were so devastated,” he adds.Nevertheless, he stands by his research, which he says was gleaned from high-ranking officials and internal police documents, among other sources. “Some people say I’ve made an anti-German film, but I didn’t set out to do that,” he insists. “I set out to make a film about a terrorist attack. But the facts speak for themselves.”

At first glance, Macdonald, who is in his early 30’s, seems an unlikely filmmaker to attempt a movie on the Israeli tragedy. He was only 4 during the 1972 Olympics, after all. And he was raised on a sheep farm in the Scottish countryside, in a community virtually devoid of Jews.

Then again, his grandfather was the Hungarian-born Jewish screenwriter Emeric Pressburger, who created legendary British pictures such as “The Red Shoes” with collaborator Michael Powell. “I knew he fled the Nazis,” Macdonald says. “I knew I had cousins in Israel. And I was well aware that I had Jewish blood while growing up in my small, rural community.”

Pressburger, a small, shy, retiring figure, was fascinating to the young Macdonald, who viewed him as “a slightly enigmatic, exotic character.” The boy listened raptly as he spoke of living as a tramp in 1920s Berlin, where he slept in the park and wrote his first short stories on forms in the post office.

Macdonald still has the Nazi letter Pressburger received from a large German studio stating that the company could no longer employ Jews. The day after a colleague warned him he was to be arrested, “my grand-father packed one bag, left his key in his apartment door and took the train to Paris,” Macdonald says.

But even in the U.K., the director asserts, Pressburger never felt quite at home. Macdonald believes residual British xenophobia is the reason Powell remains better known in England than his grandfather.Upon his grandfather’s death in 1988, the Oxford graduate vowed to write a book about him. The well-received tome led to documentaries on filmmakers such as Howard Hawks, the majority of them for television.

But by 1997, Macdonald says, he had wearied of directing TV documentaries. He longed to make a cinematic docu that would push the boundaries of the form, a movie that felt more like a thriller than “60 Minutes.” He had a vague concept – something about Israel and terrorism in the 1970s; when a producer friend suggested the Munich massacre, Macdonald jumped at the idea. Of course, his investigative journalism experience was nil, he admits. “I had to learn by doing, and it was very, very tough,” he says. “People weren’t talking to us and everyone was closing down. I despaired a lot. There were times I would have given up if I could.”

While the victims’ relatives were eager to talk, Zvi Zamir, then head of the Mossad, refused an interview for eight months, relenting only when producer Arthur Cohn (“Central Station”) met with him personally.Dr. Hans-Dietrich Genscher, the former German interior minister who offered himself as a hostage in exchange for the Israelis, granted a 10-minute interview three days before the film was completed. A crew member on the aborted airport mission agreed to talk only if he were paid, Macdonald says.

Then there was Brigadier General Ulrich Wegener, Germany’s anti-terrorism guru, who was surprisingly frank and open but “oddly nervous,” the director recalls. Wegener laughs inappropriately and tells tasteless jokes on camera about the gun battle with the terrorists. He also indicates that Germany staged a fake hijacking to free the three surviving terrorists, ostensibly to assure German immunity from Arab terrorism.”He was a key person,” Macdonald notes. “I knew if we had him in the movie, being critical, no one could refute what was said.” Since the interview, however, Wegener has told German journalists that the filmmakers misunderstood him, the director says.

Macdonald’s greatest coup was tracking down the sole surviving terrorist, Jamal al-Gashey, who was a junior member of the Black September team. In the movie, he appears in an archival clip wearing a striped jacket and guarding a door on a first-floor balcony.

The Mossad managed to kill his two surviving colleagues; there had been many attempts on his life, but al-Gashey was still alive and living with his wife and two daughters somewhere in Africa. Macdonald finally contacted him through “a strange kind of ‘Six Degrees of Separation,’ ” specifically through a Palestinian man who had befriended al-Gashey growing up in a refugee camp.

The interview was on again, off again. Just as Macdonald was about to board an airplane for an unknown destination in the Middle East, he would learn that al-Gashey had canceled yet again.

Finally, he found himself in a hotel room somewhere in the Arab world in April 1999, awaiting instructions. He had been ordered to bring a wig-and-mustache disguise for the terrorist to wear on camera. But he did not know his destination until al-Gashey’s friend appeared and drove him to a small television studio.

Over the next six hours, al-Gashey spoke in fits and starts, sometimes angrily leaving the room or shouting and arguing with his friend, who conducted the interview. “He was extremely worried and paranoid,” recalls Macdonald, who wasn’t allowed to ask any questions. “After struggling for so long to keep quiet, I think he got irrationally upset and irritated when confronted with the camera.”

Macdonald, who wasn’t permitted to leave or make telephone calls, didn’t know what al-Gashey had said until he returned to London and hired a translator.

“Emotionally, it was a very strange thing to be sitting in a room with this terrorist,” the director says. “But I felt strongly that I did not want to demonize him. I wanted to present him as human being who did what he did for compelling reasons. Whether we agree with him or not is another matter.”

“One Day in September” airs Mon., Sept. 11, 8 p.m. on HBO.

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7 Days in the Arts

9Saturday

One of the most prolific playwrights in America and a finalist for the Pulitzer Prize, Richard Greenberg is produced quite often in Southern California, with his plays regularly presented at the South Coast Rep. His one-act play “The Author’s Voice,” now playing at the Third Street Theater, is something different. This tale of a handsome but cruel and untalented writer, the editor who wants him, and the “horribly twisted gnome” who lives next door promises comic fun and a surprise ending. Thurs.-Sat., 8 p.m. Through Oct. 7. $10. Third Street Theater, 8140 W. Third St., Los Angeles. For reservations and information, call (323) 860-9834.

10Sunday

The Center for Jewish Culture and Creativity and the Beverly Hills Public Library present a free screening ofKosher Messiah, a documentary by young Russian immigrant Tchavdar Gueorguiev. The film follows Gueorguiev’s search for his family as he tries to reconcile his athiestic Communist upbringing, and his discovery that he is Jewish. Screening followed by a discussion with the filmmaker. 2 p.m. Beverly Hills Public Library, 444 N. Rexford Dr., Beverly Hills. For more information, call (310) 288-2201.

For a taste of old-fashioned, English-language, Yiddish-style theater, the Westside Jewish Community Center offers a staged reading of “Showtime at the Sheldon Pincus Senior Center.” The romantic comedy by Marvin Chernoff features local personality Hale Porter. 2 p.m. $8 (members); $10 (nonmembers); $2 off for seniors. 5870 W. Olympic Blvd., Los Angeles. For reservations, call (323) 938-2531 ext. 2225.

11Monday

Bruce Vilanch has written the jokes for just about every awards show in recent memory, in addition to co-writing stage and television appearances for the likes of Bette Midler and Diana Ross. Whether you know him or not, you’ve probably laughed at his jokes. Tonight you can hear Vilanch live at Book Soup, where he will read from and sign his book “Bruce! My Adventures in the Skin Trade and Other Essays.” 7:30 p.m. 8818 Sunset Blvd., West Hollywood. For more information, call (310) 659-3110.

12Tuesday

Israeli violin virtuoso Itzhak Perlman makes his Los Angeles conducting debut tonight with the Los Angeles Philharmonic at the Hollywood Bowl. The evening’s program includes Beethoven’srarely performed “Egmont Overture,” along with Mendelssohn’s popular “Violin Concerto” and Dvorak’s “Symphony No. 8.” Also making a Bowl debut tonight is Perlman’s protégé, 18-year-old Russian violinist Ilya Gringolts. 8:30 p.m. $1-$83. 2301 N. Highland Ave., Los Angeles. For more information, call (323) 850-2000, or visit hollywoodbowl.org

13Wednesday

Broadway veteran and Emmy-winning actress Karen Morrow recreates the role originated by Ethel Merman of Sally Adams, the hostess with the mostess, in the REPRISE! production of “Call Me Madam.” The fourth season of the UCLA program featuring “Broadway’s best in concert” opens with 14 performances of this classic musical, with music and lyrics by Irving Berlin. The concert performances also feature Hugh Panaro, who recently starred in the Los Angeles production of “Martin Guerre.” Tues.-Fri., 8 p.m.; Sat. at 2 p.m. and 8 p.m.; Sun. at 2 p.m. and 7 p.m. Through Sept. 24. $50. The Freud Playhouse, in Macgowan Hall at UCLA. For tickets, call (310) 825-2101.

14Thursday

Satisfy your appetite for stories of Ancient Egypt on a grand scale at the Egyptian Theater . Today through Sunday, the American Cinematheque at the Egyptian is screening a series of epic films inspired by the land of pharaohs and mummies, from the classic “The Ten Commandments” to “Raiders of the Lost Ark” . Through Sept. 17. $7 (general admission); $5 (members). Lloyd E. Rigler Theater at the Egyptian, 6712 Hollywood Blvd. For full listing of films and showtimes, call (323) 466-3456or visit www.egyptiantheatre.com

15Friday

The exhibit of portraiture opening this week at the Skirball Cultural Center is no simple gallery collection of paintings. “Revealing & Concealing: Portraits & Identity” features portraits by more than 20 artists. The role of portraiture within Jewish art and in other minority communities is illustrated throughout the exhibit. Highlights include the Skirball’s recently acquired “Ten Portraits of Jews of the Twentieth Century” by Andy Warhol, which includes portraits of Gertrude Stein, Sigmund Freud and the Marx Brothers, among others. Through Dec. 31. Tues.-Sat., 12 p.m.-5 p.m.; Sun. 11 a.m.-5 p.m. $8 (general admission); $6 (seniors and students); free (members and children under 12). 2701 N. Sepulveda Blvd., Los Angeles. For more information, call (310) 440-4500 or visit www.skirball.org

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Catching Up With Klezmer

Consider these points on the compass – Italy, Australia, the Netherlands, the Balkans, Baltimore, Boston, New York and Toronto. What do they have in common? They are all represented by klezmer recordings this month. (They also include four-fifths of the American League East – doesn’t anyone play klezmer in Tampa?) If ever there was any doubt that Jewish music is a universal language, these records put it to rest.

Budowitz: “Wedding Without a Bride” (Buda Musique)

The brilliant European band recreates the experience of an old-world wedding, complete with badkhones. As with their first CD and the Khevrisa set (below), the sound is not what you are expecting. The traditional East European klezmer sound is driven by tsimbl and violin, with brass and clarinet taking a distant back seat. A magnificent piece of historical reconstruction that is also a pleasure to listen and to dance to. Rating: * * * * *

Charm City Klezmer: “Charm City Klezmer” (self-produced)

Great fun from “Balmer,” a terrific party record. Bouncy Jewish music with the requisite mix of swing and peppy East European dance tunes. I can’t wait for these guys to come north again, because I suspect they’re even more fun live. (Available from www.CharmCityKlezmer.com) Rating: * * * *

Cooper, Adrienne and Zalmen Mlotek: “Ghetto Tango” (Traditional Crossroads)

A magnificent but relentlessly disturbing record. Cooper and Mlotek are two of the best that contemporary Yiddish music has to offer, and this collection of songs from the ghettos of the Nazi era is brilliantly performed. As might be expected, every song here is corrosive; even the lullabies carry a powerful accusatory charge. A great record but certainly not a comfortable one. Rating: * * * *

Flying Bulgar Klezmer Band: “Tsirkus” (Traditional Crossroads)

Their most variegated set to date, ranging from chamber jazz to Kurt Weill-inflected lieder. A concept album in the best sense, perhaps not as much fun as some of their other sets, but intellectually stimulating. Rating: * * * * *

Full Metal Klezmer: “Full Metal Klezmer” (Cane Andaluso)

Dark, brooding music from an Italian quartet (alto sax, bass, guitar, drums). Imagine Sonny Sharrock teamed with Jackie McLean playing with the Paradox Trio. A lot more metal than klezmer, but as electric avant-garde jazz it has its moments, especially on the driving, Middle-easternish “Desert.” (To order, e-mail airstudio@tiscalinet.it.) Rating: * * * * *

Khevrisa: “European Klezmer Music” (Smithsonian Folkways)

In the same vein as Budowitz and Alicia Svigals’s solo album “Fidln,” this is an attempt to recreate the sound of 19th century Jewish music. Violin and hammered dulcimer predominate, and the result is musically astute and historically accurate and informed by a certain passion, but it feels a little like someone’s dissertation. An important record, but not a fun one. Rating: * * * * *

Klezmer Conservatory Band: “Dance Me to the End of Love” (Rounder)

The usual fine craftsmanship from KCB; you’ve got to love anyone who can turn out such consistently listenable, danceable, singable music, played with such a high level of musicianship. Except for the title cut (Leonard Cohen is sardonic; Judy Bresler is a wonderful singer, but sardonic she ain’t), this is splendid stuff. Closer to the roots than some of the their more recent recordings, a must-buy record. Rating: * * * * *

London, Frank, Lorin Sklamberg and Uri Caine: “Nigunim” (Tzadik)

A masterpiece. Three heavyweights combine forces for a set of Hasidic tunes performed with extraordinary power. Impeccable playing, and Sklamberg’s reedy tenor works perfectly here. If you are serious about Jewish music, you should have this record. Rating: * * * * *

Metropolitan Klezmer, featuring Isle of Klezbos: “Mosaic Persuasion” (Rhythm Music)

It sure didn’t take long for these guys to emerge as one of the best traditional klezmer bands around. Their first CD served notice that they were a force to be reckoned with, and there’s no sophomore jinx. A tighter, more unified sound than ever, with leader Eve Sicular booting things along from her drum kit. A band that can handle any tempo and a wide range of moods with equal mastery. Rating: * * * * *

“The Rough Guide to Klezmer” (Rough Guide)

This CD cannot by any stretch of the imagination be called a historical introduction to klezmer nor, despite the title, does that appear to have been the intention of Simon Broughton, who selected the music and wrote the generally informative notes What this intelligently programmed set offers instead is a sampler of the wide range of the styles that the New Klezmer encompasses, from the traditionalist (Budowitz, Alicia Svigals) to avant-jazz-klezmer (the Klezmatics, Naftule’s Dream). Someone looking for an entree into this beguiling music could do a lot worse than this set; the serious klezmer fan, however, will find it pleasant but superfluous. Rating: * * * *

Shawn’s Kugel: “Most Precious of Days” (Popover Productions)

Shawn Weaver continues to explore the jazz-klezmer connection in this excellent follow-up to his band’s eponymous first set. A wide range of influences at play here, from Russian folk (“Dancing with the Little Ones Medley”) to Middle Eastern, but the primary sounds are jazz-inflected, from the big-band swing of “Az Ikh Vel Zogn” to the World Saxophone Quartet stylings of “Scokne.” A great party album. Rating: * * * * *

New York-based writer George Robinson is the author of “Essential Judaism: A Complete Guide to Beliefs, Customs and Rituals” (Pocket Books, $27.95).

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Rosh Hashanah Remembered

When I was a child, too young to understand the difference between the Days of Awe and the Day of Atonement, my only clue that the High Holidays were coming were the religious smells wafting out of our kitchen.

My parents were first-generation American, their parents born and raised in the Jewish ghettos of Russia and Poland, in cities whose names have changed and borders shifted. When I asked my grandparents about our roots, they sadly recounted that neither their family nor their village was there anymore. During those difficult times, the dream of living in America was the light that kept their spirits alive.

My grandparents arrived with a few prized possessions carefully tucked inside old trunks. But their best possession was in their heads: the rich heritage and tradition of celebrating Jewish holidays – what to wear, how to pray, and most importantly, what to eat. Today when I watch my parents prepare for Rosh Hashanah and Yom Kippur, it’s as if all the relatives I never met are in the kitchen with us. “Add a little more sugar. Don’t you think those onions are browned enough?” “Forget the olive oil; during the holidays we use schmaltz.”

These experiences are aptly described by Nancy Ring in “Walking on Walnuts” (Bantam Books, 1996). Maybe it’s universal among Jewish women to embody all the matriarchs who came before us. And nowhere is it more obvious than in our cooking, especially the traditional dishes that have been handed down l’dor vador, from generation to generation.

As our family’s reigning matriarch, my mother Celia, has her phone ringing off the hook every time the High Holy Days come around. “How come my brisket is so dry? “Why is my kugel so tempera-mental?” “Why doesn’t my tsimmes taste like yours?” But the latest questions aren’t from one of our future matriarchs. The inquisitor is my father, Milton, with queries about, of all things, horseradish. Because he loved the rich, acrid flavor of his mother’s horseradish – in addition to drowning chicken, fish and brisket in it, he actually eats it plain or piled on matzah – he wanted to learn the recipe. And Celia was only too happy to tell him, as that will assure his help in the kitchen.

On Rosh Hashanah, they will work side by side peeling, grating and seasoning the piquant root until they get it just right; then on to the tsimmes, kugels, gefilte fish, schmaltz, chopped liver, and finally the dessert. Milton affectionately refers to Celia as “chief cook and bottle-washer.” Even though in his heyday he was a very successful businessman, he almost revels in his culinary capitulation to his wife. It seems that as their marriage surpassed golden – last year they celebrated their 60th – a new and wonderful relationship has developed. But the last thing my brothers and I ever thought was that it would develop in the kitchen.

Even though I’ve moved out, I am with them in spirit as they go about their coveted High Holiday ritual. First the house must be immaculate, the china, crystal and silver sparkling, then the decision of whether to put a plastic cover over mother’s best lace tablecloth must be made. “Take off the plastic,” I implore, just as I did as a child, when she had plastic covering the sofas and I longed to sit down without crunching. I have since learned the heartbreak of wine stains on lace, so I try to let my manners get the better of my mouth.

Celia will then begin compiling recipes, even though she has made each dish at least 50 times and has them virtually perfected. But she likes the security of the food-splattered card on the counter, and when no one is looking, she’ll throw in something new, something not even her mother or mother-in-law would have dreamed.

On the day before Rosh Hashanah, she and Dad will make the rounds – first to the kosher butcher to buy the pinkest brisket, the liveliest liver, and a fat chicken from which to make broth and her prized schmaltz. Then to the Jewish baker for the round challah with raisins, the Middle Eastern market for fresh spices, dried prunes and the best-looking horseradish root. And finally to the Farmer’s Market to pick out the most pleasing produce. By the time they finish with the butcher, the baker and the candlestick maker, I am exhausted just watching them.

Celia’s brisket and carrot tsimmes is the family favorite; from my youngest daughter, Alyssa, to my dad, we unabashedly ask for thirds. It is overshadowed only by Milton’s horseradish (chrain) which my parents pass around in tiny jars, watching religiously that everybody replaces the top. “You expose it to the air – you may as well throw it out!” they warn.

Since Celia is a perfectionist, one year she’s positive her potato kugel is too dry, her chopped liver too bland, her tsimmes too sweet. Another year, she slyly admits she got it just right. Of course, to us, no matter how she gets it, it’s delicious, and we love watching her beam at the kudos as the plates are passed around. Now that we can include Milton in the compliment, it makes celebrating these Days of Awe an ancestral event. In the best sense!

Mama Celia’s Brisket and Carrot Tsimmes

Although we take large helpings of this delightful dish, it is really considered a side rather than a main dish. Some things not in the recipe that sometimes appear on our plates: pumpkin, apples, raisins, dried apricots and items I’m not even aware of.

1 pound brisket, with a small amount of fat left on

2 onions, sliced

5 cloves garlic, chopped

2 sweet potatoes, peeled and grated

5 carrots, peeled and grated

2 white potatoes, peeled and grated

1 parsnip, peeled and grated

2 stalks celery, diced

1 cup pitted prunes, soaked in water (reserve water)

Kosher salt and pepper to taste

1/2 teaspoon paprika

Lemon juice

1 teaspoon brown sugar

In large Dutch oven, heat oil over medium heat, add brisket, turning it to brown; add onions and garlic, cook a few minutes until golden. Add enough water to cover, bring to boil, reduce heat to low and simmer two hours. Take brisket out of pot and place on cutting board; slice into 1/2-inch pieces, return to pot. Add remaining vegetables, prunes, (including the water they’re soaked in) salt, pepper, paprika and lemon juice. Sprinkle brown sugar on top. Bake in preheated 375-degree oven an hour longer. Meat should be so tender it can be cut with a fork. Serves six.

Papa Milt’s Horseradish

My mother’s purism has been passed on to my dad. While others add sugar, salt, even mayonnaise or whipped cream, our chrain is plain, so we get the true taste of the root. They even disclaim beets, which can be added for color, preferring the root’s natural whiteness. They love to remind me that white signifies the purity of this holiday. Although it tastes best – and strongest – right after it’s made, it will keep for several weeks in the refrigerator.

1/2 pound horseradish root, peeled

2 tablespoons apple cider vinegar

Cold water

Soak horseradish root for an hour in cold water. Grate by hand or in food processor until fine, adding just enough water to grate smoothly. Add vinegar and mix until very smooth. Place in a tightly covered glass jar.

Mama Celia’s Potato Kugel

Schmaltz is rendered chicken fat. If you don’t want to make it yourself, most kosher butchers carry it.

3 new potatoes, peeled and grated

3 russet potatoes, peeled and grated

Lemon juice as needed

1 large onion, grated

1 parsnip, peeled and grated

2 stalks celery, minced

2 cloves garlic, pressed

3 eggs, beaten

1/3 cup matzah meal

1 teaspoon salt

1/2 teaspoon paprika

1/4 cup vegetable oil or schmaltz

Pinch of cayenne

Place potato mixture in large cola
nder; rinse with cold water to remove excess starch and moisture. Sprinkle with lemon juice to prevent discoloration. Transfer mixture to clean bowl. Mix together vegetables, eggs, matzah meal, salt, paprika and cayenne. Fold in oil or schmaltz. Place mixture in oiled, 9-inch square glass baking dish. Bake at 375 degrees for 30 to 40 minutes or until golden brown and crisp at edges. Serves four to six.

Grandma Fradel’s Holiday Chopped Liver

The traditional method is to chop the liver and onions in a wooden bowl, and real bale-boostehs (excellent homemakers) insist this is the only way to make it. If your food processor beckons, be my guest. This dish tastes best when made with schmaltz but vegetable oil may be substituted.

1 3/4 pound chicken livers

Vegetable oil or schmaltz to sauté

2 onions, sliced

2 cloves garlic, roasted

6 hard-boiled eggs

1/4 cup schmaltz or oil

1/4 cup chicken broth OR 1/4 cup kosher red wine

Salt and pepper to taste

Sauté onions in oil or schmaltz until light golden brown; add liver. Continue cooking until onions are crispy and liver is medium rare. Remove and cool. Place mixture in wooden bowl to chop or in food processor with garlic, eggs, schmaltz, broth or wine, salt and pepper. Serves eight to 10.

Schmaltz

Before you scream in horror, according to a 1977 report in Poultry Science, chicken fat is not saturated like other animal fats. It is composed of 1/4 to 3/4 unsaturated fatty acids, making it closer to vegetable oils than to other animal fats.

1 pound fatty skin and chicken fat (from 3 pound chicken)

2 cups onions, peeled and chopped

1 potato, peeled and chopped

Cut fatty skin and yellow pieces of fat into small bits. Place them in a heavy pot; cover with cold water. Cook, uncovered, until almost all water has evaporated. Lower heat, add onion and potato. It is finished when onions and potato are nice and brown and grieben (fat pieces) are crisp. Let pot cool, strain into a clean jar to separate schmaltz from grieben. It may be stored in the freezer. Makes 3 cups. Adapted from “Cooking Kosher” by Jane Kinderlehrer (Jonathan David Publishers, 1983).

Poached Pears

We serve fruit and other sweet foods during the High Holidays to symbolize a universal hope that life will be sweet in the coming year.

4 large pears (about 2 pounds) ripe, but still firm

Juice of 1/2 lemon

1 vanilla bean, split and scraped, OR 1 teaspoon vanilla

1 cinnamon stick

2 cups sugar

8 cups water

1 1/2 cups white wine

1 lemon, thinly sliced

1 orange, thinly sliced

1 piece star anise, or whole anise

2 cloves, whole

Leaving pears whole, core and slice bottoms so they will stand. Peel pears, careful to leave stems intact. Place pears in bowl, cover with water, and add lemon juice. Place all ingredients except pears in soup pot; bring to boil. Add pears to liquid. Reduce heat to simmer. Cover pears with a piece of parchment paper cut to fit inside pot, with a hole cut in center to allow steam to escape. Cook until a paring knife or skewer can be inserted into pears easily, about 15 minutes. Strain.

Store pears and cooled poaching liquid separately in refrigerator. To serve, spoon some of syrup onto a serving dish, place a pear in it. Serve warm or cold. Serves four.

Adapted from “Walking on Walnuts” by Nancy Ring (Bantam Books, 1996).

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Perfect Apple-Honey Tarts for Rosh Hashanah

Rosh Hashanah, the Jewish New Year, is a happy holiday, full of hope and optimism.The traditional foods – apples, honey, pomegranates and the traditional round challah – all have a special meaning. Both at home and in the synagogue, hopes are expressed for a “sweet” new year, which begins Friday, Sept. 29, at sundown.

At our home we greet our family and friends with apple slices, fresh challah, and a bowl of honey, and we always end the meal with an apple dessert.

This year I am going to surprise my family and serve individual apple tarts, using my favorite sweet pastry dough to make dessert, but it has taken on a different shape.

If you have difficulty handling dough to make a pie crust, you will love this apple tart recipe. The pastry dough is rolled out, cut with a scalloped cookie cutter, and baked. To ensure crispness, the glazed apple slices are arranged on top of the baked cookies just before serving, and the remaining syrup they were cooked in is poured over the apples.

The recipe works as easily using butter for a dairy meal or non-dairy margarine in planning a meat menu.

Rosh Hashanah Apple-Honey Tarts

  • 1 1/2 cups flour

  • 1/2 teaspoon salt

  • 1/3 cup powdered sugar

  • 1/2 cup unsalted butter or non-dairy margarine

  • 3 tablespoons milk or water

Glazed Apple-Honey Slices (recipe follows)

In a large mixing bowl, combine the flour, salt and sugar. Cut in the butter or margarine until the mixture is crumbly. Blend in the milk or water until the dough begins to come together. Do not over-mix. Knead the dough into a ball, wrap it in waxed paper and chill it for at least 10 minutes in the refrigerator.

Divide pastry into four portions, wrap in wax paper and refrigerate for 10 minutes. Roll out one portion at a time and cut into 4-inch scalloped rounds. Line a baking sheet with foil and carefully transfer rounds onto foil. Pierce pastry rounds with the tines of a fork.

Preheat the oven to 375 degrees. Bake for 15 minutes or until the rounds begin to brown. Cool for five minutes and transfer to racks to cool. Makes 12 to 14 pastry rounds.

Glazed Apple-Honey Slices

  • 1/2 cup sugar

  • 2 tablespoons honey

  • 1/4 cup orange marmalade

  • 1/2 cup apple juice

  • Juice of 1 lemon

  • 6 medium golden delicious apples, peeled, cored and thinly sliced

In a large, heavy pot, combine the sugar, honey, marmalade and apple juice. Cook over medium heat, stirring until the sugar and marmalade have dissolved. Bring this syrup to a boil, then reduce the heat and simmer three minutes, just until it begins to thicken.

Place the apple slices in a large bowl and toss with lemon juice to prevent them from discoloring. Add the apples to the syrup in the pot and toss to coat the apples. Simmer, covered, for 15 minutes, until apples are soft. Transfer the apple slices to a glass baking dish in a single layer and cool. Cover with plastic wrap and chill in the refrigerator.

Just before serving, arrange apple slices on each pastry round in a circular pattern. Drizzle syrup over the apples and serve.

Judy Zeidler is the author of “Master Chefs Cook Kosher” and “The Gourmet Jewish Cook.” Her website is http://member.aol.com/jzkitchen

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Setting the Record Straight

As authors of the oft-cited research study titled “Will Your Grandchild Be Jewish?” we have more than a passing interest and familiarity with the Jewish demography of Los Angeles and America. The following points outline some of the fundamental flaws in the L.A. Jewish Population Survey of 1997 not reported by other respondents:

  • The L.A. survey shows an increase of Orthodox population from a maximum of 25,030 in 1979 to at least 27,878 in 1997. This increase of at least 12 percent is never directly referred to in either the L.A. survey or in demographer Pini Herman’s many public statements defending the survey. Instead, the demographic comparisons were always made by households. This allowed both the L.A. survey and Herman’s representations to obscure the growth of large, young Orthodox families that the L.A. survey itself had uncovered.

  • No previous population study (whether targeting the general population or the Jewish population) based its findings primarily on house-holds rather than individual people. Orthodox Jews generally have more people per household, but they have fewer households per person. The L.A. survey results and Herman’s defenses seemed to have been designed to mask the growth of Orthodox Jews whose numbers grew between the last two community surveys. The 1979 survey, as is typical, reported the total number of individuals, not households.

  • Additionally, the figure used to illustrate the average size of Orthodox families in the L.A. survey (2.7 persons per family) is well below what has been found elsewhere as the average size of Orthodox families.

  • The upcoming CJF 2000 national population study took pains to include Orthodox activists and scholars (including ourselves) in order to ensure an accurate count. No such efforts were made in con-nection with the L.A. survey. Besides the lack of intellectual honesty displayed, clearly the Ortho-dox denomination was placed at a disadvantage.

  • Both the 1990 National Jewish Population Survey and the 1991 New York Jewish Population Study, as well as every significant population survey over the past 20 years, have made both the raw data as well as methodologies available to interested parties after the results have been published. True social scientists have nothing to hide. In spite of repeated requests to share the raw data and methodology of the L.A. survey, Herman refused to release any information. Moreover, several calls to him remain unanswered.

The L.A. survey, spearheaded by Herman, went out of its way not to consult leaders of the Orthodox community; utilized at best an unconventional method of counting so-called respondents; and hid the growth of numbers of Orthodox Jews by counting families, not individuals. Then, to add insult to injury, Herman refused repeated requests from baffled members of the Orthodox community to check the supposed figures by examining the raw data and methodology.

Who is really trying to fool whom?

Expanded synagogues and day schools, new construction, sold-out events, mushrooming of kosher stores versus a flawed study with obscured conclusions. The question is only the rate of growth of the Orthodox community, not whether it is in fact growing.

We strongly encourage those who invested funds in the apparently flawed L.A. survey to produce, in conjunction with the CJF 2000 population study, an accurate assessment of the Los Angeles Jewish population spearheaded by a nonbiased source so that our community can deal with the real composition of Los Angeles Jewry.

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