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March 1, 2007

A chai roller rakes in the chips in Gardena and Vegas

Except for the Victorian-style chandeliers, Hustler Casino in Gardena looks like an oversized neighborhood card room, with its round indoor arena filled with dozens of poker and blackjack tables. Several hundred people fill the room at any hour of the day, all of them playing cards, or waiting to get a seat. There are no looky-loos.

Those who come to Hustler are there to gamble, at whatever level they choose, from Easy Poker in a glass-encased room in the middle of the floor to games that run into the many thousands of dollars.

In spite of its name, Hustler Casino does not feature busty, scantily clad women. Employees dress conservatively, and those who come here to gamble don’t even notice them. The gamblers here are a varied lot, all ages and races, many of them risking paychecks or pensions. But there are also some high rollers. Some very high rollers.

At the farthest reaches of the casino is the main table. And, one day last fall, sitting there, facing the room, was one of the highest rollers of them all: publisher Larry Flynt, best known for his Hustler magazine and stores, whose early struggles were portrayed in the movie “The People vs. Larry Flynt.” Flynt owns the casino, so he’s king of this table, and he likes to compete with some of the world’s best poker players. To Flynt’s right is Phil Ivey, known to television viewers as the “Tiger Woods of poker,” a brilliant, relentless player who pounces on weakness as if he were indeed a tiger going after wounded prey.

Across from Flynt, sitting with his back to the room, is Barry Greenstein, a man in his early 50s, whose beard, receding hairline, deep-set eyes, and slim frame give him a serious aura. Greenstein is also a poker superstar. And yet … he seems out of place at this casino, as if he were a middle-aged yeshiva bocher who has suddenly found himself in an alien, sinful environment. Perhaps to distance himself from his surroundings, he maintains the unemotional, detached air of a researcher studying the native habits of big-time poker players.

Greenstein is a passionate student of the game, a man who’s made a lifelong study of poker and has written a book about it, “Ace on the River” (Last Knight Publishing Co., 2005), aimed at professionals, or would-be ones.

He’s well-educated and articulate, and he’s also generous, having given millions to charities: $1.5 million to Children, Inc., which provides food, medicine and clothing to needy children in 21 countries, including the United States; plus another $1.5 million to a dozen other worthy beneficiaries, including the high school he attended in Chicago.

Because of all this, he represents the transition that poker has been making from smoky, disreputable card rooms to glittery tournaments showcased on ESPN and other national TV networks.

And like more than a few of the big names of the poker world, Greenstein is Jewish. Actually, he says that he’s “of Jewish heritage” and is aware of the traditions, but that he doesn’t “practice the religion.” Still, he acknowledges that “the morals and ethics of Judaism are a part of me.” Is his giving so much to the needy an example of that?

“It’s a mitzvah,” he said. “It makes me happy to have the opportunity to do the right thing.”

Greenstein is not the only Jew at poker’s highest levels. There’s Mike “The Mouth” Matusow, who wears a chai necklace and is known for his nonstop chatter and emotional outbursts. And Eli Elezra, an Israeli.

“When Eli plays poker,” Greenstein notes on his

But Pipes’ words are not so laid-back. The 57-year-old Harvard-educated Middle East expert is one of the most prominent scholars to have warned of the growing threat of fundamentalist Muslim terrorism to the West before the Sept. 11 attacks. He has become a lightening rod for some Muslims as well as other critics, in part because he predicts that radical Islam is a far greater threat than most people would like to imagine. The United States, he says, must gird itself for a protracted struggle against an enemy that wants nothing less than to transform this country from a beacon of democracy into a repressive Islamic state.

“You name it, radical Islam is anti-Semitic, anti-Christian, anti-female, anti-moderate Muslim and anti anyone who disagrees with it,” said Pipes, who is Jewish. “Anyone in their way is their enemy.”

Pipes calls himself a “soldier” in the war against Islamic fundamentalism; he is founder and director of the Middle East Forum — a Philadelphia think tank that publishes Middle East Quarterly — and he has written hundreds of newspaper columns, appeared countless times on Fox News and CNN and traveled the globe, including a recent trip to England to debate London Mayor Ken Livingstone with the purpose of warning of the growing danger. He soon plans to unveil Islamist Watch, a Web site which he describes as an attempt to monitor nonviolent radical Islam in the West.

Pipes gets nearly 3 million visits annually to his Web site, making him, if not exactly a household name, then at least one of the most prominent anti-Islamists on the scene.

“It used to be that people would ask him if he was related to me,” said Pipes’ father, Richard Pipes, professor emeritus of Russian history at Harvard and a former policy adviser to President Ronald Reagan. “Now, it’s the other way around.”

Like his father, Daniel Pipes has a reputation for bluntness and a willingness to go against conventional wisdom — both in the academy and elsewhere. Whereas Richard Pipes sounded the alarm against appeasing the Soviets, Daniel Pipes preaches against working with radical Muslims, no matter how law-abiding, scholarly or open-minded they might appear.

Instead, “like David Duke and Louis Farrakhan,” Pipes said, “Islamists should be ostracized socially and politically.”

He favors the profiling of Muslims at U.S. airports.

Pipes has come to Pepperdine to teach a graduate seminar on “Islam & Politics.” During his time in Southern California, he is also speaking about the war on terror and the Arab-Israeli conflict at a number of local institutions. In late February, Pipes gave a talk at Valley Beth Shalom in Encino; on March 29, he will speak at Sinai Temple.

His supporters believe that Pipes provides an invaluable service.

“Without Daniel Pipes, we would never be able to prepare ourselves to face the enemy,” said Tashbih Sayyed, the editor in chief of Pakistan Today and Muslim World Today, weekly newspapers that oppose militant Islam. “We would be standing unprepared and unarmed, just like a sitting duck.”

Pipes, said Robert Spencer, founder of Jihad Watch and author of the New York Times bestseller “The Truth About Muhammad,” is “one of the most heroic defenders in the United States against global jihad.”
However, Pipes’ detractors call him paranoid, prone to conspiracy theories and anti-Islamic, though Pipes has long said, “Radical Islam is the problem, and moderate Islam is the solution.”

On Jan. 31, dozens of members of the Muslim Student Union interrupted a speech he was delivering at UC Irvine before they stormed out in protest. In 2003, the Council on American-Islamic Relations (CAIR), a Muslim civil rights group that Pipes has characterized as a Saudi-funded, pro-Hamas Islamist outfit, led efforts to block his nomination by President Bush to the board of the U.S. Institute of Peace.

After several senators opposed Pipes, including Sen. Edward M. Kennedy (D-Mass.), who said that Pipes’ record “did not reflect a commitment to bridging differences and preventing conflict,” the White House made a recess appointment, which allowed Pipes to serve for 16 months.

UCLA law professor Khaled Abou El Fadl, author of “The Great Theft: Wrestling Islam From the Extremists,” and a presidential appointee to the U.S. Commission on International Religious Freedom, described Pipes at the start of his career as a “promising scholar” of Islamic history, who has since lost his perspective.

“Pipes has grown … more suspicious and more alarmist,” said El Fadl, whom Pipes has called a stealth Islamist. “His whole recent work has turned to a critique of Islam based on conspiracy theory.”

Driven largely by a desire to discredit Muslim critics of Israel, Pipes is “clearly opposed to the interests of the American Muslim community and would do anything in his power, I believe, to prevent the political and social empowerment of American Muslims,” said Ibrahim Hooper, national spokesman for CAIR.

Stephen Suleyman Schwartz, executive director of the Center for Islamic Pluralism, a Washington D.C.-based think tank that promotes moderate Islam, said groups such as CAIR “smear” Pipes, because he exposes the dangers they pose.

Yet, Pipes’ critics have failed to derail him. With untiring zeal, he works to blunt what he sees as the threat of radical Islam wherever it crops up. A recent crusade involved a seemingly minor issue at Minneapolis-St. Paul International Airport.

For years, some Muslim cab drivers had refused to pick up passengers visibly carrying alcohol, typically in duty free bags, because of religious considerations. The situation had inherent frictions, as the cabbies who turned down the fares had to return to the back of the cab line, while the riders who had been denied service sometimes felt angry and confused as to why the drivers had bypassed them.

Daniel Pipes fights the worldwide threat of Islamism — from Malibu Read More »

Music: Echoes of ‘Voices’ yet to be

When James Conlon conducts two concerts inaugurating the Los Angeles Opera’s “Recovered Voices” series on March 7 and 10, he’ll introduce local audiences to unfamiliar scores. The semi-staged program consists of music by Alexander Zemlinsky, Viktor Ullmann, Franz Schreker and others — composers whose works were suppressed by the Nazis and only rediscovered relatively recently.

But Conlon, who is midway through his first season as L.A. Opera’s music director, could hardly be more familiar with this material, for since he first encountered it in the mid-1990s while working in Cologne, Conlon, more than any other musician in recent years, has devoted himself to resurrecting it.

Not that he’s the one who unearthed these works — Conlon is quick to note that he’s made no trips to dusty archives or attics. All of these scores have been published, some of them performed and even recorded. In the mid-1990s, for instance, the Decca/London label released a substantial series of CDs under the Entartete Musik banner. But, alas, most of those recordings are out of print now.

Conlon, too, has recorded some of this music, especially works by Zemlinsky, who is probably best known today as Arnold Schoenberg’s brother-in-law and an early lover of Alma Mahler, that protean muse to artists as diverse as Franz Werfel and Walter Gropius.

But as Conlon’s Zemlinsky recordings for EMI make clear, this composer deserves to be much more than a footnote in music history. His ultra-Romantic operas, choral pieces, orchestral songs and symphonies are lush, dramatic scores of wide appeal.

Indeed, among the myriad excerpts to be performed at the upcoming “Recovered Voices” concerts, only one piece will be performed in full: Zemlinsky’s one-act opera, “A Florentine Tragedy,” sung in German and based on a play by Oscar Wilde.

The opera, which had its premiere in 1917, in Stuttgart, has only three characters: a cuckolded husband, an unfaithful wife and her lover, a prince. It is a revenge drama, but with a most unusual twist — an unanticipated reconciliation at its conclusion. As for the music, it couldn’t be more accessible, opening like a Fox film score by Alfred Newman and then echoing Wagner and Richard Strauss throughout.

Conlon’s recording, produced “live” in Cologne in 1997, features baritone Donnie Ray Albert as the husband, Simone; a role he’ll reprise at the “Recovered Voices” concerts. He’ll also sing “The Emperor’s Farewell” from Ullmann’s opera “Kaiser von Atlantis.” Conlon has not recorded this short opera, but he has conducted it regularly in various American cities.

The only other work on the program that Conlon has recorded is the nearly 20-minute-long prelude to Schreker’s “Die Gezeichneten” (“The Stigmatized”), an opera of overpowering rue, vibrant color and Mahlerian intensity that the conductor hopes to bring to L.A. Opera in a fully staged production in the future. For now, though, his EMI CD of the “Gezeichneten” prelude and other music by Schreker (all of it terrific) will have to do.

“It’s pure nostalgia,” said Sanderson of the upcoming three-week U.S tour. “I think the audience gives meaning where it wants — it can be very personal,” he added. “I see people stand when we’re playing songs, with tears in their eyes and it can be for different reasons.”

Sanderson, one of Israel’s top songwriters, who has composed music for many of the country’s musicians, doesn’t agree that the situation in Israel has changed since then. “Israel has always had problems. These are the same problems that haven’t been solved,” he said.
But these are not problems he or his bands of the past sang about.

Although Sanderson and Co. are all active in politics and speak out, their music isn’t political. They sing mostly about love. And friendship.

“I never heard the Eagles sing about politics,” he said.

Perhaps that’s what differentiates these musicians from some of the others who followed them (and even those who were of the same era).

David Broza, for example, who sings many different styles of folk-urban rock, plays in English, Spanish and Hebrew, with a variety of influences and themes, is best known for (and can’t escape) his ever-evolving anthem, “Yihiyeh Tov” (“Things Will Be Better”):
“Children put on wings and fly away to the army/and after two years they return without an answer/people live under stress looking for a reason to breathe/and between hatred and murder/they talk about peace.”

But Broza, a peace activist and the son of the founder of Neve Shalom, the only village where Arabs and Jews live together, is still hopeful:

“We will yet learn to live together, between the groves of olive trees/children live without fear, without borders, without bomb-shelters/on graves grass will grow, for peace and love, one hundred years of war/but we have not lost hope.”

The same cannot be said of the most famous singer of the next generation, nihilist and outspoken peace activist, Aviv Geffen. Although his song “The Hope” expresses similar sentiment (“We’ll bury the guns and not the children/so let’s try until things will be good “), his hopes, and that of the young generation of hopeful peaceniks, turned sour when Prime Minister Yitzhak Rabin was murdered at a peace rally in 1995. That night Geffen performed what was to become the anthem for Rabin, “Forever My Brother (Cry For You).”

Geffen hit the Israeli scene in 1990 and became known for Goth-like makeup, a Mick Jagger-like snarl and an often-discordant alternarock. He sang about love, betrayal, violence, peace, the army — which he publicly refused to enter — and became one of Israel’s youngest and most outspoken critics, or peace-pusher, depending on one’s perspective.

Although Geffen often sings about love, these are no jaunty love songs, but the searing pain of a rebel with a cause. His worldview tends toward meaninglessness (“There are no angels in heaven/just hell that makes you dream that there are angels in paradise/but there is no paradise and no heaven”) and melancholy (“We’re here and then we’re gone, Memento Mori/we are all alone/We’re all dying,” he sings in “Memento Mori,” the Latin phrase for “Remember that you will die”).

Geffen donated his time to Peace Now to sing an acoustic concert here.

“It’s hard to see the future, but I think that we, the artists, must come and stand strong, to play to show it’s really important. I hope our voice can be heard strong enough,” he said.

But Geffen is primarily touring America as part of his band Blackfield, an English band he formed with Steven Wilson of the band Porcupine Tree in 2000, in honor of their second eponymous album, “Blackfield II,” released this month. Although the band is named for the black fields remaining after war, Blackfield’s sound is more mellow — and melodious — than Geffen on his own. Blackfield has been likened to Pink Floyd — lush, liquid, lulling.

But Geffen’s wrist-slitting sentiment is often apparent in songs like “Pain” or “The Hole in Me” (self-explanatory). The band has received critical acclaim and is building a fan base — Geffen thinks they can become “bigger than Coldplay,” he brags. But without the context of Israeli politics and his solo cacophonous wail, it’s just music, not the voice of a generation.

But Geffen, who left Israel because he wanted to “sell more than 2 million copies” per album, believes that he can influence the world outside Israel.

Men who rock Israel’s history appear locally Read More »

Nice Jewish Girls Gone Bad; ‘West Bank Story’ screening

Saturday the 3rd

Naughty Jewish girls need love, too. Show it to ’em this weekend. “Nice Jewish Girls Gone Bad” returns to Los Angeles for three nights at Tangiers. The variety show features comedy, music, spoken word and burlesque, with a healthy helping of kitsch. Klezmer Juice also performs.

March 2-4, 8 p.m. $15. Tangiers Restaurant, 2138 Hillhurst Ave., Los Angeles. (323) 666-8666.

Sunday the 4th

Nice Jewish Girls Gone Bad; ‘West Bank Story’ screening Read More »