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September 18, 2014

Korean Soap Operas

I spent my Monday morning watching a Korean soap opera with my new naked Korean friends at a Korean spa on 6th Street. It really was my only hope after spending a LOVELY if not overly meat-filled evening with friends the night before at Lawry’s Steakhouse. I awoke feeling just fine really, but then after my yoga practice, I realized just how deep the indulgence was. I basically felt like I was stuck in the Fred Flintsone version of that dinner and needed to take drastic measures. I quickly looked on GROUPON and found the CRYSTAL SPA in Korea town, and made an immediate appointment for a scrub. I got there quickly and sent myself first to their quiet gym facility where I ran on the treadmill to the sounds of Maury Povich, whose subject matter did nothing to help remove the filth I was feeling.

Then, a shower and…. the baths. The hot pool was so hot and the cold pool, wow, just SO cold! But there I went, dunking back and forth, as per my garbled instructions. It was time for my scrub, and scrub she did. With every harsh move of the expert’s loofah I imagined myself moving away from my carnivorous upbringing and moving with radiant joy back toward the menu of the yogis. Theory-land indeed.

Upon returning to the pools, I found the TV had been turned on. There in the hot pool, sat 5 naked Korean women of various sizes and ages, fixated on a soap opera. It seems a young, handsome college student, at CW network type, was deeply doubting his ability to learn the new healing methods in order to pass his test. His heavy set side kick was also in deep doubt, but was using his energy toward the concocotion of a plan: how to best cheat so they both could pass their tests and ultimately make their families proud.

I figured, this was a two-fer: I took this field trip in order to alter my external experience of my body, but the funny soap story only enhanced the altering of my inner expeience. I know, way to make a connection out of the most mundane, but there it was.

Moving into the Jewish New Year when we are asked to move inward and scrub ourselves clean, if you will, the last place I thought I would find even MORE light shed onto this ritual was in the world of the Korean community.
How now to keep the scrubbing on my own? How to remain clean, aside from staying away from prime rib, and in preparation of what is needed of me, as well as in creative planning for the times that I cannot measure up perhaps to the tests at hand.

Something to play with this week perhaps, no matter your traditions.
OUR SCHEDULE WILL BE MONDAY AND WEDNESDAY as usual, at 9 am and 10:30 am respectively
THEN we will be OFF on THURSDAY Sept.25

So that we can join in a collective scrubbing of the soul…

In hope,
Michelle

Korean Soap Operas Read More »

The Israel Film Festival gives locals a glimpse of Israel’s soul

The Israel Film Festival (IFF), which annually gives viewers a close-up of the nation’s heartbeat beneath the glaring headlines, has been set for Oct. 23 through Nov. 6.

A red carpet opening-night gala at the Saban Theatre in Beverly Hills on Oct. 23 will be followed a week later by a Centerpiece Community Event at the Writers Guild Theater in Beverly Hills on Oct. 30. Primary venues for the 28th annual festival are the Laemmle theaters in Beverly Hills, North Hollywood and Encino.

Included are feature films, long and short documentaries, as well as short, small-budget and student films, but with a special twist, Meir Fenigstein, the festival’s founding director, told the Journal in a phone call from Israel.

The Israel Academy for Film and Television, similar to its big sister academy in Hollywood, announces a long list of nominees in numerous categories in the run-up to the glitzy awards night.

The nominees will be announced Sept. 21 in Israel and Fenigstein said he hopes to get the rights to show as many of the nominated films as possible at the Los Angeles Israel Film Festival.

Only then will he be able to announce the titles of the selected IFF films.

Traditionally, the IFF is held in the spring of each year in Los Angeles, but this year had to be delayed after Fenigstein underwent surgery in Israel in March. He said he is making an excellent recovery and will be on-hand for the fest’s Los Angeles opening. Fenigstein and his family have returned to their native Israel as their main residence.

Because of the recent Gaza-based fighting, this has been a difficult year for the Israeli film industry, Fenigstein noted.

Currently, there are two trends in the Israeli filmmaking industry, he observed. One indicates less emphasis on movies about the Israel-Palestinian conflict and more interest in personal stories, particularly those centering on the hardships and experiences of the Jewish communities in Israel originating in Arab countries and Iran.

According to Fenigstein, an increasing number of these so-called Mizrahi Jews are pointing out that the struggles of their communities are largely unknown, in contrast to the flow of Holocaust-centered movies, picturing the sufferings of predominantly Ashkenazi Jews.

Customarily, Los Angeles, Miami and New York have annually hosted Israeli film fests. But because of Fenigstein’s surgery and recuperation period, the New York screenings have been eliminated for this year, while the Miami event has been postponed until close to Chanukah.

For updates on the Los Angeles festival events and schedule, visit The Israel Film Festival gives locals a glimpse of Israel’s soul Read More »

Le Salon de Musiques: Chamber music at Dorothy Chandler Pavilion

Mikhail Gnesin and Leo Smit — ever hear of them? Most of us probably haven’t, and that’s one of the intriguing aspects of Le Salon de Musiques, an intimate downtown chamber music series founded by the French-born pianist Francois Chouchan in 2010. 

The monthly series, which begins its fifth season on Oct. 12, offers French champagne, gourmet food and a talk by a musicologist. But people attend Le Salon, which takes place on the fifth floor of the Dorothy Chandler Pavilion, for its special ambiance. Listening to music there is like hearing it in someone’s big, carpeted living room with giant windows. 

In 2011, audience members, seated on the same level as performers, were treated to a memorable rendition of Franz Schubert’s “Winterreise.” As the troubled hero of the song cycle slowly descended into possible hallucinatory madness, the room darkened with the sun setting over city and hills — music and mood became one.

At its start, few expected Le Salon would become a fixture of Los Angeles’ music scene. There was nothing especially contemporary about Chouchan’s programming. Schoenberg’s darkly beautiful “Transfigured Night” was as cutting edge as Le Salon got. 

But it has become one of the brightest and most exciting chamber music series in the city, largely because of  Chouchan’s counterintuitively daring and imaginative programming. For example, the upcoming Dec. 7 program offers Maurice Ravel’s masterly “Sonata for Violin and Cello” followed by Mikhail Gnesin’s “Songs  of a Knight Errant” for string quartet and harp. Gnesin, along with Smit and Reynaldo Hahn, are three Jewish composers whose works are scheduled for the new season.

During a recent interview at a Westside deli, Chouchan said he wasn’t sure how many works programmed for 2014-15 are actually premieres. He figures at least eight have not been performed either in Los Angeles or in the United States, his new home. Chouchan, 53, became an American citizen last year.

“For me, it’s a mystery,” Chouchan said. “The scores by these composers are so well crafted. Why should we put them in a drawer and not perform them? It’s bizarre.”

Julius Reder Carlson, Le Salon’s resident musicologist, said the series re-creates a chamber music experience closer to what one was like in the 19th and early-20th centuries. “Music performances were usually filled with obscure, often unknown, works of remarkably diverse quality, genre and style,” he said.

Chouchan often does painstaking detective work to find these overlooked, suppressed or forgotten scores. And sometimes he has help. One of the social charms of Le Salon is that audience members feel free to mingle with musicians (the champagne helps). In one case, Chouchan said, a Russian patron of the series helped him locate the music to Gnesin’s “Songs of a Knight Errant,” as well as for his Piano Quintet, Op. 11, scheduled on the June 2015 program.

Gnesin, the son of a rabbi and a pupil of Rimsky-Korsakov’s, composed during the repressive communist period (he died in 1957). “His music is dark, especially compared to Smit’s,” Chouchan said. “It is more cerebral, delicate music, where you can hear the details of each part.” 

Another unusual piece is by Dutch composer Leo Smit, who was murdered at age 43 at the Sobibor extermination camp. He is represented by the Sextet for Piano and Winds on Le Salon’s April 19 program.

“Mixing piano and winds is not so usual for chamber music,” Chouchan said. “I wanted to add more wind instruments for this season, so I got the score from Amsterdam. There is not a lot known about Smit, but his music is strangely joyful with beautifully articulated rhythms. I am deeply Jewish, so I want to talk about him, and about Hahn and Gnesin.”

Though Chouchan’s roots are in Russia and Poland, there’s no mistaking the French accent of his series, and Hahn, whose father was Jewish, and whose career was derailed by the Nazis in 1940, is a composer Chouchan thinks should be better represented. A fascinating figure who came of age in France’s creative Belle Époque era, Hahn was also Marcel Proust’s lover. “His music is so sensitive, a mixing of sadness and Romanticism,” Chouchan said.  

Two of Hahn’s works on the March 8 program — one for viola and piano, another for violin and piano — feature Los Angeles Philharmonic concertmaster Martin Chalifour and principal violist Carrie Dennis, who join an equally stellar group of musicians. 

Rob Brophy, a violist for the Los Angeles Chamber Orchestra and regular guest artist at Le Salon, said one reason for the Salon’s success is how Chouchan surrounded himself early on with like-minded artists. 

“His programming ideas were different,” Brophy said. “He partnered well-known pieces with underappreciated or even unknown scores. It’s an interesting idea from our point of view, because mostly no recordings exist of the repertoire he chooses.”

John Walz, principal cellist of Los Angeles Opera and artistic director of Le Salon since 2012, agreed. In the Salon’s third season, Walz performed Nikolai Myaskovsky’s Cello Sonata No. 2 with pianist Steven Vanhauwaert. Their Le Salon rendition has since been seen by more than 6, 500 people (and counting) on YouTube.

“That was a high point,” Walz said. “People can go to other series for the contemporary stuff. This is a chance to play gorgeous chamber music from the Classical, Romantic, neo-Romantic and Impressionist eras. 

“We’ve done the Myaskovsky a few times since,” Walz added. “I could stick to comfortable stuff at this point in my career, but it’s exciting to be learning new scores.”

For Chouchan, Le Salon’s success came as a pleasant surprise. “I wouldn’t have been able to do this in France,” he said. “You arrive here in America, and you are given a chance. I need diversity, and love historical things — to research and make discoveries.”

For information about tickets or season subscriptions, visit Le Salon de Musiques: Chamber music at Dorothy Chandler Pavilion Read More »

Calendar: Fall preview Sept. 26 – Nov. 23

FRI | SEPT 26

“THIS IS WHERE I LEAVE YOU”

Based on Jonathan Tropper’s novel with the same title, the book tells the story of Judd Foxman, returning home to sit shivah for his late father. Citing legal clearances, the film has altered the Foxman name to a less overtly Jewish “Altman,” but the story still reveals that sacred family tension, inevitable when four grown siblings are under the same roof as their psychologist mother. Clever and candid, Shawn Levy directs a reliable cast that includes Jason Bateman, Tina Fey, Ari Graynor, Adam Driver, Kathryn Hahn, Jane Fonda, Corey Stoll and more (if you can believe it). Fri. Various times. $11 (general), $8 (seniors, ages 11 and under, bargain matinee). NoHo 7, 5240 Lankershim Blvd., North Hollywood. (310) 478-3836. FRI | OCT 10

JERRY LEWIS

The “Lewis” half of that dynamic 20th-century comedy team “Martin and Lewis,” Jerry Lewis gives a retrospective of his long and rich life and career. As they take in a night of stories, jokes and special film clips, Lewis-lovers will recall all the actor, screenwriter, director and producer has offered. Also nominated for a Nobel Peace Prize, this veteran — of just about everything — knows how to hold down a stage. There will be an opening set by Elizabeth Sams. Fri. 8 p.m. $45-$125. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills. (323) 655-0111. TUE | OCT 14

LENA DUNHAM

It’s the highly anticipated literary debut from the creator and star of HBO’s “Girls.” “Not That Kind of Girl: A Young Woman Tells You What She’s ‘Learned,’ ” is a collection of personal essays that are every bit the essence of the honest, vocal and unique Dunham. Whether you have a child in his or her late 20s, are in your late 20s yourself, once were or plan to be — the anecdotes here are relevant, intimate and totally Lena. Tue. 7 p.m. Free. Barnes & Noble at The Grove, 189 The Grove Drive, Los Angeles. (323) 525-0270. ” target=”_blank”>skirball.org.


WED | OCT 15

“ART SPIEGELMAN AND PHILLIP JOHNSTON: WORDLESS!”

You probably remember the Pulitzer Prize-winning graphic novel, “Maus,” where Art Spiegelman uses animals to represent race as he tells the story of his father’s Holocaust survival. Now, 22 years later, he has collaborated with jazz composer Phillip Johnston (and Johnston’s sextet) to present an innovative hybrid of slides, talks and musical performance. Spiegelman takes the audience on a personal tour of the artists who influenced him in a celebration of the first legimiate graphic novels. Wed. 8 p.m. $19-$49 (general), $15 (UCLA students). Royce Hall, 340 Royce Drive, Westwood. (310) 825-2101. THU | OCT 16

MARK BITTMAN

He’s a man with a meal plan. Considered one of the greater authorities on all things food, Mark Bittman covers food policy, cooking and eating as an opinion writer for The New York Times. He’s a public speaker on both radio and television, he’s the author of several cookbooks, and yes, he has a new one! “How to Cook Everything Fast: A Better Way to Cook Great Food” is all about recipes at a rapid rate. Whether it’s a repurposing of kitchen equipment or lessons in time management, this is an opportunity to eat better, sooner. Thu. 8 p.m. $20 (general), $30 (reserved seating), $50 (reserved seating and book), $95 (reserved seating, book, pre-event reception). All Saints Church, 504 N. Camden Drive, Beverly Hills. SAT | OCT 18/SUN | OCT 19

STEVE ISSERLIS

Hello, cello! He’s not The Beatles or The Rolling Stones, but this is a British import we’re just as happy to welcome. Recognized worldwide as a soloist, chamber musician and author, Steve Isserlis has worked with the Berlin Philharmonic, the Philharmonic Orchestra, and both the Cleveland and NHK orchestras. His passion for children’s-book writing and period instruments are just a couple of his unique traits, and maybe the reason he’s one of only two living cellists inducted into Gramophone Magazine’s Hall of Fame. Both nights will be conducted by Douglas Boyd and include Hadyn’s Cello Concerto No. 2. Sat. 8 p.m. $26-$120. Alex Theatre, 216 N. Brand Blvd., Glendale. Sun. 7 p.m. $26-$120. Royce Hall, 340 Royce Drive, Westwood. (213) 622-7001. THU | OCT 23

“LIGHT & NOIR: EXILES AND EMIGRES IN HOLLYWOOD, 1933-1950”

In an almost ironically dramatic fashion, some of Hollywood’s leading actors, directors, writers and composers had to escape Nazi persecution in order to make their cinematic contributions. The exhibit, co-presented with the Academy of Motion Picture Arts and Sciences, locates the stories of Franz Waxman, Ernst Lubitsch, Billy Wilder, Marlene Dietrich and many more to discover — through footage, photos, costumes, clips and posters — how the journey of the émigré informed the journey of film in America. The exhibit is complemented by two others: “The Noir Effect” and “Café Vienne.” Thu. Various times. Through March 1. $10 (general), $7 (seniors, students, children over 12), $5 (ages 2-12), free (members, ages under 2). Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. (310) 440-4500. SAT | OCT 25

B.J. NOVAK

While a book with the title “A Book With No Pictures” might initially sound like a turn-off to children, this former “The Office” writer and actor guarantees a good time for both kids and parents. Demanding that every single word on the page get read aloud, B.J. Novak forces his readers to say things like “BLORK” and “Glibbity Globbity.” His grown-up short-story collection, “One More Thing,” is a success with adults everywhere, so it’s no surprise that Novak is now bringing some silly onomatopoeia joy to his younger fans. Sat. Free. Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena. (626) 449-5320. SUN | OCT 26

DARYL HALL & JOHN OATES

Yes, Daryl Hall did join our tribe decades ago, and aren’t we the funkier for it! Alongside partner in rhythm and rhyme John Oates, Hall will be making our dreams come true with those staple ’70s and ’80s tunes. With their six No. 1 hits on the Billboard Hot 100 and a place in both the Songwriters Hall of Fame and the Rock and Roll Hall of Fame, these guys are doing something right. Sun. 8 p.m. $40-$110. Greek Theatre, 2700 N. Vermont Ave., Los Angeles. (323) 665-5857. SAT | NOV 1/SUN | NOV 2

BATSHEVA DANCE COMPANY 50TH ANNIVERSARY TOUR

Happy half-century! This Tel Aviv-based troupe embraces its middle-aged milestone with a U.S. premiere. Under the artistic direction and choreographic leadership of Ohad Naharin, the contemporary dance company performs “Sadeh 21,” a physical journey that explores all the ways we exist in the world. Athletic, delicate, slow or twitchy, the piece applauds nuance in both how we dance and who we are. Sat. 8 p.m. and Sun. 4 p.m. $29-$89. Royce Hall, 340 Royce Drive, Westwood. (310) 825-2101. TUE | NOV 11

“HERSHEY FELDER AS IRVING BERLIN”

In the mood for the American dream? Perfect. Hershey Felder — who previously embodied George Gershwin for a one-man show — is now bringing Irving Berlin to life. The composer, who escaped czarist Russia to New York’s Lower East Side, eventually became a citizen of the world, his musical contributions far-reaching and long-lasting. From “God Bless America” to “White Christmas,” his songs are classic. Written by Felder and directed by Trevor Hay, it’s a production you can count on. Tue. 8 p.m. $37-$62. Through Dec. 21. Geffen Playhouse, Gil Cates Theater, 10886 Le Conte Ave., Los Angeles. (310) 208-5454. ” target=”_blank”>hollywoodpantages.com.


THU | NOV 13

SECOND CITY’S 55TH ANNIVERSARY TOUR

Despite the name, this improv group is second to none. Founded in 1959 in Chicago by Paul Sills, Howard Alk and Bernie Sahlins, the troupe has spent the last 55 years expanding to Canada and producing some of our favorite and defining comedic icons. Alumni include Alan Arkin, Gilda Radner, Eugene Levy, Tina Fey, Stephen Colbert and more. Spreading the funny internationally and domestically, tonight’s festivities will showcase both new and classic sketches. Don’t forget to bring tissues! (Assuming you, like any hot-blooded person, cry when laughing uncontrollably). Thu. 7:30 p.m. $45-$55. Valley Performing Arts Center, 18111 Nordhoff St., Northridge. (818) 677-3000. THU | NOV 20

INA GARTEN

The Barefoot Contessa is here! Whether you watch her TV show on the Food Network and salivate inappropriately, or read her best-selling cookbooks and also salivate appropriately, you know quite well that she is queen of cute cuisine. Her new book,“Make It Ahead: A Barefoot Contessa Cookbook,” focuses on the secrets to prepping for that dinner party you’re hosting. She’ll be right in front of you — so, in addition to chef anecdotes, audience members will be able to ask a question or two themselves. Thu. 7:30 p.m. $39.50-$75. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills. (323) 655-0111.


SUN | NOV 23

“LUNA GALE”

Rebecca Gilman’s new play follows veteran social worker Caroline as she tries her best to protect and help baby Luna Gale. But working within a bureaucracy can mean hidden motives, long-held secrets and moral ambiguity, so it’s not exactly smooth sailing. Gilman, the first American playwright to win an Evening Standard Award, is best known for her widely well-received “Spinning Into Butter” and “Boy Gets Girl.” Directed by Robert Falls, the play is a powerful piece of passion and conviction. Sun.  Ticket info to be announced Through Dec. 21. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. (213) 628-2772. Calendar: Fall preview Sept. 26 – Nov. 23 Read More »

Anti-Semitism creeps into ‘Natural Childbirth’ movement

It’s the special treatment reserved for Jews that earns the anti-circumcision “intact-ivism” movement the label “anti-Jew.” And it’s the large space created for intactivist representation within the natural childbirth movement which unfortunately poisons this otherwise effective and necessary maternal health community. 

As a childbirth doula (labor coach) in the San Francisco Bay Area, I am honored to support women of diverse ethnicities and backgrounds and to work on the cutting edge of patient rights and women’s health along with a growing movement of informed practitioners who are advocating for birth options and evidence-based practices. I am privileged to serve clients of all backgrounds along with the other Jewish women health practitioners in the “Imeinu Doulas and Birth Collective” which I founded in 2008. Just as “Shalom Bayit” a 22-year old Jewish domestic violence organization in the Bay Area is a model of a culturally-based women’s rights initiative who works locally but is internationally known and networked, Imeinu is a younger, established and growing culturally-based women’s health and advocacy model but in the field of childbirth with service providers networked internationally.

As a Jewish woman who literally wears my Jewish heritage as I ally with other natural birth professionals, I become a quick target for anti-circumcision rationale, a quick opportunity for intactivists practicing talking points that are developed especially for Jews. Let’s back up here and understand the difference between the way birth workers usually provide information and how intactivists, whose work is primarily carried out through layers of public relations campaigns, promote their cause.

Birth Workers are different from Intactivists

When we birth professionals are educating new parents about procedures like epidurals, delayed umbilical chord clamping, skin-to-skin, or breastfeeding – all of which can have life-changing impact on the vitality of the child, we do not aggressively assert that parents are hurting their child or putting themselves at risk if they go along with what are the medical trends. We encourage parents to do their own research and inform themselves about the approaches of their care providers so that they can be aware of risks and options and exercise their rights as patients and human beings.

Birth workers partly get our work done by staying up-to-date and providing information, and the impact of natural birth advocacy is seen in the statistics. Examples of the successes of birth workers can be seen in the emerging government-funded doula programs in several countries, bringing more trained labor coaches to provide continuous care to mothers in labor because of the improved health outcomes associated with the presence of a doula. Birth workers’ objections to inducing pre-term labor or pre-term elective cesareans helped focus research on these issues which eventually led to policy changes in hospitals across the United States, so we know our approach works. More hospitals are instituting new protocols for delayed umbilical chord clamping, and skin-to-skin contact between mother and baby immediately following delivery – two campaigns that the natural birth movement has been conducting through its attention to evidence-based research in the field and in published studies.

Intactivism is carried out through public relations campaigns that range from reaching expectant parents through tabling at childbirth fairs to pushing for legislation to outlaw circumcision. Books, websites, blogs and social media sites share science, stories, and resources on why circumcision is wrong. These venues commonly devote a portion of their pages to cultural circumcision which inevitably focuses on mostly misunderstood and inaccurately framed summaries on Jewish culture. And for those of us who have inherited circumcision in our religious practice, there are even some Jewish-run groups who offer guidance to holding alternative ceremonies sans the cut, and support groups. But it doesn’t stop there. 

Special Treatment for Jews

Enter a conversation with intactivists and let them know you are a Jew, almost every time the conversation topic will change from the focus of circumcision being medically unnecessary to, “Did you know another baby died in New York from herpes after the mohel sucked…” No matter whether you appear religiously observant, no consideration or interest in whether you circumcised your own son at 8 days, just because they learn you are Jewish intactivists will bombard you with talking points that range from new information about your ancestral tradition, to Jewish celebrities’ involvement with intactivism, to films about Jewish men and their decisions about circumcision for their sons, to names of organizations that can help you. If you’re lucky, the intactivist will remember to compliment your people, “Well Jews wait till 8 days so the Jewish boys getting circumcised are the lucky ones if you’re going to have it done…”

Intactivists are blind to the fact that the same arguments they are promoting outside the Jewish community, based on research to advocate their cause, would be the only ones appropriate to share with Jews. Intactivists treat Jews different from other people and within their culture have developed an entirely separate agenda for Jewish ears. Even though less than 2% of the American population is Jewish while majority of Americans circumcise, much of the intactivist propaganda – from memes to comic books to films – involves imagery of and alludes to Jewish men. So intactivism is involved with targeting Jews in personal interactions, and representing Jews as child-abusers in the public sphere.

Intactivists have failed in the cultural sensitivity arena. In the Bay Area and other parts of the world, the Jewish and Muslim communities have come together to defend their religious practice from proposed anti-circumcision legislation, so I believe we can all thank the intactivists for catalyzing some unity

Birth Workers Need to Realign with Dignified Advocacy Practice

Speaking as a birth worker, cultural sensitivity is part of our job. We serve families who speak all languages, in all circumstances, with all sorts of beliefs during this sacred time as they welcome new life into the world. Many of us natural birth doulas serve parents in homes, birth centers, and hospital settings. Regardless of our personal choices and opinions, our purpose is to support our clients whatever their decisions may be while upholding the utmost respect and cooperative relationships with the medical professionals who are responsible for the childbirth procedures and outcomes.

The natural birth movement’s imperative is to handle circumcision with the same professionalism as they do all other debated procedures related to maternity, childbirth, and babies. We cannot allow the intactivist movement’s impassioned bigotry which condemns and even criminalizes our clients who choose circumcision while also targeting Jews, to run us off course from our successful movement to improve maternity care.

In fact, natural birth professionals are already anti-racism activists. We have to take into account that horrendous disparities are at play when we support our mothers in labor. For example, a black woman is five times more likely to die during childbirth than other women in the United States, regardless of her economic or other status. Similarly, racism is evident in our professional field as the vast majority of birth and maternity care workers as well as the natural birth events are light-skinned women. Reproductive justice advocates are addressing the ways that institutional and societal racism impact childbirth and women’s health as well as the professional field. We shouldn’t have to be adding anti-semitism to the mix, with Jewish birth pros and Jewish moms feeling alienated from our good work.

If we as childbirth professionals, and the natural maternity organizations we are part of, choose to address circumcision within our scope of information, we can give the issue the same consideration and air-time as we do to the many other physically and spiritually invasive procedures that we witness regularly. Resources about circumcision options are about as appropriate for birth workers’ clients as resources about vaccination as long as the information is evidence-based, but the intactivist movement’s degrading tactics and banners should have no place in our online or virtual forums, nor at our events.

Wendy Kenin is a childbirth doula and mother of five in Berkeley, California. Creator of eco-feminist judaica and founder of Imeinu Doulas and Childbirth Collective, Wendy is a member of the editorial board of Jewcology – the online home of the Jewish environmental movement, and serves on the leadership circle of the Torah-guided environmental organization Canfei Nesharim. She is also a social media consultant, co-chair of the Green Party’s national newspaper Green Pages, and a member of the Berkeley Peace and Justice Commission. Wendy blogs and tweets as @greendoula.

 

Anti-Semitism creeps into ‘Natural Childbirth’ movement Read More »

The Birthday of the World and Pseudoscience

Soon Jews will celebrate Rosh HaShanah, the Jewish New Year. This year will be 5775 in the Jewish calendar.

Rosh HaShanah, is sometimes called the ““>Torah. There we read “In the beginning, God created the heavens and the earth,” if you have the familiar King James translation, or perhaps “When God began to create heaven and earth  . . .,” if your text follows the grammar of the great medieval rabbi, “>Dr. Gerald Schroeder, you try to conflate both stories, the scientific and the biblical. Schroeder is a Massachusetts Institute of Technology trained physicist, now living in Israel, who has authored numerous books and articles on Judaism and science. 

In The Science of God (“TSOG”) (Rev. Ed. 2009), Schroeder argues that billions of years of cosmic evolution and six biblical days of creation actually occurred simultaneously. It’s an argument that relies on concepts like time dilation and day aging. Significantly, Schroeder promises that he will make his case without bending the Bible to science or science to the Bible. (TSOG, at 19.) He commits to providing “pure, peer-reviewed physics and traditional Genesis.” (TSOG, at 54.)

Unfortunately, what we get includes statements about science for which there are no references and, worse, no basis other than a theological bias. So, for instance, Schroeder claims that the “second law of thermodynamics tell us that all non-managed or random, systems always pass to a state of greater disorder.”  (TSOG, at 101.) And, “(t)his move toward order from chaos” in the universe, from hot energy to simple life and then humanity “is not impossible provided the system had direction.” (TSOG, at 101-02. Emphasis in original.)

The fatal science flaw in this kind of argument, as physicist Sean Carroll points out, is that the Second Law does not say what Schroeder says it does. Rather, it “says that entropy always increases (or stays constant) in a closed system . . . .” (Carroll, From Eternity to Here (2010), at 191. Emphasis supplied.) Living organisms on our planet, indeed the biosphere itself, are functioning in an open system. (Id.; see also, Dawkins, The Greatest Show On Earth (2009), at 413-16.)

And Schroeder’s “traditional” biblical analysis is largely dependent on a medieval rabbi who, in addition to believing the universe was once a speck, also thought that it consisted initially of four elements—air, water, earth and fire. (See Samuelson, Judaism and the Doctrine of Creation (1994), at 137.) That was not an unusual view for the time, but it indicates no consistently insightful mind either.

Indeed, despite his academic and employment credentials, Schroeder’s approach is replete with and seemingly dependent on misleading statements, over-statements, incomplete statements, unsupported statements, omissions, and fuzzy mathematics, among other problems. (For details, see “>here.) Ultimately, all of these errors of omission and commission undercut and then accumulate and finally overwhelm the claim that he is trying to prove.  And, so, Schroeder fails to meet the tests he himself established. Instead, he has bent the Bible to meet science and science to meet the Bible. This is not too surprising. After all, the manipulation of time dilation and day aging can go only so far.

One final question remains, though. Despite all of his methodological flaws, his over-statements and misleading references, his curious selectivity of data and his omissions, do Schroeder’s results nevertheless demonstrate a convergence of science and the Bible?

The atheist physicist Victor Stenger would doubt it. After an exceedingly brief and stilted review of the origin of the universe, Stenger “see(s) little resemblance in Genesis to the picture drawn by contemporary science. All these facts can lead to only one conclusion: the biblical version of creation is dead wrong.” (See Stenger, God: The Failed Hypothesis (2008), at 175.)

Schroeder, though, invites us to “compare day by day the fidelity by which the events of Genesis map onto the corresponding discoveries of science.” (TSOG, at 61.) Let’s do just that. Let’s look at Schroeder’s comparison as contained in TSOG (at 70-74), adjusted for his revised timeline discussed at “>http://aarweb.org/syllabus/syllabi/g/gier/306/commoncosmos.htm.

With a good deal of evidence, science teaches that the Earth was formed about  4.5 billion years ago, as relatively small objects, planetesimals, coalesced into a fuller scale planet. (See Weinberg, above, at 26.) The science of the origin of water on Earth, however, is less precise. A variety of processes, including but not limited to outgassing in a cooling environment and asteroid bombardment, appear to have contributed to the creation and retention of liquid water.

Moreover, according to studies published in “Nature” in 2001, oceans may even have existed on Earth 4.4 billion years ago, i.e., within a relatively short time after the planet itself was formed. The studies report that mineral grains or crystals called zircons (zirconium silicate), found in granite rock formations in Western Australia, have been dated to 4.4 to 4.3 billion years old. The existence of granite implies that continents existed at that time, and the presence of zircons implies that sufficient water was available to allow for the incorporation of the crystals into rocks then being formed. (See “>Greenberg Hurdle

Does that mean that Genesis is “dead wrong,” as professor Stenger would have it, bearing “little resemblance” to what science teaches? Not quite. The story presented is one of developing order and differentiation, if not detailed Darwinian evolution. And that is sufficient for the purpose for which the story is offered, as the setting of the stage for the greater story to come.

Stenger may or may  not care for that greater story either, but in his literalness, he is forgetting the nature of literature. Moreover, he is avoiding the real uniqueness, even genius of the biblical creation story. Instead of sun gods and sea gods and serpent gods, as we find in other Near Eastern creation stories, here we have essentially demythologized nature, without magic or rituals. We find nature dependent on a single powerful force. Some might even call it a unified field theory of creation.

As cosmology, as evolution, as modern science, the Torah text fails. But as a perspective, a point of view, an orientation regarding that which surrounds us, it seems quite valuable, even if not fully prescient about contemporary discoveries. It evidences an intuitive understanding of the development of existence from universal and grand to earthy and particular, from water to life, stationary objects to ones in motion, simpler forms to those more complex, plants then lower animals then humanity itself. Not bad at all for about two thousand five hundred years ago, give or take.

Ironically, Schroeder falls into to the same trap which snared Stenger, the view that the Genesis creation story is literally accurate and intended as science. When Schroeder takes this epic story and tries to make more of it than there is, when he seeks to imbue it with a modern scientific foundation that does not exist, he does a true disservice to the story itself.

Centuries past, ” target=”_blank”>www.judaismandscience.com

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This week in power: Merkel’s stand and Senate candidate

A roundup of the most talked about political and global stories in the Jewish world this week:

Merkel's speech
German Chancellor Angela Merkel ” target=”_blank”>wrote Jochen Bittner in The New York Times. “And it’s every German’s job to make that clear at all times and to everyone, regardless of where you think you come from.” But it's not that simple, ” target=”_blank”>said Stephen D. Smith at The Huffington Post.

Ransdell's offense
“Robert Ransdell said he knows he cannot win against Republican Mitch McConnell or Democrat Alison Lundergan Grimes but wants to use the campaign to spread his slogan, “With Jews We Lose,” ” target=”_blank”>Take a read: “We improve the economy by attacking without mercy the concept of globalism, eliminating all foreign aid to non-White third world nations, all nations controlled by Zionist interests, and first and foremost eliminate all aid to Israel, also end all domestic aid and handouts to non-Whites, and finally disband and dissolve the Jewish-run Federal Reserve and overhaul the American stock market and the way that has worked for decades.” His campaign has gotten some coverage and pickup, but perhaps others are deliberately shying away from running reports, as Ransdell would like.

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Three new kids’ books, and some poetry for adults

“Apple Days: A Rosh Hashanah Story” by Allison Sarnoff Soffer. Illustrated by Bob McMahon (Kar-Ben, 2014)

Every year at holiday time, Katy looks forward to making applesauce with her mother. When she shares her excitement with her religious school classmates, she also mentions the other exciting news: Later in the month, she will have a new baby cousin. 

A well-written, preschool-appropriate story of a young child and her mother sharing the love of picking fresh apples and then cooking together, “Apple Days” blends the themes of the Rosh Hashanah holiday with the value of living as part of a warm Jewish community. When the baby arrives on the exact day Katy is planning to go apple picking with her mom, she is disappointed, and it makes her sad that her plans have been thwarted. But her caring community of friends, including the crossing guard, her teacher, principal, hairdresser, shoe salesman and rabbi, work together to make Katy’s applesauce-making day as enjoyable as she had hoped it would be. Katy learns how to work around disappointment with the help of her father and friends and shares her cooking success with her classmates and even the new baby. Alert readers may note that the illustrator has realistically depicted an ethnically diverse Hebrew school class — a nice change from other books for the Jewish preschool set. (Also, no biggie here: a woman rabbi.) An applesauce recipe at the end looks very tasty and would be easy to make with young children upon finishing this cheery, enjoyable book.


“Rabbi Benjamin’s Buttons” by Alice B. McGinty. Illustrated by Jennifer Black Reinhardt (Charlesbridge, 2014)

Gastronomic Judaism is alive and well. This delightfully illustrated tale takes us around the Jewish year through the delectable meals consumed by kind (and adorable) Rabbi Benjamin. He and his little dog (kids can search for the pup somewhere on every page) welcome congregants to his synagogue with the motto, “A happy congregation is the sunshine of my heart.” The congregation loves him so much, they make him a special holiday vest, “fastened in the front with four shiny silver buttons.” And a great-looking vest it is: bright yellow, with appliques of various Jewish holiday symbols that can be seen even from the back of a crowded sanctuary. On the fall holidays, the rabbi’s grateful congregants shower him with delicious homemade goodies: honey cake and apple torte on Rosh Hashanah, sweet potato pie and stuffed cabbage on Sukkot. 

After visiting a different family’s Sukkah each night — pop! — one of the four shiny silver buttons pops off and lands in the etrog jelly. Uh-oh … Rabbi Benjamin is getting fat. Other buttons pop off after latkes at Chanukah and a bit too much charoset at the Passover seder. What to do? He has lost his silver buttons, but he does have an idea. Over the summer, he does extra gardening to prepare for next Sukkot’s harvest, hikes to the lake for next Passover’s gefilte fish and helps with the apple harvest for upcoming Rosh Hashanah. But having slimmed down a bit too much, his wonderful holiday vest now sags and looks terrible. He unsuccessfully tries tallit clips where the buttons should be. Even his dog is embarrassed. The tale ends satisfyingly as the always-happy congregants gather together to make a new, even more splendid holiday vest for the upcoming New Year. The laughter-inducing pen-and-ink watercolor illustrations of the overjoyed congregation happily offering delicacies to their beloved rabbi will delight any reader. And consider trying a few of the mouthwatering recipes at the back of the book.


“Goldie Takes a Stand: Golda Meir’s First Crusade” by Barbara Krasner. Illustrated by Kelsey Garrity-Riley (Kar-Ben, 2014)

Picture-book biographies are gaining more and more popularity as publishers are embracing the Common Core curriculum goals of learning through reading nonfiction. When searching for a children’s biography of a well-known Jewish person, parents can generally find a bevy of Einsteins and a shelf of Houdinis, but nothing on Israeli political figures — not even Ben-Gurion or Herzl. So it is a pleasure to find this new release for very young children relating a specific incident in the life of young Golda Meir. Many little girls will find a kindred spirit in the story of Golda Mabowehz, a take-charge kind of kid (read: bossy; but that’s OK, considering her later career) who sees a need in her community and decides to fix it. 

In this case, author Barbara Krasner embellishes the true story of the American Young Sisters Society, a group of Jewish immigrant girls formed by 9-year-old Goldie, who naturally appoints herself president. She explains to the group that they are there to do something about the problem of kids in their school who do not have enough money to buy textbooks. They each need to raise 3 cents a week — a nearly impossible sum — the same price as a loaf of bread or a quart of milk. Goldie ingeniously comes up with a plan to add a 2-cent surcharge on groceries purchased by the patrons of her mother’s grocery store while mother is gone; but this backfires when customers object. Goldie masterminds another plan, this time more ambitious: She will secure a large hall and invite important people to a public meeting where she, a 9-year-old fourth-grader, will give a speech persuasive enough to secure funding for the cause. 

“Education is the only way to lift ourselves out of poverty … I ask each of you to look into your hearts and wallets and give what you can.” 

Krasner states in her afterword that this incident in Meir’s life is true and was written about in The Milwaukee Journal of Sept. 2, 1909. It may have also been related in Meir’s autobiography, which is listed in the useful bibliography, but this is not stated. The brown and gray palette chosen by illustrator Kelsey Garritty-Riley is historically appropriate, and the added touches of early 20th-century wallpaper patterns enhance the period feel. Black-and-white photos of a young Meir, age 6, alongside a much later picture of her as prime minister of Israel with the caption, “She never stopped taking a stand on important issues,” brings her life full circle.


“The Days Between: Blessings, Poems, and Directions of the Heart for the Jewish High Holiday Season” by Marcia Falk. Brandeis University Press, 2014.

Poet and translator Marcia Falk’s 1996 groundbreaking “Book of Blessings,” inspirational liturgy from a feminist perspective, has been a wedding gift staple for almost 20 years. Now she continues her translations of traditional Jewish liturgy, this time turning to High Holy Days prayers. Falk’s newest book of prayers, poems and reflections aims to appeal to those who have a deeper connection to their Judaism but feel uncomfortable with patriarchal imagery. Her gift for capturing the essence of holy days spirituality will be appreciated and admired — prayers can be read in English or Hebrew, with the layout and design appealing and easy to follow. The book is organized as a kind of alternative machzor — reimagining the prayers starting from the evening Rosh Hashanah meal to the Kaddish and the Unetaneh Tokef 10 days later. Falk describes it as a “companion for travelers on the to-and-fro journey of the Ten Days of Returning — inward to the self and outward to relationships between self and other.” She wants to be inclusive; she believes that these re-creations of Jewish prayer will appeal to anyone — believers or non-theists, religious or spiritual, secular or humanist. She writes, “The High Holiday liturgy, with this emphasis on sin and judgment, can strike a discordant note even for those who pray regularly during the year. My intention in this book is to bring fresh language and meaning to the seasonal liturgy and to speak to the widest possible spectrum of Jews looking for a new experience of the High Holidays.” Rabbis and lay leaders surely will find a treasure trove of beautiful readings to add to their services. This touching book can be used as either an alternative or a supplement to traditional liturgy, creating real meaning and adding a special vision of the High Holy Days as we open our hearts to forgiveness and teshuvah.

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Kosher wine can taste good, just ask the brothers of Shirah Wine Co.

Vintners Gabriel and Shimon Weiss, the co-founders of Shirah Wine Co., don’t even attempt to hide their true nature: They are geeks — wine geeks.

But as Gabriel and his brother pointed out while they opened a bottle from their Vintage White line, a blend of viognier and grenache blanc grapes grown in Santa Barbara County, they are poor man wine geeks.

Each, but particularly Gabriel, 35, has a deep knowledge and love of the elements that go into good wine. And each, but particularly Shimon, 32, is a self-taught wine manufacturer.

A small, niche company created in 2009, Shirah (shirahwine.com) is slowly becoming a known entity in the kosher wine world. It is distributed by The River and sold at stores in New York, New Jersey and at The Cask LA here in the Pico-Robertson neighborhood.

Shirah’s introductory line, Power to the People — a dark red syrah sourced from two vineyards in Santa Barbara County and fermented with a touch of viognier — sold 300 cases (each case has 12 bottles) at $65 per bottle. The success of that blend, which also has hints of apricot and violet flavors, prompted the Weiss brothers to bottle and sell two more red wines, each from grapes grown at the same two vineyards sourced for Power to the People.

Now carrying anywhere from three to six varieties at any given time, Shirah Wine produced the equivalent of nearly 22,000 bottles in 2013 (still aging) and sold 70 percent of its 2012 production, the brothers said.

Although they can sound like lifelong oenophiles, the Weisses are as surprised as anyone to be sharing time living between their homes in Los Angeles and their facility in Santa Maria. Born in Cincinnati and spending time in Brooklyn, New Jersey, Israel and Monsey, N.Y., neither brother had even the faintest hint that wine would be in their future as they came of age.

Gabriel was taking night classes in product design in 2005 as a yeshiva student in Monsey when one of his friends had a brother who worked for Herzog in Oxnard. The winery needed extra hands for that season’s harvest, so Gabriel flew west to work as a temporary “cellar rat,” a not-so-endearing term for the guy who does the dirty work needed in any winery — lugging barrels, cleaning tanks, sanitizing hoses.

Then, Gabriel and a few of his buddies reaped leftover grapes from that year’s massive yield in a San Luis Obispo vineyard to produce nearly 300 bottles of syrah aged in a friend’s garage in Los Angeles. Gabriel’s growing knowledge of wine persuaded his younger brother — who was working as a carpenter — to leave Monsey in 2007 and join him working on Herzog’s harvest. (Shimon thought it would be temporary.)

Living together with a friend in an Oxnard apartment down the road from the winery, the Weisses put their combined experience and connections to entrepreneurial use, gaining access to a Santa Barbara winemaker’s crushing and pressing equipment to make and sell 90 cases of their “Syraph” and “1-2Punch” creations out of about two tons of grapes.

“It was head and shoulders better than any other kosher syrah that I’ve ever had,” Gabriel said, characterizing the intoxicating introductory line as “17 percent alcohol rocket fuel.”

The company’s name, Shirah, means “song” in Hebrew, but its inspiration came from an older Orthodox Jewish man whom Gabriel knew, a “kabbalist on Pico” now living in Israel.

“I asked him, ‘So what should I name this wine?’ So he’s like, ‘ “Shirah,” because it’s syrah,’ ” Gabriel said.

Proudly pointing to the label on a bottle of Shirah’s Coalition, an exotic, fruity blend of sangiovese, dolcetto, zinfandel and merlot, the Weisses showed how their art-inspired backgrounds in product design and carpentry seeped into their current trade. It’s designed in the style of the Declaration of Independence and reads like it was written by a colonial Brit — in penmanship and syntax. Just above the label sits a red wax seal with the Hebrew letter shin, the first letter in Shirah.

Shimon, who plays Shirah’s bean-counter to his researcher and bookworm brother, said the company’s next big move is launching a wine club this winter, which would allow paying members to purchase yet-to-be-produced bottles of the brothers’ more select, higher-end wines.

Overall, business and life are good for the Weisses. Gabriel lives in Valley Village with his wife and two children, and Shimon is newly married and living in Pico-Robertson.

During an interview, as the two slowly sipped some of their wine, Gabriel summed up his philosophy: Expensive, fancy wine is unimpressive.

“Give me something that’s hard to find, something different and unique,” he said.

Sounds like the story behind Shirah. After all, are there any better adjectives than “different” and “unique” to describe two Orthodox Jewish brothers with backgrounds in product design and carpentry who move 3,000 miles across the country to harvest grapes, with a dream of creating a successful high-end kosher wine label?

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11th Commandment: Thou Shalt Not Settle for bad kosher wine

Being a Wine Snob can be a burden at times. The expression is a mild pejorative that I wear as a badge of honor. We Wine Snobs don’t think we’re better than other people — the unwashed multitudes buying their screw-cap bottles with pictures of colorful animals on the labels in the grocery store aisle across from the pickles, with which they are presumably paired at the dinner table that same night — but we’re aiming just a teensy bit higher.

Most of us grew up drinking Manischewitz at Passover, and that’s where the trouble started. The earliest memories of millions of aspiring Jewish oenophiles were poisoned by this treacle. It tasted like spoiled grape juice, but at least it was alcoholic, and a spoonful of sugar made the medicine go down. The stuff is made from Concord grapes, a varietal that is often described as “foxy” by aficionados. This is not foxy like sexy; it’s foxy like a wet feral mammal in a bottle. 

If you think I’m being harsh, when was the last time you willingly poured yourself a glass of the stuff for pleasure? Do you have a bottle somewhere in your house, half-empty, that you’re saving for the next reading of the Exodus from Egypt? Only a cruel and vengeful God could have conceived of such a trial for his Chosen People. Chosen for what, exactly? I say, let my people go already! Perhaps putting lousy wine on par with slavery is overreaching, but surely we deserve better than that

So, when my father started collecting real wine, non-kosher wine — some of it made by French Jews named Rothschild — it was like giving eyesight to the blind. Ever since then, I’ve recognized the singular challenge of the modern kosher winemaker: to prove they’re really just as good as their non-kosher kin. 

Those of us who indulge in the industry’s kosher offerings have to ask themselves: Is a kosher chardonnay as good as a similarly priced non-kosher one, or are we really just rooting for the home team, knowing they stink but we love them anyway? Maybe you don’t have to be Jewish to love Levy’s rye bread, to quote the famous ad campaign, but do you have to be Jewish to love kosher wine? 

No one is suggesting that kosher wine be held up to a higher standard of taste than non-kosher, but is it as good as? With the New Year nearly upon us, I decided it was time to find out.

I assembled a tasting panel at the Jewish Journal’s office to see how various kosher winemakers are doing in an objective forum. I picked a half-dozen bottles — three whites, three reds — at an average of around $30, the thought being that anyone can make bad cheap wine, and a reasonable price point would give our boys a fighting chance.   

Goose Bay Sauvignon Blanc 

New Zealand, 2010, $20

This was not as crispy and citrusy as other sauvignon blancs I’ve had from New Zealand at about the same price point, and the panel agreed, scoring this the lowest of the three whites. 

Castel Chardonnay “C”

Israel, 2009, $45

Castel is the most distinguished winemaker in Israel, and produces perhaps the greatest kosher red wine in the world, their Grand Vin. This is the only wine on our list that earned 90-plus points out of 100 from important American critics, but our panel was disappointed, more so when they saw the price tag. At 5 years old, this should have been better and was flatly not up to par with similarly priced non-kosher offerings.

Rene de Lacray Chablis Premier Cru Montmains

France, 2008, $30

This was a lovely surprise, with notes like “fresh” and “herbaceous,” rather than the more typical attributes of Chablis, such as “minerally.” The highest rated of our whites on almost every score sheet. At $30, I thought this was nearly as good as non-kosher competition. 


Don Mendoza Malbec Reserve

Uco Valley, Argentina, 2013, $14

This was surprisingly light in color, body and alcohol, so it gets low points from me for lacking “typicity.” Comments were to the tune of “no depth to it at all,” and I felt I’d had far better inexpensive non-kosher Malbecs. This was the least expensive bottle in our tasting and was also the lowest rated.  

Covenant Red “C” 

Napa Valley, 2012, $40 

This is the “second label” from Napa Valley’s best kosher winemaker, Covenant. Drinking a 2012 vintage cabernet /petite sirah blend is not something a Wine Snob does for pleasure, and so it was strictly business with this inky offering. I was surprised that this did not score higher, but no great winery made its name on the strength of its second label. It was mentioned that this wine might really shine when paired with food. (Of course, the same could be said of any of the others as well.) I thought it was the only wine of this grouping that will get better with a few years of bottle age.

Hagafen Pinot Noir 

Napa Valley, 2011, $23

The producer notes on this wine promised cranberry and strawberry, with subtle hints of clove and cinnamon. I don’t know about that, but we had nothing but good things to say. We considered this to be a very good $23 bottle, though words like “jammy” and “chocolate” are atypical for pinot noir. 


These were six bottles chosen pretty much at random, but they provide a nice sampling of kosher wines on the shelves today. On balance, they were well made, approachable (meaning they were sufficiently mature to drink now) and “quaffable but not profound,” to quote the movie “Sideways.” 

For sure, a wine lover would prefer any one over old-fashioned kosher wines. However, as far as they’ve come, most did not measure up to similar non-kosher bottles, in my mind. Until that day, I’ll have to settle for rooting for the home team. 

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