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November 24, 2014

Israeli cabinet approves Jewish nation-state law

A divided cabinet approved on Sunday a bill to anchor in law Israel's status as the nation-state of the Jewish people, legislation critics say could undermine its democratic foundation and the rights of its Arab minority.

Right-wing supporters of the initiative, including Prime Minister Benjamin Netanyahu, have pledged such a law, which has widened rifts within his governing coalition, would guarantee full equality for all of Israel's citizens.

A final wording of the bill is still pending, and Israel's attorney general has cautioned against giving Jewish values, based on religion and history, prominence over democratic principles in law-making and judicial rulings.

The measure pitted centrist ministers against right-wing and ultranationalist cabinet members, who outvoted them 15 to seven to approve three versions of the bill likely to be merged later.

Officials said the legislation would be brought to parliament on Wednesday for preliminary ratification.

Palestinians had rejected Netanyahu's demand they recognise Israel as a Jewish state, voicing concern that could deny Palestinian refugees a claimed right of return to homes they left or were forced to flee during Israeli-Arab wars.

Legislators from the country's Arab minority have described the bill as racist, noting that at least one version of the proposed law would leave Hebrew as Israel's only official language – and demote Arabic to “special status”.

Netanyahu has submitted his own wording for the law, listing 14 principles that include declaring that “the State of Israel is democratic and founded on the principles of liberty, justice and peace in accordance with the visions of the Prophets of Israel”.

The Israeli leader's draft, which was released to the media, pledges to “uphold the individual rights of all of Israel's citizens”, but also says that only the Jewish people have a right of self-determination in the State of Israel.

The phrasing appears to rule out any binational state with the Palestinians, but makes no reference to the independent country they seek in the Gaza Strip and the occupied West Bank and East Jerusalem in a stalled, U.S.-brokered peace process.

“A flag, anthem, the right of every Jew to immigrate to the country, and other national symbols. These are granted only to our people, in its one and only state,” Netanyahu said in public remarks at the cabinet meeting.

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Holiday Klezmer concerts

The kindling of the lights can wait and the dreidel can remain unspun for a couple of hours. The 2014 Chanukah season signals the arrival of klezmer in the Los Angeles area, with bands both local and East Coast-based planning holiday concerts. 

In fact, devotees of the Eastern European folk music tradition known as klezmer can give themselves a double dose with an afternoon holiday concert on Dec. 21 by L.A’s own Mostly Kosher at Valley Beth Shalom (VBS), followed by a return visit from the Klezmatics to Walt Disney Concert Hall on Dec. 22.

Mostly Kosher

The two bands share a love for preserving traditional Yiddish music and cultural traditions — sometimes with the addition of a contemporary spin — and both have enjoyed plenty of critical and audience acclaim. Still, Mostly Kosher and the Klezmatics can, to some extent, be viewed as the new klezmer kid on the block and the genre’s lion, respectively.

Mostly Kosher is hot off the Nov. 1 release of its first CD. During the five years Mostly Kosher has been performing, the band appeared at synagogues, festivals, private parties and retirement homes before going on to book dates at larger, prestigious cultural institutions around the Southland, such as the Ford Amphitheatre, the Richard Nixon Presidential Library, the Gene Autry Museum and the Skirball Cultural Center.

The VBS Chanukah celebration is organized under the auspices of the Jewish Music Commission of Los Angeles, an Encino-based organization that looks to showcase new Jewish music and promote the art form. This will be the first time in its 32-year history that the agency has booked a klezmer band. 

And what took so long? The question draws a laugh from Richard Braun, the founder and chairman.

“I think it has to do somewhat with attracting an audience that has been underserved,” Braun said. “We have had requests for a number of years for different kinds of groups, and klezmer is something that has been increasingly appreciated by younger audiences. A lot of younger people are finding out about their roots in Eastern Europe.”

Billing themselves as a Jewish revival band, Mostly Kosher’s band members schooled themselves in klezmer sounds. Under the leadership of Leeav Sofer and with founding member Janice Mautner Markham, serving both as violinist and shtick provider (she takes on the role of a pushy elderly matchmaker), a Mostly Kosher concert can be as much musical theater as  concert. 

“They’ve started calling us the Jewish ‘Prairie Home Companion,’ ” Markham said. “I did a little bit of research on my own into Yiddish theater and radio, and it sort of grew organically. Leeav got interested in researching old commercials and radio theater around the same time, and I was developing my Jewish mother character. We ended up putting the two things together.”

So you might hear Sofer cutting loose on the classic “My Yiddishe Mama,” or the band’s version of “Donna Donna” that was so jazzy it earned a spot on Craig Taubman’s CD “Jewels Vol. IV: A High Holidays Music Sampler.”

The Dec. 21 date will feature the band’s entire eight-piece lineup, along with guest soloist Cantor Faith Steinsnyder, who will be flying in from New Jersey for the occasion. Attendees can expect traditional favorites with a distinctly Mostly Kosher flavor.

“We’re starting to branch out past klezmer,” Sofer said. “We’re rebranding ourselves as a Jewish cultural revival band. So for a Yiddish tango like ‘I Love You Much Too Much,’ we make it into a Brazilian samba or an Argentinian tango. All of a sudden, you have taken something shmaltzy and given it new energy.” 

Although audiences may feel they already know the Klezmatics, they, too, boast an eclectic, ever-changing catalog. When the Klezmatics return to Disney Concert Hall for the first time since 2011 (the band played Santa Monica’s Broad Stage in 2013), they arrive with the fanfare born of having won a Grammy, performed in more than 20 countries, released 10 CDs and been the subject of the feature-length documentary film, “The Klezmatics: On Holy Ground.”

Not surprisingly, the Klezmatics are a draw whenever they are booked, according to Johanna Rees, associate director of presentations for the Los Angeles Philharmonic Association.   

“From a global perspective, it’s just really easy music to like,” Rees said. “If you are a world music fan or a classical music fan or contemporary or pop music fan or a jazz fan or a punk rock fan, I think it could run that whole spectrum because the Klezmatics really touch upon so many different sounds and styles and energies.”

Befitting the occasion, the Disney Hall gig will likely include several selections from their renditions of Chanukah songs by Woody Guthrie. For their albums “Wonder Wheel” and “Woody Guthrie’s Happy Joyous Hanukkah,” the Klezmatics composed new music for largely forgotten songs that the famed folk singer had composed about Jewish life, spirituality and culture during his years in Brooklyn in the 1940s. Singer Susan McKeown and multi-instrumentalist Boo Reiners, who appeared on the band’s Grammy Award-winning “Wonder Wheel,” will join the fun for the Disney gig.

“The Chanukah music all sounds Jewish and klezmer-y and upbeat, but ‘Wonder Wheel’ is much more what you would think of  as world music,” said Frank London, a founding member of the Klezmatics. “That album really expanded what the Klezmatics were as an American band.

“Since the concert will be during Chanukah, maybe we’ll bring a menorah out on stage,” London added. “That would be fun.”  

Mostly Kosher performs at 2:30 p.m. Dec. 21 at Valley Beth Shalom’s Hanukkah celebration at 15739 Ventura Blvd., Encino. Tickets are $10 in advance, $15 at the door and reservations close Dec. 19. (818) 788-6000, www.jewishmusicla.org.

The Klezmatics: Happy Joyous Hanukkahis at 8 p.m. Dec. 22 at the Wal Disney Concert Hall, 151 S. Grand Ave., Los Angeles. Tickets are $42-$105. (323) 850-2000, www.laphil.com.

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All I Needed to Know, I Learned in Rock Climbing.

Watching my kids enjoy indoor rock climbing, I realized a few lessons that paralleled Robert Fulghum’s famous sermon.  Typically, how we play is how we see life.

1- There is no competition; everyone is rooting for you to get to the top.

2- Everyone is a student and a teacher; we all have something to offer.

3- No one asks your age, color, gender, religion; just climb.

4- If your legs get tired, someone will hold you up to rest.

5- If you lose footing, many will try to show you the way.

6- Regardless of how you get back down, someone will high-five you.

7- There's always someone to help get your gears on, and put them away.

8- Don't rush, there's more time.

9- If people believe in you, you will believe in yourself, you will climb further.

10- When you get tired, a cold drink and a nap is around the corner.

And a bonus lesson:
11- Even if you fall, there is a harness holding you and you will be safe.

All I Needed to Know, I Learned in Rock Climbing. Read More »

Missouri grand jury has made decision in fatal shooting of Michael Brown

A Missouri grand jury has made a decision on whether to indict a white police officer in the fatal shooting of an unarmed black teenager in Ferguson, a killing that sparked angry protests in the St. Louis suburb, the Washington Post reported on Monday.

St. Louis County Prosecutor Bob McCulloch's office was due to make an announcement on the grand jury, the Post and CNN reported, citing sources.

A spokesman for McCulloch did not immediately respond to a request for comment.

Activist groups have pledged fresh street protests if officer Darren Wilson is not indicted in the Aug. 9 shooting death of Michael Brown, 18, while the state has been planning a massive police presence to quell violence.

President Barack Obama urged protesters to remain peaceful following the grand jury announcement, a White House spokesman said. Brown's parents, ministers and community leaders have urged sympathizers to remain peaceful, whatever the outcome.

Ferguson, a predominantly black town with a white-dominated power structure, has been on edge for weeks as residents await the grand jury's decision. Shop owners in the city, which faced weeks of sometimes violent protests following Brown's death, have boarded up their windows, and students in one area school district began an extended early Thanksgiving break on Monday.

Protesters have said they plan to demonstrate at the Ferguson Police Department and at the county courthouse in Clayton, about 8 miles (13 km) to the south, following the grand jury's decision.

Police in Clayton have placed large barricades around the courthouse and placed locks on mailboxes to prevent them being opened ahead of the announcement.

Lawyers for Brown's family say the teen was trying to surrender when he was shot, while Wilson's supporters say he feared for his life and opened fire in self-defense.

Missouri Governor Jay Nixon has declared a state of emergency in anticipation of the ruling and called in the National Guard, a move that some activists called unnecessarily heavy-handed.

Nixon was en route to St. Louis on Monday afternoon, a spokesman confirmed. The spokesman declined to comment on the reasons for Nixon's trip.

NATIONAL SPOTLIGHT

The August shooting touched off a national debate about race relations and ignited nightly street demonstrations where police in riot gear, flanked by armored vehicles, fired rubber bullets and deployed tear gas to break up crowds.

Obama in the aftermath of the shooting dispatched Attorney General Eric Holder to Ferguson to investigate and try to restore calm in the community, where much of the population is black and the police force is mostly white.

Local and state authorities scrambled to keep a lid on the protests in the face of criticism their heavy-handed tactics were only making the situation worse.

McCulloch declined to file charges directly and instead had a grand jury hear evidence over recent months, which kept tensions simmering. In a move aimed at transparency, the prosecutor's office has pledged to release publicly evidence heard by the grand jury, where proceedings are usually kept secret.

Three autopsies were performed on Brown, who was shot at least six times. A private autopsy indicates Brown was trying to surrender, lawyers for Brown's family said. The St. Louis County autopsy indicated a gunshot wound at close range to Brown's hand.

The Justice Department has yet to release the findings of its autopsy.

Additional reporting by David Bailey in Minneapolis, Carey Gillam in Kansas City and Will Dunham in Washington; Writing by Scott Malone; Editing by Doina Chiacu and Jim Loney

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A life of ideas: Remembering Susan Sontag

At one point in American life, the mere mention of Susan Sontag’s name was a way of suggesting intellectual grandiosity. Everyone in the 1960s and ’70s seemed to have an opinion about Sontag’s ideas, whether from her essay “Notes on Camp,” or her books, notably “On Photography” or “Illness as Metaphor.” She wrote provocatively about war, terrorism, photography and disease, and came to represent a fearless curiosity as well as high-minded pretension.

Sontag’s endless passion for debate comes across in the new HBO documentary “Regarding Susan Sontag,” which premieres Dec. 8.

The writer and cultural critic was heralded for breaking barriers for women in a field dominated by men, but her closest friends acknowledge her arrogance and selfishness. She was a lightning rod for criticism and seemed to bask in the notoriety her work received. The film portrays her as a complex individual, in search of fame, never shy before cameras, yet nevertheless feeling, particularly at the end of her life, that she hadn’t accomplished enough.

Director Nancy Kates discovered Sontag in 1982, during Kates’ sophomore year of college, when “The Susan Sontag Reader” was published. “She was one of those people that you just had to know about if you were smart and curious,” Kates said in an interview. “I really didn’t know anything about her then, but I was probably looking for some sort of intellectual role model, as a young woman. And I think there were thousands of women in my generation, and maybe people a few years older than me, that saw her that way.”

Sontag, who died at age 71 in 2004, was born Susan Rosenblatt in New York. Her father was a fur trader who died of tuberculosis in China when Susan was 5 years old. Seven years later, her mother moved the family to Tucson, Ariz. and married U.S. Army Capt. Nathan Sontag.

“We were delighted to have a change in name,” Susan’s sister, Judith Sontag Cohen, recalls in the film. “We were so clearly identified as being Jewish with a name like Rosenblatt that my sister, who was older and I guess an easier target, did get hit in the head and called names.” 

Sontag was not raised in a religious household, yet she identified as Jewish, and in one essay, wrote, “I feel as a Jew a special responsibility to side with the oppressed and the weak.” While she did not speak extensively about Israel, she made a documentary about Israel that was filmed between the Six-Day War and the Yom Kippur War.

In an interview used in the film, Sontag recounts being 12 and finding a book of Holocaust photographs in a bookstore. “I opened this book, and I thought I was going to faint. I was so upset, I immediately closed the book. I was trembling. And then I opened it again. And I knew what I was seeing. I knew the Nazis had killed a lot of Jews. I knew that I was Jewish, but I didn’t know it meant what I saw,” she said.

That experience shaped Sontag’s perception of war, Kates said. “I think it shaped her because of ethics, and I think it shaped some of her work. At the very end of her life, she wrote a book about war and photography, and the images of war and torture.”

From Tucson, the family moved to the San Fernando Valley, and Sontag would buy (or sometimes steal) books from the Pickwick Bookshop on Hollywood Boulevard, seeking refuge in the novels of Marcel Proust and André Gide. In the autobiographical essay “Pilgrimage,” she wrote, “I had to acquire them. See them in rows along the wall of my tiny bedroom. My household deities. My spaceships.”

Sontag graduated from North Hollywood High School at 15 and went to UC Berkeley in 1948. There she discovered a swinging homosexual nightlife scene, and began exploring lesbian relationships. But then, at 17, she transferred to the University of Chicago and fell in love with a sociology teacher, Philip Rieff. Their courtship lasted 10 days; their marriage lasted eight years. They had a son, David, when Sontag was just 19 years old. 

“I hated being a child,” Sontag says in the film, in explaining her early marriage and motherhood. “I couldn’t do what I wanted to do. I wanted to stay up all night. I wanted to see the world. I wanted to talk to people. I wanted to meet people who were interested in what I was interested in.”

She received a fellowship to study philosophy at Oxford, and then moved to Paris to live with Harriet Sohmers Zwerling, her lover from Berkeley, and party with bohemian literary expats. She divorced her husband and left their child with him.

“I think the film really speaks to women on that issue,” Kates said. “Some of them find it abhorrent that she left her kid and ran away for over a year. And other people see her as this figure of freedom. Because she managed to do things that men could do but women just couldn’t do in that time.”

“She [was] somebody who was constantly being reborn,” Yale University professor Alice Kaplan says in the film. “She was constantly discovering things and being a new person, and that’s her essential avant-garde-ism. You can either suspect it or really, really admire it. I see Paris as getting her out of her marriage.”

The film follows Sontag’s intellectual progression through seminal works that turned the nation’s attention to a wide range of topics, from photography and its impact on memory, to the horrors of the Vietnam War, to reframing the AIDS crisis and the stigma of illness. Sontag’s literary output also included fiction, beginning with the experimental novels “The Benefactor” in 1963 and “Death Kit” in 1967. Her 1992 novel, “The Volcano Lover,” achieved popular success, and her final novel, “In America,” came in 1999. The film ends with Sontag’s own struggle with cancer and her attempt to come to terms with her mortality.

It also delves into her personal life, notably her many intimate relationships with women and yet her refusal to come out of the closet, which upset many lesbians who looked to her as a role model. It also upset the women who sought her recognition as a partner and never received it.

One of Sontag’s many former lovers interviewed in the film is Eva Kollisch, a German literature professor, who describes instances when Sontag ignored or abandoned her at social events. “She was never able to know what goes on in another person,” Kollisch said. “I mean, the sensitivity that we exercise in everyday life all the time, like, ‘What are you thinking? What are you feeling? Where are you in this?’ Susan was not a sensitive person.”

The film shows the many, often conflicting, sides of Sontag’s personality, and the viewer is left feeling admiration for her as a cultural critic, but frustration with her as a person.

“No one, if you put them under the lens of biography or biographical documentary, is going to necessarily come out looking terrific, which is reality,” Kates said. “And she had a lot of things about her that were challenging. There was something sweet about how much people loved her, in spite of how difficult she could be.”

“Regarding Susan Sontag” debuts Dec. 8 on HBO. 

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Israel, unions to start minimum wage talks as national strike looms

Israel's finance minister will start negotiations with the country's main labour union on Monday in a bid to avert a national strike over demands to sharply raise the minimum wage, the ministry said.

Israel's minimum wage stands at 4,300 shekels ($1,116) a month and the Histadrut – the umbrella organisation for hundreds of thousands of public service workers – is seeking a hike to 5,300.

Finance Minister Yair Lapid invited Histadrut Chairman Avi Nissenkorn and Zvika Oren, head of Israel's Manufacturers' Association for talks on Monday aimed at preventing a strike the Histadrut has set for Dec. 4 and would likely shut the airport, trains, seaports and government services.

National strikes cost Israel's economy an estimated 2 billion shekels a day.

Lapid, in a meeting with Nissenkorn on Friday, said he supports a rise in the minimum wage and helping those at the bottom of the wage scale.

He has said in the past that he would support a rise to 4,500 shekels a month. Economy Minister Naftali Bennett also has expressed support for a higher minimum wage.

According to the Organization for Economic Co-Operation and Development (OECD), Israel's real minimum wage was in the middle of the pack – 12th out of 25 countries in 2013. In dollar terms, it was $14,291 a year in 2013, just behind the United States' $15,080.

This placed Israel well behind Australia, with the highest annual minimum wage at $30,389, Luxembourg, the Netherlands, Belgium, Ireland, New Zealand, France, Canada, the UK and Japan.

But it was well above Mexico, the lowest at $1,285, Chile, the Czech Republic, Estonia, Hungary, the Slovak Republic, Poland, Turkey, Portugal, Greece, Spain, Korea and Slovenia.

Nissenkorn called Israel's minimum wage a “starvation wage” and said it was the country's main problem.

“I do not see government ministers or Knesset (parliament) members capable of surviving a month on 4,300 shekels,” he said, adding that he would not accept a monthly rise of 200 shekels.

Oren said he favoured a hike in the minimum wage as part of a comprehensive agreement that reduces the employers' tax and allows for more flexible working hours.

He said he opposed a strike “because it does not allow for real negotiations”.

The minimum wage was last raised by 200 shekels a month in October 2012.

1 US dollar = 3.8535 Israeli shekel / Editing by Raissa Kasolowsky

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The Jewish stars of winter TV

Temperatures may be falling, but the small screen is heating up with buzz-worthy performances, must-see series and a few splashy specials. On the list: Lifetime’s adaptation of the biblical best-seller “The Red Tent,” with Debra Winger (Dec. 7 and 8),  NBC’s “Peter Pan Live!” from producers Craig Zadan and Neil Meron (Dec. 4), and these stars of cable, network and Internet TV.


Jeffrey Tambor is getting critical praise for his Emmy-worthy turn in a literally transformative role: He plays Maura Pfefferman — formerly Mort, a retired political-science professor who’s transitioning to female in the Amazon Prime series “Transparent.” How does a 70-year-old reveal such a secret to her ex-wife (Judith Light) and three grown but emotionally immature, self-absorbed children? In the hands of writer Jill Soloway, it’s the source of incisive Jewish humor. 

“It reminds me a lot of my family and around our table,” said Tambor, who grew up Jewish in San Francisco. Other aspects of the situation also seemed familiar. “As a Jew, I understand ‘otherness,’ ” he said. But playing Maura has come with challenges, both physical and emotional.

Walking in heels took some getting used to, as did the hourlong sessions he’d spend in the makeup chair — four times his usual time. And, he said, “It’s the first time I’ve gone to ‘Hair’ in 40 years.” But, Tambor said, he was most concerned about portraying Maura truthfully. “This is a lot of responsibility,” he said. He regularly consulted the production’s transgendered advisers. “I asked a lot of personal questions. They’re often on the set, and just them being around gives me a lot of confidence.”

Tambor, 70, who has a grown daughter as well as younger children ages 9 and 7, plus 5-year-old twins and a grandson, said he feels especially close to the character. “I like her. I believe in her. I find her very comforting. She’s very real to me,” he said. “I think this is one of the best roles I’ve ever had in my life, and to have this happen on, shall we say, the back nine — there’s not an hour that doesn’t go by when I [don’t] say I’m very lucky.”

All 10 episodes of “Transparent” are now available on Amazon Prime. 


Messy marital splits and what it’s like to survive them and reinvent oneself in their aftermath is the subject of the incisively funny new Bravo series “Girlfriends’ Guide to Divorce,” which stars the similarly named Jewish actors Lisa Edelstein and Paul Adelstein as a couple calling it quits after 20 years.

Lisa Edelstein in “Girlfriends’ Guide to Divorce” Photo by Carole Segal/Bravo

Edelstein plays Abby Shoshanna McCarthy, an über-successful best-selling author of books on marriage and parenting whose husband cheats with a younger woman, causing her to have a career-jeopardizing public meltdown. Her divorced friends and gay brother are there to give her advice — for better or worse — on how to handle everything from the divorce to dating to raising her two kids, even as husband Jake remains very much still in the picture.

“It’s a bare-bones view of relationships and what happens when your life suddenly takes a really sharp turn. But you’re still a family. You grew up together,” said Adelstein, whose character, Jake Novack, has issues of his own. “He has been in a state of suspension. His career never took off. He didn’t have to go out and make a living because his wife was doing very well. He can’t rely on that anymore, and there’s some resentment over the fact that she’s the breadwinner. Just as the split forces Abby to take a hard look at herself, Jake has to take a look at himself and how he’s complicit.”

Judaism becomes an issue during a divorce mediation session when Abby, half-Jewish on her mother’s side but not a bat mitzvah, and Jake, Jewish on his father’s side, but a bar mitzvah, argue over who is “more Jewish.” Abby “insists that their kids be raised Jewish, though they already are — it’s not an issue until she makes it an issue,” Adelstein said. “But they find a middle ground on it. One of the things they decide is that it would be nice to have a family Shabbat, even if they’re splitting up. You see that at the end of Episode 2, and, in contrast to everything else that’s going on, it’s really poignant.” 

Filmed in Vancouver with exteriors shot in Los Angeles, “Girlfriends’ Guide” is set in Hollywood, where the divorce rate might seem disproportionately high. Adelstein chalks that up to publicity. “You might hear about people in Hollywood getting divorced more, but the statistics are the same,” he said. 

Married in real life to actress Liza Weil (“How to Get Away With Murder”) for eight years, Adelstein has a strong Jewish identity and is an active member of his Reform synagogue. “I consider myself religious and a cultural Jew,” he said. “We celebrate the holidays. We go to shul.” Jewish humor — everything from Groucho Marx to Woody Allen, The Three Stooges, even Looney Tunes cartoons “played a huge role in my house and my life,” he said.

Of Polish and Russian descent — his late step-grandmother was a survivor of Auschwitz — Adelstein did not become a bar mitzvah; the rabbi of his suburban Chicago synagogue banned b’nai mitzvot because they were “getting too ostentatious.” Adelstein said he’s considering pursuing an adult bar mitzvah, perhaps when his daughter Josephine, 4, becomes a bat mitzvah.

Adelstein also serves as a writing consultant on the series and wrote the fourth episode. In addition to acting, he is a musician and composer and wants to continue doing both. “I want to go where the good work is, work on stuff I care about,” he said. Travel is also on his to-do list. “We want to go to Israel, Italy, Greece, Sweden and Russia.”

“Girlfriends’ Guide to Divorce” premieres Dec. 2 at 10 p.m. on Bravo.


On the CBS series “Madam Secretary,” Bebe Neuwirth plays the very capable Chief of Staff Nadine Tolliver, right-hand woman to the titular official (Téa Leoni). “What intrigued me about Nadine was her willingness, her desire, to be the person behind the power — the quiet support who elegantly and intelligently helps the person at the center of attention,” said Neuwirth, who loved the way the script “portrayed strong, intelligent women. There was nothing stereotypical about them.” 

Bebe Neuwirth in “Madam Secretary” Photo by David Giesbrecht/CBS

Although the Emmy (“Cheers”) and double-Tony Award winner (“Sweet Charity,” “Chicago”) wasn’t looking for a TV series, she was open to the idea, especially one that didn’t require her to leave New York, she said. 

Neuwirth grew up across the river in Princeton, N.J., in a non-observant family. “I’m not religious. I consider myself a cultural Jew. When I was very young, my family had seders and lit the Chanukah lights, my father reciting a prayer. But there was no discussion of religion in our home, I never went to temple and really didn’t know anything about it,” she said. Nevertheless, she added, “I identify unquestionably as a Jew. My husband is not Jewish. He, too, is not religious, so there was no problem when we planned our wedding.”

Neuwirth, who did consult the series’ State Department adviser for background, chose “to create a character defined by a personality and emotional life, rather than her job, although Nadine’s choice of work says, I believe, quite a lot about her,” Neuwirth said. Nadine makes reference to her Jewish ancestry in the sixth episode, when she toasts the memory of her grandfather, “Louis Grossman, who was killed at Auschwitz.”

With career highlights that range from TV’s iconic “Cheers,” to working with Gwen Verdon and Bob Fosse on Broadway, to playing opposite Tom Selleck on “Blue Bloods,” Neuwirth isn’t planning her next step. “I’m not a strategist. I certainly dream about different ideas, but rarely act on them. The exception to that is when I create my cabaret shows.” Her latest, “Stories With Piano,” was recorded at the New York club 54 Below for a CD called “Stories … in NYC.” Both it and a studio record called “Porcelain,” produced by her husband, Chris Calkins, are available via iTunes. 

Neuwirth also keeps busy as a member of the board of trustees of The Actors Fund, for which she created The Dancers’ Resource, to help “professional dancers of all disciplines.”

Following the Nov. 30 episode, “Madam Secretary” will go on hiatus during December and return to CBS on Jan. 4 at 8 p.m.


“Friends” ended its network run 10 years ago, but Lisa Kudrow continues to thrive on cable television, simultaneously starring in two series, as a woefully inept shrink in “Web Therapy” on Showtime and as the has-been actress Valerie Cherish in HBO’s aptly titled revival of the 2005 series “The Comeback.”

Lisa Kudrow in “The Comeback” Photo by Colleen Hayes/HBO

“It’s nine years later and she’s not as much of a doormat. She’s a little crankier and less afraid of showing that,” said Kudrow, who missed playing Valerie “on a very personal level. I really enjoyed being someone for a period of time that just thought everything was OK.”

A Los Angeles native, Kudrow grew up in the ’70s aware of Jewish comedians, but said she can’t pinpoint a direct influence. “I recently saw a documentary about Jewish comedy and how well Jews complain, and it’s the source of their humor, but I don’t think that’s part of what I do. I do awkward,” she said. 

She found a bigger comedic source at her own dinner table. “When you’re the youngest one in the family, you’re absolutely not the funniest one in the room. But my family’s very funny,” Kudrow explained. “So I would steal their stuff and bring it to school and score.” 

“The Comeback” airs Sundays at 10 p.m. on HBO.

“Web Therapy” airs Wednesdays at 11 p.m. on Showtime

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Under Modi, Israel and India forge deeper business ties

At the UN General Assembly in New York last September, Israeli Prime Minister Benjamin Netanyahu set aside time for a critical meeting. But it wasn't President Barack Obama he was keen to see. It was Indian Prime Minister Narendra Modi.

Since Modi came to power in May, ties between Israel and India have been in overdrive, with the two signing a series of defence and technology deals that have underscored their burgeoning commercial and political relationship.

The same month as the UN meeting, Modi's cabinet cleared a long-delayed purchase of Israeli missiles for its navy. In October, India closed a $520 million deal to buy Israeli anti-tank missiles. And last week, a jointly developed aerial defence system passed a major trial, which India called a “milestone”.

“There is great momentum in cooperation, on both the defence and economic sides,” Naftali Bennett, Israel's economy minister and a member of Netanyahu's inner cabinet, told Reuters.

India is now the largest buyer of Israeli military equipment, while Israel is India's largest customer after Russia. In the first nine months of 2014, bilateral trade reached $3.4 billion, on target for a record this year.

While that may not be vast in global terms, it has helped push Asia to the brink of overtaking the United States as Israel's largest export market after the European Union.

India is steadily catching up with China as it buys more Israeli defence and cyber-security technology, an area where China is limited since the United States frowns on Israel dealing too freely with Beijing in defence matters.

The roots of the Israel relationship go back to 2006, when Modi was chief minister of Gujarat and visited the region to explore new ideas in irrigation, an area of Israeli expertise.

As a result, India started buying drip-feed technology, said Amnon Ofen, a friend of Modi's and chairman of NaanDanJain Irrigation, formed after India's Jain Irrigation acquired a firm created by two Israeli collective farms.

Under Modi's predecessor, Manmohan Singh, India kept its relationship with Israel under wraps, in part so as not to upset its Muslim minority, said C. Raja Mohan, head of strategic studies at the Observer Research Foundation in New Delhi.

“Cynics in Israel would point out that Delhi was treating Tel Aviv like a mistress – engage in private but refuse to be seen with in public,” said Mohan. “The Modi government is having none of that.”

The question is where the relationship goes from here. Strategically, Israel is glad to have a rising Asian power as an ally. But for both the focus is really on business.

Israel Ports Co. is partnering India's Cargo Motors to build a deepwater port in Gujarat, and Israel's TowerJazz is teaming up with India's Jaiprakash Associates and IBM with plans to build a $5.6 billion chip plant near Delhi.

At a security conference in Tel Aviv last week, executives from top Indian firms were shopping for systems to secure their pipelines, refineries and other infrastructure.

All the activity has lead to expectations that Israel and India will finalise a free trade agreement in the next year.

“That means trade will double or triple,” said Anat Bernstein-Reich, who chairs the Israel-India Chamber of Commerce, an office hoping and preparing for a boom.

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Holiday season brings authors to SoCal

From the Bible to the Broadway stage, readers and gift-buyers can find a wealth of new books in the bookstores, and it’s the time of year when authors, too, are out in the world to talk about their work. Here are five choice opportunities in Southern California.

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The name Cecil B. DeMille has entered our language as a signifier for a kind of epic motion picture that was once the glory of Hollywood. Yet, somehow his name fails to conjure what the flesh-and-blood DeMille actually accomplished from his perch on a camera dolly in an era long before computer-generated images.

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A bookstore appearance by crime novelist and literary wild man James Ellroy belongs to the realm of performance art. Indeed, his in-person antics are so intense that his visit to Skylight Books once became the subject of a documentary film. 

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‘The Red Tent’ puts down stakes as Lifetime miniseries

Anita Diamant laughed as she described how readers often approach her to exclaim, “I love your book!”

“Actually I’ve written 13 books, but I always know which one they’re talking about,” Diamant said during a telephone conversation from her Boston-area home. “It’s my best-seller — my best bestseller — and I’ve gotten used to that.”

Diamant, 63, is referring, of course, to her 1997 novel, “The Red Tent,” a sexy riff on the Genesis story of Dinah, told as a first-person narrative, which was one of the first modern tomes to proffer a feminist spin on biblical events. Through the untraditional route of book groups and word-of-mouth recommendations, her debut novel exploded into an unexpected global phenomenon, translated into 28 languages and selling 3.3 million copies worldwide to date.

On Dec. 7 and 8, Diamant’s fictionalized Dinah will reach an even wider audience with the premiere of a Lifetime miniseries based on the novel, also titled “The Red Tent,” starring Rebecca Ferguson as the daughter of the biblical Jacob; alongside Academy Award nominee Minnie Driver as Leah, Dinah’s mother; Morena Baccarin (“Homeland”) as Rachel, Jacob’s beloved second wife; and Oscar nominee Debra Winger as Jacob’s mother, Rebecca. To coincide with the series, Picador recently released a TV tie-in edition of Diamant’s book.

Like the novel, the miniseries reimagines as a torrid romance the biblical tale in which Dinah is raped by a Canaanite prince. After Dinah’s brothers take revenge for her supposed assault by murdering her lover and all his male tribe, the shattered young woman flees to Egypt, where she eventually becomes an esteemed midwife. Along the way, there are stories of the patriarchs and especially the matriarchs — as well as Jacob’s wives Zilpah and Bilhah — who gather in a red tent during menstruation and childbirth to dance, sing and share secrets.

Diamant, a daughter of Holocaust survivors who began studying Judaism in earnest as her husband-to-be was converting to Judaism in the 1980s, began writing “The Red Tent” during a midlife career change about a decade later. She previously had worked as a journalist and as a pioneering author of Jewish lifecycle books, with how-tos such as “The New Jewish Wedding” and “Living a Jewish Life” under her belt. But by the time she was in her 40s, she wanted to challenge herself by writing a novel, and without an original story in mind she turned to the Torah. “Lots of people have stolen from the Bible; it’s the great treasure trove of stories, the mythic birthright of Western civilization,” she said.   

“And, of course, my novel was going to be about women, which is my primary interest as a writer. So, I initially thought I would focus on Rachel and Leah, because I thought their relationship had to be more complicated than just who’s going to sleep with Jacob.”

But as Diamant kept reading the biblical text, she came across the short, dramatic account of Dinah, which begins in Genesis 34: “Now Dinah, the daughter whom Leah had borne to Jacob, went out to visit the daughters of the land. Shechem son of Hamor the Hivite, chief of the country, saw her, and took her and lay with her by force.  Being strongly drawn to Dinah, daughter of Jacob, and in love with the maiden, he spoke to the maiden tenderly. So Shechem said to his father Hamor, ‘Get me this girl as a wife.’ ”

Diamant was fascinated, she said, because, “It was pretty clear to me that it wasn’t a rape, since the prince doesn’t behave the way a rapist does. He goes to Dinah’s father and is willing to give any bride price, and to have his entire community circumcised, which is remarkable. And, in fact, we don’t know what really happened, because Dinah doesn’t say anything in the entire short passage. It is her brothers who characterize her [relationship] as a violation and set the murders in motion. So Dinah’s silence was a kind of open door for me. That’s where it became the possibility of a love story. We know that something profoundly terrible happened, and I wanted to write about why and how that happened and what the aftermath was.”

Diamant immersed herself in research to flesh out her story, focusing in particular on the daily lives of women in Mesopotamia, the land of Palestine and Egypt circa 2500 B.C.E., including traditions surrounding sex, food, fertility and childbirth. But, she said, “I really turned away from the religious sources early on so I could tell my own story. I was not creating midrash [although feminist scholars have disagreed]. I would never have had the nerve to do biblical commentary, but I did have the nerve to write a novel.”

The red tent of the book is Diamant’s own invention, largely modeled after the menstrual huts and tents that existed throughout the pre-modern world.  

The novel matter-of-factly depicts the polygamy of the period: “I tried not to pass modern judgment on the characters,” she said. “This was a world before girls’ empowerment, but it was also a world in which women lived lives of dignity and strength and supported one another.”

It was also a world in which Dinah and the matriarchs worshipped goddesses: “I never considered the characters to be Jewish,” ‘Diamant said.  “The book takes place before Moses, and before the law was delivered at Sinai. It’s a book based on the pre-ancestors, not only of the Jewish people but of Christians and, to some extent, Muslims as well.”

Diamant admitted that there “have been people who have objected to all of the liberties I took in telling the story.” Critics have blasted the novel for its depiction of Rebecca as an imperious shrew, for example, and of Dinah’s “rape” as consensual, ecstatic sex.

“But I don’t think the book justifies rape at all, because it doesn’t characterize the events as a rape,” Diamant said. “And I’m not the first person to challenge the notion that it was a violation. There have been other writers and commentators who have questioned that. And look, this is a novel,” she added. “It’s like jazz, an improvisation on the biblical story.”

Once Diamant finished writing “The Red Tent,” however, the word from publishers was that historical fiction was a hard sell. The author struggled to find an agent and finally managed to sell her manuscript to St. Martin’s Press for a modest advance (Picador published the subsequent paperback edition the following year). 

 Initially only 10,000 copies sold — even Jewish newspapers declined to review the book — after which the publisher announced that it would pulp remaining copies of the tome. “It was painful,” said Diamant, who nevertheless immediately sprang into action.

She urged her publisher to send books destined for the shredder to every female rabbi in the country accompanied by a cover letter praising the novel from the Women’s Rabbinic Network. Additional copies were sent to every Reconstructionist synagogue in the United States, as well as to Christian female clergy and bookstore reading groups, along with a printed reading guide.

Diamant herself pounded the pavement, speaking to every reading group and at every Jewish book fair possible. It was the buzz generated from these mostly female book groups over the next 2 1/2 years that turned the novel into a best-seller. “I felt like Cinderella,” said Diamant, whose new novel, “The Boston Girl,” will hit bookstores in early December.

Thereafter, discussions of possible film or television adaptations of “The Red Tent” came and went, “so I didn’t think it was ever going to happen,” said Diamant, who in 2004 helped found the country’s first independent pluralistic mikveh, Mayyim Hayyim, located in Newton, Mass. 

“Then, about two years ago, Lifetime approached me, and they were both enthusiastic about the book and committed to the project — and they followed through.”

“It was a passion of mine to see this book adapted into a miniseries from the moment I read Anita’s beautiful book” in 1997, Nancy Bennett, vice president of original movies at Lifetime, wrote in an email. “It touched and moved me deeply.”  

Bennett, who is Jewish,  wrote, “I identified with the love and connectivity of the world of women (though in my family our tent took the form of my grandmother’s kitchen more often than not). … We keep people alive by sharing their stories. This is the resounding message of Anita’s book [and] Dinah’s story.”  

Diamant was not involved in any way in the adaptation: “I had to learn to let go,” she said. “But Lifetime [ended up] doing a very respectful job of it. The main take-away is one of celebration of women’s power, strength and resilience, which is one of the major themes of the book. So is the importance of women’s relationships, which tend to be trivialized in our society,” she said.

Lifetime’s miniseries “The Red Tent” premieres Dec. 7 and 8 at 9 p.m. on Lifetime. 

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