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December 20, 2017

He’s a ‘Jeopardy!’ Champion. Who Is Buzzy Cohen?

Buzzy Cohen came from behind to win the “Jeopardy!” Tournament of Champions last month, adding $250,000 to the $164,603 he won in his appearances on the game show in 2016. Originally from New Jersey, where his father owns a men’s clothing store, Cohen, 32, was given the name Austin but goes by what his parents nicknamed him in utero — Buzzy.

The Columbia University graduate moved to Los Angeles eight years ago and is now CEO of The Teenage Diplomat, which provides music for commercials. He married Elisha Cohen — her rabbi father officiated — in 2011, and they live on the Westside with their 3-year-old daughter. In a recent interview, he talked about his newfound fame, flashy wardrobe, plans for the prize money, and how being Jewish helped him win.

Jewish Journal: You were in third place going into the last game. What turned it around for you?

Buzzy Cohen: I thought, “I got 50 grand out of this.” I was happy to make it to the finals. But I got in the zone and went on a run and hit that Daily Double after and made the most of it. I think that was the game changer, not only because it pushed me so far in the game, but it also forced Alan [Lin] to make a big wager that didn’t work out. I forced everybody to play aggressively.

JJ: Did being Jewish prove to be helpful in any way?

BC: I did well in a Bible category in the first run [owing to] my Hebrew school study. There was a $2,000 clue about Philip Roth. My grandfather lived next door to him — a New Jersey Jew connection. Also, the Jewish culture is one that values knowledge, information and study. My parents and grandparents really valued education. So I think being Jewish prepared me.

And my dad, being in the shmatte business, helped with the suits. The first time I was on, he made me three suits. I started wearing a suit and tie every day after that and I continued to get suits made. For the tournament, I went a little more peacock-y. My goal wasn’t to win the tournament, just make it to the finals so everyone could see all four outfits.

“I did well in a Bible category in the first run [owing to] my Hebrew school study.”

JJ: Had you always wanted to be on “Jeopardy!”?

BC: My parents always wanted me to do it but I never thought I was good enough. I didn’t think I had ultra-elite knowledge. I’d never done well at a bar trivia night. I was the captain of the Quiz Bowl team in high school but put myself on the B team because I thought I wasn’t as good as other people. So I didn’t think I would win one [game]. It’s so far beyond anything I could have ever imagined.

JJ: There was a lot of on-air camaraderie among the contestants. Has the friendship continued?

BC: Yes, [including that] I’ve had dinner with Alan, and we’ve gone to our Wednesday trivia night at O’Brien’s [Irish Pub] in Santa Monica. A lot of former “Jeopardy!” champs attend.

JJ: Have any plans for your winnings?

BC: Between both of my appearances, my daughter has a college fund now. We’re talking about doing a trip to Europe in the summer. We were already planning a trip to Israel in the spring. My wife has been many times and has family there. With the initial winnings, we were happy to be able to make a significant donation to a number of charities, Jewish and otherwise, that were important to us, and this year we’ll be doing the same.

JJ: Are you enjoying the fame? Any unusual fan encounters?

BC: People have come up to me at a boxing match in Las Vegas and a Bruce Springsteen concert in New York. [Musician] Huey Lewis recognized me, and we’ve connected by email. I’m having fun with it. You get to brighten up people’s days. I’m probably on the E-list of fame, but I couldn’t think of anything other than a Nobel Prize I’d rather be known for.

He’s a ‘Jeopardy!’ Champion. Who Is Buzzy Cohen? Read More »

Muvix Reinvents the Cinema Experience

The demise of the movie theater has long been predicted but has yet to happen. The final nail in the coffin may be streaming services like Netflix and inexpensive 4K, flat-screen monitors (or even personal devices, which millennials often prefer), which make staying in with a bucket of homemade popcorn a cost-effective and convenient alternative to the cineplex.

Alon Nisim Cohen, a cinema buff and fan of the classic movie-theater concept, decided he wasn’t about to let a time-honored tradition become the latest casualty of the digital age.

Each room sports a large flat-screen TV and furniture designed to remind you of home.

Instead, he decided to bring digital smarts to the theater.

The result is Muvix,  a mashup of the comforts of home with the excitement of a night out on the town, all run by a mobile app.

While the Muvix Concept mini-multiplex at the Tahana — the old Tel Aviv train station — looks and feels like a movie theater, what the company really is selling is a cloud-based technology for on-demand, multi-theater synchronized screening.

Muvix has built 14 mini-theaters in a single open-plan building. Some accommodate only two people, others can hold a party of 20. Each room sports a large flat-screen TV and furniture designed to remind you of home (for instance, a couch and comfy armchair or two large double beds).

To book a screening, you first download the Muvix app and choose the movie from a list of 100 or so recent and classic films. At the theater, you get a pair of headphones to plug into your smartphone. The app tells you which theater you’ll be using. The Muvix software links the video with the soundtrack.

The core of Muvix’s technology is keeping track of hundreds of users watching potentially dozens of films at once, with the soundtracks streaming over multiple cellular phone networks (or at the Muvix Concept space, via Wi-Fi).

You don your headphones and the movie starts at the appointed time. If you want to order food during the film, you can call a waiter from within the Muvix app.

Muvix Concept in Tel Aviv is really a beta testing facility for Muvix’s eventual move on the U.S. market. So far, 5,000 people have seen a Muvix-powered film. The theater has been open to the public since July on weekends; the introductory fee is NIS 20 per person (about $5.70), including a free drink.

Muvix’s staff is small — only 15 people in nearby Petah Tikva — and the company has raised $6 million from several angels along with founder Cohen, who previously headed and took public CyberArk, one of Israel’s largest cybersecurity companies.

While Muvix aims to create a fun alternative to watching at home, where Cohen and Muvix CEO Nithai Barzam are going with the technology is not necessarily the movies. Barzam envisions Muvix software being used in corporate environments, where a series of pop-up theaters easily could be rolled out for a night or two. The “movie” might be company-provided content about its new product line or a team-bonding event.

Sticking with the Hollywood direction, a municipality could create a pop-up theater in the park, on a rooftop or at the beach with multiple screens. You pick your movie from the app, don your headphones and share the experience of being together while watching what you prefer.

Muvix could be implemented in a hospital waiting room, an airport waiting area, a live concert or a sporting event, Barzam suggests. All the controlling software is run from the cloud.

The Muvix experience can seem a bit isolating at first because you’re ensconced in your private sound bubble. If you want to talk to your friends, a private group audio button lets you speak over the soundtrack to others in your group.

Worried that your phone doesn’t have enough juice to last the entire film? Hit the call button on the app and a Muvix staffer will bring you a battery charger.

Muvix Reinvents the Cinema Experience Read More »

Heard About the Feather Salesman? He Brought Hollywood Down

Standing at his booth in the Los Angeles Convention Center, Willy Zelowitz looked like any middle-aged salesman: a button-down shirt, ordinary pants and a warm smile.

And then there was the feather boa.

Zelowitz, 71, seemed right at home among the fans and drag queens at RuPaul’s DragCon, an annual two-day event for devotees of “RuPaul’s Drag Race,” the popular reality TV show.

Chatting up anyone who dropped by, he invited visitors to try on the feather-laden headdresses, jackets, coats and angel wings filling his racks and shelves. When he learned it was one customer’s birthday, Zelowitz handed him a pen topped by a long, red plume.

Since 1975, Zelowitz has made a career of designing with feathers for Hollywood, the fashion world and beyond. His Mother Plucker Feather Co. has adorned the costumes of stars from Bette Midler and Queen Latifah to Miley Cyrus and Jennifer Lopez. If you’ve ever watched the “The Muppets” or flipped through a Jenny McCarthy Playboy spread, you’ve probably seen Zelowitz’s work.

“As my career evolved, I became more passionate about it,” Zelowitz said. “I had to pay my dues, but I keep doing this because I love my work.”

The son of Hungarian-born Holocaust survivors, Zelowitz started the business while attending Los Angeles City College. Taking note of a friend’s feather earrings, he decided he could design a better version.

“I knew I could improve on that design — more integrated textures and colors,” Zelowitz said.

When he did, he started selling from a table at a Westwood open-air market, earning $80 in his first weekend — nearly enough for a months’ rent at the time.

Soon he left school to pursue the business full time. His best friend came up with Mother Plucker’s catchy name, and a designer who had worked for Coca-Cola was so amused by it that she offered her services for free, creating a logo featuring three birds, rears in the air. “I’m very lucky,” Zelowitz said.

Zelowitz was soon showcasing his feather jewelry at craft shows, swap meets and eventually retail stores. He branched out to design custom skirts and jackets for clients, but it was his initial angel-wing creation that brought him his first big deal with Victoria’s Secret. It took a year to develop, and a great deal of time to make the wings balanced and to perfect the shape, Zelowitz recalled.

“I did all the windows for Canada and the U.S.,” Zelowitz said. “I installed approximately five wings in each window in about a thousand stores and it took three and a half months.”

He has adorned the costumes of stars from Bette Midler and Queen Latifah to Miley Cyrus and Jennifer Lopez.

Over time, Mother Plucker grew to create items for production companies including Disney, major designers, recording companies, retail boutiques, Cirque du Soleil and for countless commercials and TV shows. Its clients have also included the likes of Britney Spears, Ricky Martin and Katy Perry.

That glamorous work has taken Zelowitz a long way from his humble beginnings in a U.S. military-police barrack in Bamberg, Germany, where he was born to Margaret and Jacob Zelkovic, both natives of Budapest. His mother survived three concentration camps, including Auschwitz and Dachau. His father, a tailor, was also in the camps.

“They were picking up strays off the street,” Zelowitz said. “Nobody had money, clothes, shoes, food, nothing. The U.S. military police had four square blocks of buildings and they took in everybody they could grab that was homeless.”

After being liberated, the family returned to Hungary, but realizing they had no future there, they immigrated to the United States. An immigration officer at Ellis Island changed the family name to Zelowitz.

“I got here when I was 3 years old and I didn’t speak English,” Zelowitz said. “My first language was Yiddish.”

Jacob Zelowitz, who changed his name again, to Zell, took his trade as a tailor a step further, producing a fashion line.

No doubt that helped inspire young Willy Zelowitz to launch his own fashion career. When working with entertainment industry clients, Zelowitz and his teams work collaboratively. They review the budget and timeline, plan the color scheme, and select the feathers — all the while considering important questions, such as, will the feathers be on a wall or are they going to be on a Brazilian dancer’s Carnival costume?

Zelowitz said Mother Plucker harms no birds in gathering its feathers. It collects them from molting birds, or it takes the byproducts of birds used for food.

Lelan Berner, an Emmy-winning designer, is Mother Plucker’s lead designer. She met Zelowitz when he was starting out by hawking feather earrings and she was in her 20s selling leather bikinis decorated with feathers.

“He taught me how to wash my feathers in a pillowcase,” Berner said. “I’ve known him ever since. He’s a helpful and kind person.”

Betty Lo, Zelowitz’s “right hand,” has worked for Zelowitz since she and her identical twin came to work for him after spotting an ad in a local Chinese newspaper.

“Betty is so honed to my values that I’ve got four hands when we’re standing next to each other,” Zelowitz said. “We don’t have to talk.”

With a Los Angeles showroom open to the public, Zelowitz enjoys interacting with everyday people. Ginger Pauley, a vintage bandleader and vocalist, said she always gets a great deal on feather boas.

“On my last trip to Mother Plucker, I got to meet and chat with Willy,” she said. “We talked about Vegas showgirls, angels, how to care for feathers and snorkeling in Maui.”

All in a day’s work for L.A.’s king of feathers.

“It’s been a fun ride,” Zelowitz said. “I’ve worked hard to turn myself into the person I want to be.”

Heard About the Feather Salesman? He Brought Hollywood Down Read More »

Jedi-ism and Judaism

The loudest noise coming out of Hollywood this holiday season is “Star Wars: The Last Jedi.” Even if the last thing you want to do is see another “Star Wars” movie, you might be interested to know about the secret message embedded in this film that the Jewish people have known for 2,000 years.

Everyone knows from the title that it’s a story about “the last Jedi,” but even if you’ve seen the film you may not know that saving Jedi-ism is a lot like saving Judaism. (Warning: Spoilers ahead.)

Master Yoda would have been an awesome rabbi was the first thing I thought when the Jedi master made his surprise appearance in an iconic scene.

Luke Skywalker, the Jedi hero who saved the galaxy, is broken by the destruction wrought by rogue Jedi warriors. Menacing torch in hand, Luke approaches the Jedi Temple and its small library of ancient texts. Suddenly, Master Yoda’s ghost appears.

Everyone in the theater expects Yoda to stop Luke. But director Rian Johnson does exactly the opposite of what we would expect in a “Star Wars” film. Yoda incinerates the Jedi Temple with a bolt of lightning. Cackling, Yoda reminds Luke that Jedi wisdom is more than a temple and books. Luke will not be the last Jedi.

For 1,500 years, Judaism was organized around the Temple. Around 2,000 years ago, that Judaism broke. Hanukkah celebrates a brief return to the glory of Temple-centric Jewish life. But within a few generations, the Hasmonean dynasty was more Roman than it was Jewish. The Temple was inaccessible to most Jews, its authority a corruption magnet. Tragically, we were exiled as our Temple burned to the ground. Judaism should have ended in the Temple’s smoldering wreckage.

The rabbis saved Judaism by moving Jewish life from the Temple to the Talmud, reimagining Judaism as a decentralized, wisdom-based, accessible religion — the secret of Diaspora Judaism.

Johnson (and Yoda) did the same to the Jedi religion by burning the Jedi Temple to the ground.

The soul of every conflict in “The Last Jedi” dances around this question: How to reconcile the past, the ancient, calculated and wise with the future, the fresh, impulsive and creative?

To Luke, The Force is broken. Jedi-ism is a failure — it must end forever. Yoda disagrees because The Force and Jedi wisdom are eternal, with or without a building or books. The Jedi will live on through a new Jedi hero — Rey.

Very rabbinic.

“Star Wars: The Last Jedi” was supposed to tell us Rey’s story. The postmodern Jedi warrior who reawakened The Force with her courage and kindness in the previous film was an orphan. But surely her parents were special in some way? Luke Skywalker was an orphan until he discovered his father was Darth Vader, in the original “Star Wars” trilogy. Rey is a Luke Skywalker–type hero. Surely, Rey would discover the identity of her parents in “The Last Jedi,” the second of a trilogy.

Master Yoda would have been an awesome rabbi.

Instead, Rey’s nemesis, Kylo Ren, divulges that her degenerate parents sold her for beer money. Rey is literally no one from nowhere. Yet, Rey is a gifted Jedi. “The Last Jedi” tells us that there is no birthright to The Force and Jedi wisdom. They are accessible to all.

Before the final credits, we glimpse the ancient Jedi texts stowed aboard the Millennium Falcon. Apparently, Rey took the books before Luke and Yoda burned down the temple. When I saw those books, a new thought popped into my head.

Yoda was rabbinic, but he was wrong. The Jedi religion would disappear if it relied entirely on an oral transmission from Master to Padawan. Yoda was stuck in the same stagnant vision of the Jedi religion as Luke.

Rey is the Jedi hero we have been looking for. Ancient wisdom must not be discarded nor can it be entrusted to our fickle collective memory. Wisdom must be portable and flexible enough to take on our journey. The great rabbis of post-Temple Judaism knew this and turned us into the People of the Book.

Yoda would have been a great rabbi. But Rey is the visionary rabbi who preserves the past by reimagining a place for ancient wisdom in the future.


Eli Fink is a rabbi, writer and managing supervisor at the Jewish Journal.

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Author Follows the Trail of Evidence in Seeking the Truth Behind the Exodus Story

One of my life-changing experiences was reading Richard Elliott Friedman’s “Who Wrote the Bible?” for the first time. It was Friedman’s work that inspired me to write my own books about the Bible, and it’s a book that I continue to recommend as the starting place for any reader who wants to find out about the flesh-and-blood human beings who held the quills with which the single most important book in Western civilization was first written down.

Since then, I have followed — and written admiringly about — Friedman’s other works of scholarship, including other favorites of mine, “The Disappearance of God” and “The Hidden Book in the Bible.” What sets Friedman apart is the fact that he is both a highly respected and influential Bible scholar — the Ann and Jay Davis Professor of Jewish Studies at the University of Georgia and the Katzin Professor of Jewish Civilization Emeritus at UC San Diego — and a gifted writer who addresses the most challenging ideas with perfect clarity and makes the ancient texts come fully alive.

Friedman’s latest book is “The Exodus: How It Happened and Why It Matters” (HarperOne), an eye-opening study of perhaps the single most consequential event in the biblical narrative and one of the touchstones of both Jewish and Zionist aspiration. As Friedman himself describes the cutting edge of his book, “[Is] the exodus from Egypt a story — or history?”

Friedman acknowledges that the question itself is regarded as blasphemous by some Jews. He notes the heated response that Rabbi David Wolpe of Sinai Temple received when he raised the same question from the pulpit in 2001. And Friedman describes his book as “a work of detective nonfiction,” an effort to extract the historical truth from 40 years of academic enterprise, not only his own but also “studies of literature and history, archaeology, art, architecture, genetics, linguistics, cultural anthropology and, not to leave out the obvious, religion.”

Characteristically, Friedman rejects the platitudes that are sometimes offered in place of hard facts. “Some will say: It does not matter if it is historical or not. What matters is what it has meant, the exodus’ meaning to religion over the centuries,” he writes. “But nowadays I find myself saying: Whom are we kidding? We want to know if it happened, or if what people have been believing for millennia is an illusion, an invention.”

Ironically, the place to look for fresh evidence of the Exodus is a text where it has been hidden in plain sight. “Our mistake until now … is that we have looked almost solely at archaeology,” he explains. “We left out our biggest source, the Bible itself.”

As Friedman himself describes the cutting edge of his book, “[Is] the exodus from Egypt a story — or history?”

The conclusion that Friedman reaches in “The Exodus” is both sensational and profound. The Bible suggests that some 2 million Israelites fled Egypt during the Exodus, and yet archaeology has found no artifacts or records to confirm the account. “But none of this is evidence whether the exodus happened or not. It is evidence only of whether it was big or not,” Friedman writes. “Would it be a wild and crazy idea if we consider the possibility that the exodus happened but it was not big?”

Even more intriguing is Friedman’s contention that the participants in the Exodus may have consisted of only one of the 12 tribes of Israel, that is, the tribe of Levi. To support his argument, Friedman carefully and clearly explains what has been overlooked by scholars who look only for pottery shards and scraps of papyrus.  He points out that the Levites who are described in the Book of Exodus — including Moses himself — have Egyptian names. All of the biblical texts that describe the treatment of slaves, both during and after the sojourn in Egypt, come from Levite sources, and so do all references to Egyptian lore in the story of the Exodus. Perhaps, Friedman suggests, only the Levites were slaves in Egypt, only the Levites participated in the Exodus itself, and when they arrived in the Promised Land, the tribe of Judah and the other tribes of Israel “were already there.”

Friedman goes on to address some of the innovations in the theology of ancient Israel. “If the exodus was historical, that is not the end of the story,” he insists. “It is the start.”

He also wants to know, for example, the origin of the notion that “God is One.” Here, too, he suspects that the Levites may have acquired the idea of monotheism from the Midianites or the Egyptians and carried it into the Promised Land: “A small group joins a much larger group just around the time they become a nation,” he proposes. “They make a revolutionary consensus about having one major god, not two.” Only later did the authors and editors of the Bible turn the experiences of the Levites into the national history of Israel.

“These writers produced stories of the enslavement of all of Israel and their
liberation from Egypt,” Friedman writes. “They wrote that all of Israel, millions of people, made the journey to the promised land. They wrote that the name of
their God, Yahweh, was known to all of the Israelites by the time they arrived in that land.”

I am obliged to disclose that I was invited to provide a blurb for the book in advance of publication, but Friedman surely deserves a review in full. After all, each of his books allows us to penetrate the inner meanings of the Bible in fresh and revelatory ways, and “The Exodus” is the most unsettling of all. We come away from his latest book with answers to more than one question — not only “who wrote the Bible,” and not only “how the Exodus happened and why it matters,” but even the question of what we mean when we talk about being Jews.


Jonathan Kirsch, book editor of the Jewish Journal, is the author of “The Harlot by the Side of the Road: Forbidden Tales of the Bible.”

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Screenwriter Sees Biblical Parallel in ‘The Post’

For Joshua Singer, the Golden Globe-nominated co-screenwriter of Steven Spielberg’s “The Post,” there’s something biblical in the tale of how The Washington Post and its publisher, Katharine Graham, defied the Nixon administration at great risk to publish stories on the top- secret Pentagon Papers in the 1970s.

“It’s when God says to Abraham, ‘Take your only son, bind him and prepare him for a [sacrificial] offering,’” Singer said. “Then God stays Abraham’s hand. It’s a test of Abraham and his faith in God, in the same way that Katharine is forced to raise her hand in a way that might slaughter her business, her legacy and her fortune.

“It’s because she sees that there is something greater than her legacy, which is the freedom of the press. For those values, she’s willing to sacrifice that business, in the same way that the value of God and the Jewish religion is one for which Abraham was willing to sacrifice his own son.”

The movie especially focuses on Graham, a former socialite who took on the position after her husband committed suicide. She was the one who eventually made the decision to publish the Pentagon Papers story, which revealed that United States political and military leaders continued the Vietnam War, to save face, even though they knew the U.S. couldn’t win. She did so even though the Post was threatened with federal action that could have destroyed the newspaper, her family’s longtime business.

“When you’re raised Jewish, there’s something in our Bible stories that’s all about raising one’s hand up against the status quo.” — Joshua Singer

“She was risking everything,” said Singer, who was raised in a Conservative Jewish family near Philadelphia.

In 2016, Singer won an Academy Award for co-writing another movie about newspapers, “Spotlight.” It featured the story of a journalist he deemed as among “the pantheon of great Jewish heroes”: Marty Baron, who faced anti-Semitism when he became editor of The Boston Globe in 2001 yet went on to publish stories about pedophile priests in that mostly Catholic city.

Singer had a biblical parable about Baron, as well.

“When you’re raised Jewish, there’s something in our Bible stories that’s all about raising one’s hand up against the status quo,” he told the Journal in 2016. “It’s Abraham having the temerity to break all those idols in a land where everyone is worshipping them. Or David, a guy with a slingshot, standing up against a giant and knocking him down.”

“The Post,” he said, is “not about Jewish heroes but American heroes.”

The film began when Singer’s co-screenwriter, Liz Hannah, read Graham’s memoir, “A Personal History,” about six year ago. She realized that Graham’s Pentagon Papers dilemma “was the moment she found her voice,” Hannah said.

“One of the themes in the film is Katharine being the lone woman in the boardroom, and the idea of being the sole woman in a male-dominated industry is something I felt was very relatable,” said Hannah, who was raised in a Christian household in New York and Connecticut.

After Spielberg and actors Tom Hanks (who plays the Post’s executive editor, Ben Bradlee) and Meryl Streep (Graham) signed on to the project, Singer was brought in to collaborate on reworking the script with Hannah. He initially had trepidations about tackling another journalism saga, but then he fell in love with Hannah’s script.

From left: Tom Hanks, David Cross, John Rue, Bob Odenkirk, Jessie Mueller and Philip Casnoff in “The Post.”

“Liz’s genius was telling the story of the Pentagon Papers through the lens of Katharine Graham,” Singer said.

The screenwriters spent time with the Graham and Bradlee families in order to ensure the accuracy of their script.

“I think Katharine and Ben liked and respected each other, but their [platonic] relationship is a bit like a young marriage that is singularly tested over the course of the film,” Singer said. “One of the incredible things is that they actually got stronger because of this test.”

And that prepared them to tackle their next big story — the Watergate scandal, which was captured in the acclaimed 1976 film “All the President’s Men.”

“The Post” hasn’t been without critics, who have charged that the filmmakers ignored that it was The New York Times that originally broke the story of the Pentagon Papers; the Post ran with it after the Times was prevented by courts from publishing further on the matter.

In response, Singer said the film does give due credit to the Times and focuses on that newspaper’s original Pentagon Papers reporter, Neil Sheehan.

“We reached out to a lot of folks from the Times, some of whom didn’t want to talk to us, but some did,” he said. “The story of Katharine is the one that we
wanted to tell, but the movie is also a celebration of the Fourth Estate and the First Amendment.”

The movie resonates at a time when President Donald Trump has threatened news organizations and made allegations of “fake news.”

“Our film is about the role of the press,” Singer said, “which is to keep our leaders in check and to hold them accountable.”

“The Post” opens in Los Angeles theaters on Dec. 22.

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Fire Victims Find Comfort in Community

Almost two weeks after being evacuated from her home because of the Thomas Fire, Jody Shapiro was, for a brief time at least, a picture of peacefulness.

Surrounded by friends in the sanctuary of Ventura’s Temple Beth Torah, she swayed with her hands in the air while blissfully singing along to “This Little Light of Mine” at the end of a Shabbat Hanukkah service.

Evacuated with her husband, Perry, since the fire swept through their neighborhood on Dec. 4, Shapiro said she felt exhausted. The couple had been staying with family and living without their most basic possessions. But for a few hours, as she communed with fellow congregants and other fire victims at the Reform temple, the heaviness of the preceding week and a half melted away.

“It just really felt good to be with everybody,” Shapiro said as she headed out of the sanctuary for a sufganiyot oneg. “You just come in and get hugs and talk to people. There’s just a lot of compassion in this community.”

Located on the edge of a neighborhood ravaged by the Thomas Fire, Temple Beth Torah became a focal point for community relief after the disaster. Temple volunteers offered food, beverages and comfort to the many evacuees coming through the area, and for several days, the synagogue served as a staging area for police escorting residents back to their homes to retrieve belongings and see the damage left by the fire.

On Dec. 15, with the help of donations from sister congregations, the temple provided a free latke and brisket dinner for congregants and community members impacted by the fire, followed by the service.

“It’s been quite the week for us,” Rabbi Lisa Hochberg-Miller said. “We really wanted to draw community together. … This is what our people do: We meet adversity with strength, courage.”

About 11 families from the congregation lost homes in the fire, Hochberg-Miller said. Many more had to evacuate. Some evacuees, like the Shapiros, still hadn’t returned to their homes as of Dec. 15 because the fire-damaged neighborhood remained off limits, and many homes left standing suffered damage from smoke and ash.

Yet the stress and trauma from the devastation also brought people together.

“I saw God so present last week in the way people rose up and helped each other,” Hochberg-Miller said. “There was absolutely the divine spirit.”

She said, after witnessing the destructiveness of fire, lighting the Hanukkah and Shabbat candles served as a way to reclaim fire as a creative and holy force.

About 11 families from the congregation lost homes in the fire. Many more had to evacuate.

For Eliane and Jacques Ettedgui, the Friday night dinner was a chance to connect with other people affected by the fire and to eat a good meal. The elderly couple’s home burned to the ground after they evacuated the night of Dec. 4 with only the clothes they were wearing, never imagining the house they had lived in for 37 years would go up in flames.

“We thought, maybe tomorrow we’ll have time to come back and pack, put things in a suitcase,” Eliane Ettedgui said. “I wish we’d had time to take pictures, get my children’s yearbooks, the things you can’t replace.”

Ilene Gavenman’s home survived, but many of her neighbors’ homes didn’t. When her brother-in-law texted her a photo of her street the day after the fire that he’d captured from a TV news report, she said she felt both relieved and devastated.

“I look forward to going back to my house, but I will be reminded every day what happened to our friends and our neighbors,” she said tearfully. “I’m heartbroken for people. They’ve really lost everything. It’s a very mixed emotional thing for me.”

Amid the chaos and sadness, Gavenman said she and her husband, Howard, have found comfort going to the temple they’ve been members of for more than 40 years. They attended Friday’s event and also a dinner and service held the previous week, she said.

“To say prayers and circle with the love of the community has meant so much,” she said. “It’s been helpful to get through this. You would never imagine this could happen. To be in the middle of it all feels very surreal.”

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‘Hanukkah Monologues’ Spotlights Personal Stories

This Hanukkah, Joel and Fran Grossman shared the story of a food-related miracle, but in their case, it wasn’t a cruse of pure oil — it was tuna noodle casserole.

The couple’s “food of love” started simply as something kosher that Joel could prepare and Fran could eat, and evolved into a pathway back to observant Jewish life for Joel.

“Thirty-nine years later, I know that the tuna noodle casserole sparked something in me that I didn’t even know I was missing,” Joel said as part of a Dec. 10 storytelling event at Temple Beth Am.

The evening, known as “The Hanukkah Monologues,” featured eight stories on the theme of heroism, light and miracles. Each story represented one of the candles in the hanukkiah, the Hanukkah menorah.

Written and performed by community members of all ages, the stories were workshopped by the event’s director, Stuart K. Robinson, who also wrote and directed “Freedom Song,” a Beit T’shuvah play juxtaposing stories of addiction, rehab and recovery with the Passover theme of freedom and redemption. The venue, Robertson Art Space, was packed to capacity with 120 audience members.

“The intention of ‘The Hanukkah Monologues’ was to bring to light some of the personal, yet also universally relatable, stories that exist within our community,” said Lia Mandelbaum, Temple Beth Am’s director of programming and engagement, and also one of the storytellers. “Sharing and receiving each other’s genuine and sometimes vulnerable life experiences can be such a powerful platform for creating connection, empowerment and transformation.”

The evening featured eight stories on the theme of heroism, light and miracles.

Mandelbaum identified storytellers of various backgrounds and ages, choosing people who would be open to the “process of self-discovery, growth and teamwork.” Over the course of a month, the storytellers prepared; feedback from the others challenged them to shape and focus the tales for clarity and impact.

All but one of the stories were about family, with many focusing on children’s relationships with their fathers. Father-and-daughter duo Rabbi Chaim and Adina Singer-Frankes alternated telling sections of their stories, about how each of them and their respective dads relate to the Holocaust as historical and personal Jewish event. Negin Yamini, who grew up in Iran, Pakistan, Austria, Israel and the United States, shared her complicated family history in which her parents’ bitter custody battle kept her separated from her father for much of her life.

Some stories featured experiences that the storytellers had as children. Rachel Duboff, Pressman Academy’s library assistant, talked about how the butterfly effect of her not getting her dream job as a camp counselor led to the amazing experiences that occurred thereafter. Mary Kohav, vice president of community engagement programs at The Jewish Federation of Greater Los Angeles, provided a window into her childhood and the Coleman cooler that accompanied her family on trips, including one to Disney World that never happened due to a threat against her Persian family. And Jonah Reinis, a seventh-grader at Pressman Academy, told a story about falling into the ocean in Sweden when he was 6.

Other storytellers told tales of their parents’ perseverance and strength. Mandelbaum talked about how, after her mother crashed her bicycle after getting a diagnosis of Parkinson’s disease, “the first thing she said after she stood back up was, ‘It’s enough. I refuse to let this disease win, to define my life. I will take back control, and I will have a great life.’ Twenty years later, she still says the same thing.”

And Avi Peretz, executive vice president of Temple Beth Am, noted that finding out how his late father had worked to bring over the rest of his Moroccan family from North Africa to their home in Canada made him regret not having appreciated him at a younger age.

“Perhaps the lesson is that all around us are people that may be doing extraordinary things, right under our noses,” he said. “Maybe we’re the ones doing those things. … Maybe we also need to look a little harder because the extraordinary — maybe even the miraculous — may be right in front of us. Perhaps that’s part of the message, and part of the miracle, of Hanukkah.”

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A Hanukkah Party Hits the Streets

Nuchie Shapiro watched from the corner of Melrose Avenue and Alta Vista Boulevard, outside Lala’s Argentine Grill, as minivans, sedans and convertibles drove by slowly with electric menorahs latched to their roofs and trunks. Noticing the occasional outage, Shapiro shouted at drivers to get their acts together.

“Your bulbs are out! Turn your bulbs on!” he hollered. “There you go!”

Shapiro was among the many spectators gathered the night of Dec. 14 to watch the Chabad Los Angeles Car Menorah Parade, an annual celebration organized by Yeshiva Ohr Elchonon Chabad–West Coast Talmudical Seminary, a Los Angeles-based Chabad yeshiva.

The parade featured Yeshiva Ohr Elchonon Chabad students marking the third night of Hanukkah in a raucous and lively expression of Jewish pride.

“We’re just lighting up the world one candle at a time,” said Eli Chaim Hurwitz, 17, a student at the yeshiva.

Around 6:30 p.m., cars lined up outside the yeshiva, at 7215 Waring Ave., as the sounds of an instrumental version of “Dreidel Song” played from a speaker in the flatbed of a parked pickup truck. Yeshiva students were ready to party. Some were dressed in clown costumes and others in their everyday yeshiva clothes: untucked white button-down shirts and black slacks.

“We’re just lighting up the world one candle at a time.”  —Eli Chaim Hurwitz

They piled into one another’s cars and at 7 p.m. the vehicles drove slowly away from the yeshiva and down the closed-off, residential North Alta Vista Boulevard, before turning onto the busy Melrose Avenue. The route also included Fairfax Avenue, Beverly Boulevard, La Cienega Boulevard and Third Street.

Rabbi Ezra Binyomin Schochet, rosh yeshiva (dean) of the seminary, the West Coast’s largest yeshiva college, was among the spectators, watching along with Hadassah Spalter, his daughter, and Mecha Schochet, his daughter-in-law, who teaches at Ohel Chana High School, a Chabad girls high school.

The Los Angeles Police Department and the Los Angeles Fire Department were on the scene.

Mendel Marasow, director of the seminary’s outreach program, helped organize the event. In an interview, he said Hanukkah is an important holiday because it reminds Jews of the importance of spreading the light at a time of darkness.

“Although our world is filled with many challenges and much darkness, the story of Hanukkah teaches us that just like one candle can transform so much darkness, so too can every good deed of kindness we do,” he said.

Shapiro, meanwhile, turned out with his family to show his support for the Chabad movement, he said.

“I’m just a member of the Jewish community here in Los Angeles, and I’m here with my children because to see this is very inspirational, but more so it teaches them to be proud Jews,” Shapiro, a member of Chabad SOLA, said. “So coming here to see this is very special and a big deal for us.”

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Trump Commutes Sholom Rubashkin’s Sentence

President Trump has commuted the sentence of Sholom Rubashkin, who was serving time for money laundering and bank fraud.

The White House issued a statement announcing the commutation, which stated that Rubashkin had already served over eight years of a 27-year prison sentence that some felt was “excessive in light of its disparity with sentences imposed for similar crimes.”

“This action is not a Presidential pardon,” the statement read. “It does not vacate Mr. Rubashkin’s conviction, and it leaves in place a term of supervised release and a substantial restitution obligation, which were also part of Mr. Rubashkin’s sentence.”

The statement added that there was a vast bipartisan support in calling for Rubashkin’s sentence to be reduced.

There has been a multitude of reactions to Rubashkin’s commutation:

 

https://twitter.com/bethanyshondark/status/943636010818326531

Prior to his sentence, Rubashkin and his father ran the Agriprocessors plant, a kosher meat-packing plant and slaughterhouse that faced “serious allegations of mistreatment of animals and employees at the plant,” as reported by The Forward. In 2008, the plant was raided by federal officials, resulting in the arrest of 389 illegal immigrants from Mexico and Guatemala. Agriprocessors fell into financial hardship following the raid and was veering into bankruptcy, forcing Rubashkin to sell it. The plant was eventually purchased by Canadian billionaire Hershey Friedman and is now currently known as Agri Star Meat and Poultry.

In 2009, Rubashkin was convicted of defrauding a St. Louis bank by using fabricated numbers to obtain a $35 million line of credit for the bank, resulting in the 27-year prison sentence. The Chabad-Lubavitch movement and other Orthodox Jewish groups have since petitioned for Rubashkin’s release, claiming that the sentence was harshly unjust. Rubashkin is a member of the Chabad-Lubavitch movement.

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