The calls come one after another. Eventually, they blur together — the 60-year-old unemployed real estate broker who is behind in his rent; the former headhunter who is struggling to find work; the wife of a recently laid off high-tech professional who can’t pay her family’s utility bills; and the 81-year-old man who needs an affordable place to live because his adult children can no longer subsidize his rent.
If the answer is "A Rabbi, a Flip Ultra Video Camera and YouTube," then the question is surely "How did Helen Thomas' career end?"
Aspiring filmmaker Rabbi David Nesenoff, a Conservative rabbi at Long Island's Temple Tikvah Synagogue of Hope, took his Flip video camera and 17-year-old son/webmaster along with him to the White House for last week's annual Jewish American Heritage Month celebration.
WASHINGTON (JTA) -- Democrats pressed Republicans to distance themselves from a major donor involved in Richard Nixon's campaign against Jewish government employees.
Fred Malek's role in demoting Jews in the Bureau of Labor Statistics while working as personnel director in the Nixon administration was first revealed in 1988, when it led to his resignation as deputy chairman of the Republican National Committee. He subsequently reached out to Jewish groups to make amends.
Dor Guez’s video triptych examines the complicated identities of his Arab Christian family members.
Special To The Jewish Week
If you don’t think that human identity is evanescent, multilayered, poly-vocal and downright confused, you probably won’t get “The Monayer Family,” a triptych of short videos by Dor Guez currently on display at the Jewish Museum.
Guez is a provocative, gifted artist who works in a variety of disciplines and media, focusing his attention on issues of multiculturalism, ethnicity and personal identity; appropriately, his own identity is as contested and complex as it is possible to imagine. The work, unsurprisingly, is the same.
Peter Beinart, the former New Republic editor whose strong critique of the American Jewish establishment in a New York Review of Books essay continues to reverberate in the community, says he has been pleasantly surprised by the responses he has received from pro-Israel critics
WASHINGTON (JTA) -- Peter Beinart attends an Orthodox synagogue, once edited The New Republic (the closest thing to a smicha for Jewish policy wonks) and backed Sen. Joe Lieberman’s quixotic 2004 bid to become the first Jewish president.
Which is why he’s always been counted among the Washington pundits who defend Israel, Zionism and the right of American Jews to lobby for a strong U.S.-Israel relationship.
Beinart also frets about how Jewish his kids will be.
For young American Jews, it’s a long way from ‘Exodus’ to the separation wall.
In 1960, the film “Exodus” was nominated for three Academy Awards. Based on Leon Uris’ novel about the founding of Israel, it seems hard to believe that such a film, drenched in Jewish military heroism and suffused with Holocaust imagery and Arab aggression, could have such broad and unambiguous appeal. But it did. It not only won an Oscar, it also starred a Hollywood icon, Paul Newman, as the heroic Jewish fighter, and even made a commendable showing at Cannes.
But almost a half-century later, a very different film about Israel won an Oscar nomination. “Waltz With Bashir,” (2008) directed by the Israeli Ari Folman, put a spotlight on the massacres at the Sabra and Shatilla refugee camps during the first Lebanon War.