On its surface, the Obama administration's offer to the Israeli government of a package of diplomatic and military incentives in return for a non-renewable, 90-day settlement construction moratorium doesn't make a lot of sense.
It's hard to imagine that Israeli and Palestinian negotiators, with anxious American diplomats at their side, will be able to do in three short months what they've failed to do for many years – take serious steps toward a final agreement to end their seemingly endless conflict.
The recent passing — just nine days apart — of Jerry Bock, 81, composer for “Fiddler On The Roof,” and Joseph Stein, 98, who wrote the musical’s book (based, of course, on Sholom Aleichem’s short stories), leads us — those old enough, anyway — to recall and honor the remarkable energizing impact that the show had on the Jewish community of 1964.
Jerry Seinfeld said the other week that his first visit to Broadway “was when my parents probably shlepped me to ‘Fiddler on the Roof.” So it was for a lot of us.
A persistent undertone of angst at this week’s Jewish Federations of North America General Assembly in New Orleans centered on international efforts to delegitimize Israel. Many of the 4,000 delegates witnessed that effort firsthand when a tiny group of hecklers from Jewish Voice for Peace, a group the Anti-Defamation League has accused of consorting with the delegitimizers, disrupted the keynote address by Prime Minister Benjamin Netanyahu — hardly the kind of protest likely to change hearts and minds.
Economists may proclaim the Great Recession over, but a great many people in our community are still hurting. And for large numbers of them the health and human service programs funded through the Jewish federation system are an indispensable lifeline.
We pride ourselves on being “the people of the book,” though literacy in our sacred texts increasingly eludes too many of us. Perhaps no holy book in the Jewish canon has been more impenetrable than the Talmud, with its encyclopedic scope, elliptical layout, jazz-like literary free form, esoteric legalities and a musical but muddled dead language — Aramaic — at its core, let alone the lack of punctuation.
Matthew Lazar, director of the Zamir Chorale, attributes this notion to Rabbi Nachman of Bratslav: when two people speak at the same time, the result is cacophony, whereas when two people sing at the same time, it’s harmony.
With passion and commitment, Lazar has been getting Jews to harmonize — beautifully — for most of his life, and this Sunday afternoon the chorale will celebrate its 50th anniversary of performing modern Hebrew music with a gala benefit concert at Carnegie Hall.