Sam Margolis – Page 15

Correcting historical record

Jonas Noreika, who was executed by the Soviets in 1947, has been revered in his native Lithuania and by its expatriate community as a national hero and an anti-communist patriot.

This vaunted hero, however, has come under intense scrutiny of late, largely as a result of the findings of his own granddaughter, Silvia Foti. Her research has revealed that Noreika, whose nom de guerre was “General Storm,” was in fact a Nazi collaborator, responsible for the murder of thousands of Lithuanian Jews – sometimes, on his own initiative.

In her new book, The Nazi’s Granddaughter: How I Discovered My Grandfather Was a War Criminal (Regnery Publishing, 2021), Foti documents her path from hearing stories about his almost legendary stature to her discovery of the disturbing truth.

The book, the writing of which had been undertaken to fulfil Foti’s mother’s (Noreika’s daughter’s) dying wish, was intended as a tribute. Foti succeeded in assembling hundreds of documents related to Noreika’s life, including an antisemitic pamphlet that he authored in 1933, and KGB transcripts of his prison interrogations.

At first, Foti did not want to believe the story that was emerging from the various written sources, finding it “too scary, too painful, too shameful.” Nonetheless, as a journalist, she could not ignore the rumours that she encountered during her investigative trips to Lithuania. She pursued the matter, in the hope that an examination of her grandfather’s acts during the Second World War would exonerate him. Ultimately, she found so much evidence about his role in killing Jews that it was impossible to act as though it did not exist.

“I wanted to throw the manuscript away so many times, to just drop the whole project. I kept asking myself, Why me? Why am I the one to discover all this? I finally came to realize that, because I am the granddaughter, I would most likely get the most attention,” Foti told the Independent. “I am a practising Catholic, and I pray over this story constantly. My strength came from believing that this is the truth, and the truth needs to prevail, no matter the cost to me.”

What started out as a journey of discovery has now been the recipient of international attention. Foti’s story has been covered by the Wall Street Journal, the New York Times and the BBC, among others.

“So much seemed accidental, inadvertent. I didn’t mean to discover that my grandfather was a Holocaust perpetrator. I didn’t mean to discover that the government of Lithuania refuses to acknowledge his role in the Holocaust and, instead, has declared him a hero,” Foti said.

In 2018, when she was 18 years into her project and believing it was nearing completion, she learned of a lawsuit by Grant Gochin, who lost 100 relatives in the Holocaust, against the Genocide Research and Resistance Centre of Lithuania. They compared notes and joined forces in getting the story out to the international community.

The revelations about Noreika were, to say the least, not easy for many Lithuanians to accept.

“Today, now that the book is out, I face anger, fear and resentment from many Lithuanians who are still in denial over Lithuanians’ role in the Holocaust. I get hate email and death threats, accusations that I work for the Russians, that I’m a traitor to Lithuania, even that someone else wrote the book instead of me. So many Lithuanians think Grant wrote the book,” Foti recounted.

“Grant has an accounting degree and I have two writing degrees and yet, for Lithuanians, it’s easier for them to think Grant hypnotized me and wrote the book,” Foti added. “Lithuanians still have a lot of superstitions concerning Jews. They just can’t believe a Lithuanian would accuse her own grandfather of such horrors. In some ways though, I understand them, because I was there about 20 years ago – minus the superstitions.”

Foti believes, at present, that Lithuania has backed itself into a corner and needs to admit that the Genocide Centre, “its great arbiter” of what took place in the country during the Holocaust, has made a grave error in deeming Noreika a hero. Nevertheless, she does not think such an about-face will happen anytime soon.

“It would be a hari-kari move that would necessitate that the Genocide Centre fall on its sword. How could a mere granddaughter in Chicago uncover so much information about Jonas Noreika, and how could the nation’s legions of historians under the government’s payroll not?” she asked.

“This was Lithuania’s last graceful chance to own up to its role in the Holocaust,” she said. “It could have saved face if its legal system did its due diligence. Unfortunately, the court systems there have a reputation for being corrupt; holdovers from the Soviet era. Because Grant Gochin has exhausted all legal avenues in Lithuania, he now is able to take it to the European Union’s International Court of Human Rights.”

The Nazi’s Granddaughter was edited by Lisa Ferdman of Vancouver.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Tzimmes celebrates 35 years

The Tzimmes sextet, in 2019. Left to right are Saul Berson, Phil Belanger, Tim Stacey, Amy Stephen, Yona Bar-Sever and Moshe Denburg. Also part of the ensemble in the new recording, but not pictured here, is Fabiana Katz. (photo from Tzimmes)

Vancouver Jewish musical ensemble Tzimmes celebrates its 35th anniversary this year. To mark the occasion, the group, led by Moshe Denburg, has released a new album, The Road Never Travelled, its first in 23 years.

Denburg, who is also a classical composer, founded Tzimmes in Victoria in 1986. Throughout that time, the ensemble’s modus operandi has been to incorporate as many types of Jewish music as possible – traditional Ashkenazi, Sephardi and Mizrahi, along with more contemporary and secular styles.

The new album is comprised of two discs. Disc 1 offers secular pieces, while Disc 2, Liturgy Lane, presents listeners with original music based on sacred texts.

The repertoire includes “Hahmi-ini” (“Let Me Hear Your Voice”), which was written in 1966, when Denburg was in his teens; the title track, “The Road Never Travelled,” from 2005; and “other original arrangements of more recent vintage,” such as “Oyfn Veg” (“On the Way”). Some of the songs on Disc 1, including the title track, are English pop/folk/world music. And not all the songs on the album are Jewish. There is, for example, a rendition of the Beatles’ “In My Life.”

The recording and mixing history for the collection stretches 28 years. When it became clear that this was more material than could fit on one album, Denburg decided to turn it into two.

“For a number of years,” he told the Independent, “we had some tracks that were on the back burner, so to speak – unfinished recordings that were begun in 2005-06. Tzimmes kept working in general – some concerts, lots of simchas, but completing a new recording was not in the cards, mainly because my own work was focused on founding and husbanding the Vancouver Inter-Cultural Orchestra (VICO).

“A few years ago, I wound down my administrative duties with the VICO, and started considering, in earnest, completing a new Tzimmes recording. The final impetus occurred when I turned 70, in 2019. I brought the group together, worked on a lot of new, and older, material, and took them into the studio to complete the older tracks and to lay down some fresh ones,” he said.

The Road Never Travelled features many past members, and several other musicians who have collaborated over the past 20 years, to become the Tzimmes of today. Denburg (voice, guitar) is joined by Fabiana Katz (voice), Yona Bar-Sever (lead guitar, voice, electric bass), Saul Berson (clarinet, flute, saxophone), Amy Stephen (voice, accordion, whistle, lever harp), Tim Stacey (bass, electric bass) and Phil Belanger (drums) to form the ensemble. A dozen other musicians, including guitarist Itamar Erez, cellist Finn Manniche and vocalist Myrna Rabinowitz – as well as international instrumentalists Joseph “Pepe” Danza, Yuji Nakagawa and Adel Awad – also appear, among others.

Tzimmes’ last album, KlezMyriad, was released in 1998, though the ensemble has performed at concerts and larger-scale projects since then. While changes have taken place over the past many years, it continues to be a tight-knit group of musicians.

When asked about the ensemble’s longevity and how it has maintained its cohesion, Denburg explained, “I believe Tzimmes has steered clear of the more difficult conflicts that are legion where artistic collaborations are concerned. But, as a bandleader, it has taken the wisdom that comes only with much experience to keep one’s passion alive while allowing for the artistic expression of one’s colleagues. This is what a good bandleader ought to do.

“Tzimmes is more a family than an enterprise, at least that’s the way I look at it,” he continued. “So, as in all families, there is the joy of knowing that everyone is basically rooting for each other and, yet, at the same time, conflicts do occur. We have lived long enough together, and have matured as people together, to have buried most of the hatchets and be guided by our natural affections for each other, and our love of our common purpose – the making of music.”

About the ensemble’s history, Denburg said, “Over 35 years, ensemble members come and go, and, actually, no one who was with me in 1986, when Tzimmes was formed in Victoria, is with me today. Tzimmes has changed and evolved over the years. Of today’s members, some have been with the ensemble for 30 years, some for over 20, and others are newer additions. One of the hallmarks of the new recording is that almost all Tzimmes members, of yesterday and today, are part of the recording.

“Tzimmes has always been dedicated to presenting Jewish music in all its facets,” Denburg concluded. “The challenge has always been to deal with the variety of these musical expressions in a non-superficial way, to make an original contribution to Jewish music-making.”

As the pandemic eventually fades, there are plans for a concert to herald the release of the CD and celebrate the ensemble’s 35 years. And Denburg sees many possibilities in providing musical services of various kinds.

“Speaking for myself, in the longer term, it would be nice to see Tzimmes continue with some next-generation musicians,” he said, “to carry on the tradition of original Jewish music-making in Vancouver.”

For information on buying tracks and sheet music, visit tzimmes.net.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Controversy over instructor

A proposed fall semester course at the University of Victoria has raised concerns that it will become what B’nai Brith Canada described as “a forum for antisemitism.” The concerns were sparked by inflammatory comments the course’s instructor, Dr. Shamma Boyarin, wrote on social media earlier in the year.

In a May 26 Twitter post, for example, Boyarin used an obscene verb before labeling Abraham Foxman, former president of the Anti-Defamation League, a “Zionist pig.” On June 3, he ridiculed an individual who had been the recipient of a torrent of antisemitic abuse online. This was followed the next day by a post in which Boyarin remarked, “[It’s] hard for North American Jews to admit the truth: What is happening in Israel is ethnic cleansing and slow genocide.”

An online description of the UVic course, entitled Introduction to Antisemitism, has been modified since it was first posted. At an earlier stage, the description began, “What is antisemitism? As soon as one attempts definitions, it becomes clear that even the most fundamental aspects of antisemitism are controversial.” The course’s current title is also different from the original, which was Towards an Understanding of Antisemitism. Gone, too, is a study of present-day antisemitism.

photo - Prof. Shamma Boyarin — Prof. Shamma Boyarin *(photo from uvic.ca)*

The changes occurred in early August after B’nai Brith, among others, raised objections to UVic about Boyarin teaching a class on modern antisemitism. The course’s subtitle on the UVic website now reads, “A Historical Survey of Key Texts and Moments from Augustine to Luther.” Its description: “What is antisemitism? The term itself was coined in the late 19th century, but when does the phenomenon begin? Is it the same or different from ‘anti-Judaism’? Should we spell it ‘anti-Semitism’ or ‘antisemitism’? Beginning with these basic questions, we will focus on the particular role Christianity has played in developing and sustaining antisemitism in Europe.”

“Moving this course away from modern antisemitism is an important first step,” said Michael Mostyn, chief executive officer of B’nai Brith Canada. “However, we are still concerned that, instead of educating students on the scourge of Jew-hatred, there is a risk, albeit a reduced one, that hostility toward Jews will instead be promoted.

“UVic must provide assurances to the Jewish community that academic freedom will not be used as cover to falsely accuse Jews, as a whole, of contributing to genocide, among other antisemitic canards,” he added.

When contacted by the Independent, UVic expressed the position that it “does not condone antisemitism” and “that it is highly committed to equity, diversity and inclusion and to social justice in its many forms.”

“We are aware that a faculty member has expressed personal views in public communications which are disturbing to people. Those views are personal. They have not been made on behalf of the university or in the context of their work,” said Karen Johnston, a spokesperson for the university.

“Canadians have a constitutional right to free speech, subject to limits under the law,” she said. “And so it cannot be the role of the university to judge or censor its employees’ exercise of free speech in their private lives. While all faculty enjoy the privilege of academic freedom, there are also limitations to this right. In this specific instance, there is no evidence at this time that the faculty member has or will exceed those limitations in teaching this course.”

The university also said it “will act on any allegation that there has been a violation of university policies against discrimination or harassment, which apply to all members of our community.”

Rob Philipp, executive director at Hillel BC, has been monitoring the situation and has spoken with Dr. Kevin Hall, the president of UVic. Philipp said, “If the course does run, we will check to see what the reading material is and what is being taught.” However, he added, while the organization is keeping on top of things, there is not much that can be done to stop the course from going ahead.

Jeff Kushner, president of the Jewish Federation of Victoria and Vancouver Island (JFVVI), said they, too, will be following the UVic course and will remain in contact with senior administration staff.

“The JFVVI does not have any serious concerns about the course material, such as we know it,” said Kushner. “Our concerns are more about the academic and emotional safety of the students enrolled in the course. In this particular case, a professor at UVic made some very objectionable comments on his private Twitter feed. We wish that he had not made such incorrect and inflammatory statements, both in his role as an academic and as a Jew.

“He has not made these comments in any official capacity, and the university has been very clear that these objectionable views are not the views of the university. Our concern is that an individual having these views, and expressing them as he has, may find it difficult to leave them at the classroom door and, through explicit statements or implicit actions, may create an unsafe learning environment for Jewish students holding views contrary to his own.”

In a letter to the university, B’nai Brith urged UVic to publish the syllabus of the revised course online, to cancel the course if it is used to attack the Jewish community in any way and to follow other universities, such as Oxford and Cambridge, in adopting the International Holocaust Remembrance Alliance Working Definition of Antisemitism to “avoid future confusion.”

Boyarin has taught at the University of Victoria since 2008 in religious studies and medieval studies, and in the English department since 2009. According to his profile at UVic, his current research and teaching interests include medieval literature (particularly the literature of Spain and the Near East), comparative literature (particularly Hebrew and Arabic), literature and religion, Jewish studies, and the religious roots of antisemitism. He has additional expertise, his profile continues, in the connections between medieval and contemporary culture, especially as they manifest in heavy metal music and white supremacist ideologies.

The Independent tried to reach Boyarin for comment, but had not heard back from him at the time of publication.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Exploring her family’s past

Afterlife is Isa Milman’s first work of nonfiction. (photo by Shea Lowry)

Midway through Isa Milman’s Afterlight, which came out this week, the author cites Reb Nachman of Breslov, who said, “The whole world is a very narrow bridge.” In Victoria-based Milman’s new work, we encounter bridges of various sorts: those that serve as a crucial lifeline to the survival of the denizens of cities, particularly at a time of war, and the bridges that bring together people from different continents in the pursuit of understanding an unconscionably horrific time in Eastern Europe.

And then there are the bridges that link us poignantly to our past – to those we know through words and photos but have never met. In Afterlight, one such bridge connects Milman to her mother’s twin sister, her aunt Basia, who perished in the Holocaust, and who, like Milman, wrote poetry. (Milman is a recipient of the Canadian Jewish Book Award for poetry.)

Milman’s journey began in 2013, when, following her mother’s death, she sought to find Basia’s poems from the 1930s. The book alternates between the present and the past (the war years), as Milman tries to uncover a layered tale. She travels to Europe where, at times, her quest for information leads to dead ends and, at other times, she finds details in unlikely places – a photograph in Amsterdam, for example.

At one stage, Milman finds poetry written in a Polish publication from the 1930s. She writes, “Reading the children’s poems, I felt a terrible nostalgia rise up – a dangerous nostalgia. Even now it hurts too much, this intense longing for a conversation with Basia, for a meeting, a recognition that we’ve lived on the same planet, come from the same earth, share blood and bone. We share a love of poetry, but I shall never know her, not even as smudged ink on a page.”

At one point in her exploration, Milman pens a poem to her aunt. “How many tiny flowers make one lilac sprig? / How many stars in the night sky have names? / How many yet to be seen? They disappear with morning sun too soon but in darkness or in light tucked in their beds they remain,” the poem reads.

Basia’s story is but one piece of the book. Afterlight also traces the journey of Milman’s parents and her other surviving aunts through the Holocaust and examines questions about the trauma, displacement and identity caused by the Holocaust to succeeding generations.

“I’d lived my life in a black hole of absence, of never having the experience of grandparents, of feeling rooted and at home with extended family. And this was not because of a tsunami, an earthquake, forest fire or plague. It was because of tribal hatred,” Milman writes.

As well, she explores the issue of reconciling the Poland that Jews thought of as their home with rampant antisemitism and the brutality of the war years. “Why couldn’t I choose how to think about Poland, even if it meant going against most everything I’d learned?” Milman asks. “Why couldn’t I revise my notion and accept that Poland is a place that I can love as well as despise and fear? Why must it be either/or? Was it possible to live in the uncomfortable in-between, where both realities coexist?”

Afterlight is Milman’s first work of nonfiction. At first, Milman, whose collections of poetry include Prairie Kaddish, Between the Doorposts and Something Small to Carry Home, was reluctant to write a nonfiction account of the Holocaust. However, recent surges in antisemitism around the world led her to change her mind.

“The lessons of the Holocaust need to be taught, and not just by citing facts and reportage,” she said. “Telling stories about real people and their experiences is the most effective way of reaching and teaching people about how evil can happen, and how we must fight our worst human inclinations and speak out against hatred and inhumanity.”

A big part of her decision to write a memoir was realizing that her family’s story did not match a more common Holocaust narrative. Hers is a lesser-told account of Jews from eastern Poland, some murdered in what’s known as “the Holocaust of Bullets” and others, like her parents, who survived because of deportation by the Soviets to the Gulag.

“I loved entering the world of creative nonfiction,” she said. “Using my imagination to create scenes where I clearly was not present enabled me to inhabit the places and people I needed to describe. Everything became more real as I entered into the minds of my characters, who happened to be my parents and close family.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Animatedly tackling issues

In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.

Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.

The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.

“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”

Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.

“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.

Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.

The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”

screenshot - In Bayla’s Issues, Bayla must deal with her past — In *Bayla’s Issues*, Bayla must deal with her past.

When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.

Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.

“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”

Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.

screenshot - Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons” — Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”

A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.

A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.

“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.

“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.

“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.

The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.

To watch the trailer for Bayla’s Issues, visit vimeo.com/439541618.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Brian Jessel BMW turns 35

Brian Jessel has loved cars since he was a kid. (photo by Alfonso Arnold)

Brian Jessel chose one of the most consequential years in Vancouver’s history, 1986, to embark on his self-named BMW dealership. Since Expo 86, both the city and Brian Jessel BMW have changed, but, according to Jessel, one thing remains constant.

“We take a personal approach to the car business. We cherish our relationships with our clients and like to spoil them and treat them as VIPs. This is how I want to be treated, so this is how I grow my business relationships,” Jessel said in a recent interview.

And he also works to grow community. Among the organizations that have benefited from his philanthropy are Jewish Federation of Greater Vancouver, Jewish Family Services, Congregation Schara Tzedeck, Lubavitch BC, the Jewish Museum and Archives of British Columbia and the Isaac Waldman Jewish Public Library.

In the general community, Jessel’s Cabriolet Charity Galas, started in 2004, are among the premier philanthropic events of the year in Vancouver. The annual galas, which raise money for pancreatic cancer research, have brought in more than $2 million and have seen the likes of talk show host Jay Leno and blues singer Colin James perform in the past.

Enthusiasm for the automobile runs in Jessel’s family. His father, Bernie, a leading figure the Toronto car market, instilled a fascination with the industry – an excitement that has carried through to future generations.

“I loved cars from the time I was a toddler; it’s probably in my DNA. I now have a 4-year-old grandson who is exactly the same; he sleeps with cars in his bed and won’t let go of the steering wheel if he gets into the driver’s seat. I bought him and his 6-year-old brother cars – yes, real cars. I just need to wait 12 years to give them to them,” he related.

The desire to be in the car business maintained such a strong pull for Jessel that other career possibilities did not stand much of a chance.

“I went to university (in Michigan) but never graduated – I wanted to get to work. I interviewed at a prestigious Bay Street stock firm and was accepted for the position, but I never started. A couple of weeks later, I was selling cars at a classy GM dealership on the west side of Toronto,” he recalled.

Eventually, in 1972, he made it out west, opening his first used car lot with six automobiles on a leased space at Burrard and 1st Avenue. Jessel sensed the appeal of foreign cars, even back in the 1970s, and turned that first car lot into a Fiat dealership – along with selling pre-owned vehicles, specializing in imports.

“These were days when, if a Jag went down the road, people stopped and looked,” said Jessel, who also attributes his success to having the gumption to take a chance when opportunity comes calling.

Before establishing itself at its current location in Vancouver in 2004, Brian Jessel BMW operated out of locations in Langley and Coquitlam. Today, it occupies a 66,000-square-foot new-car facility on Boundary Road, with an additional 36,000 square-foot pre-owned-car space nearby. Brian Jessel BMW sells more than 5,000 cars a year.

Jessel gives much of the credit to his staff for his thriving business. “Our people are knowledgeable but also warm and engaging,” he said. “And we are laser focused on all things BMW. We aren’t using a cookie-cutter format that works for selling everything from Bentley to Hyundai, like large dealership groups need to be. Yet we are the size of five dealerships, so we still have all the economies of scale of the multi-brand.”

When asked about the differences in running a dealership now as opposed to 35 years ago, he said, “As with everything in the world, the computer has changed how cars operate. Twenty years ago, I went to Europe and drove the upcoming BMW 7 Series. It had a dial in the centre console that controlled many of the car’s functions. Auto journalists hated the iDrive System when they first saw it. Now, almost every manufacturer has followed BMW’s lead and has a similar operating system.”

And there is the move to electric vehicles as well.

“The new frontier is the electric car. There is a mystique I like about electric cars,” he said. “They are so quiet and have amazing low-end power. I still love the feeling of an internal combustion engine, however, it is inevitable that electric vehicles will dominate by the end of this decade.”

Brian Jessel BMW has started taking orders for the new BMW iX, as well as the four-door sedan version, the BMW i4 – both of which are fully electric.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Virtual reality as a therapy?

Philip Be’er (photo from Philip Be’er)

Philip Be’er, a counselor based in Sidney, B.C., 27 kilometres north of Victoria, has recently introduced virtual reality therapy consultations to anyone, anywhere, “as long as they have a good internet connection.” Sessions are held both in person, using a VR headset, and, if done remotely, a computer or smartphone.

VR therapy attempts to address a number of phobias, anxieties, addictive disorders and other mental health conditions. If someone were to have a fear of heights, for example, VR therapy, using the headset and software, could simulate a scene in which one enters a glass elevator in a skyscraper. As the elevator goes up – 10 floors, 25 floors, 100 floors – a therapist can help the client work with the various sensations and emotions that the simulation evokes in the client.

Be’er said that, when he first heard about VR therapy, he recognized its potential upon reflecting on how the human brain does not always accurately distinguish between real experience and visualized or imaginary experiences. If one goes through something that feels realistic, as it can with VR, the brain sometimes believes that the experience has happened, and this belief, Be’er claims, can be used for healing.

“The power of VR is that it inserts a person into something that feels quite realistic. We take them to a place that triggers the feeling that I am not safe without ever putting the person into danger,” he explained. “It feels unsafe but I am not unsafe, and all I have to do if I am feeling this lack of safety is take off the goggles, and I realize that I am sitting in a place where there is no actual danger.”

Advocates of VR therapy think it can provide a person the ability to remove themselves from the perception of danger and into safety. Further, that it can help address deleterious emotions as they arise.

“Using virtual reality, I can take people through situations and allow them to calm their nervous systems when they feel unsafe and yet are not really unsafe,” said Be’er. “This could be going into a subway and not feeling safe around the people there or, for a person with OCD [obsessive-compulsive disorder], feeling like they are going to die because there are germs and infections around, and they are constantly washing their hands. In these situations, virtual reality can help differentiate between what is really dangerous and what my nervous system is telling me is dangerous.”

According to Be’er, it is a matter of the nervous system recalibrating. Instead of being overwhelmed by danger signals, it eventually selects only those where there really is imminent danger.

Be’er shared an example of what he considered a successful virtual reality therapy case. It involved a client who had been struggling with severe issues around social anxiety and who coped by using alcohol to self-medicate. The person was so uncomfortable with others that they rarely left their room. Yet, there was one place they were able interact with others: virtual reality chat rooms.

“The thing that made it safer for my client was that they presented as a carrot, banana, dragon or whatever avatar they chose and nobody could really see who they were,” he said. “They could go and interact with people, and the worst thing that could happen was that avatar would be rejected if they made some kind of faux pas, if they did something that was socially unacceptable or in some way antagonized or turned the other person off. There was not that much to lose because, if something went wrong for them with this particular avatar, they would simply change their user name and avatar and then they could practise again.”

Be’er coached the client to develop some of their social skills using this visualized virtual world and that person was able to reduce their dependence on alcohol. Within a few weeks, the client was interacting in a sales position with people on an ongoing basis.

To be sure, because VR therapy is still in its early stages, there are unanswered questions about its future. In a 2018 Scientific American article, Albert “Skip” Rizzo, director of medical virtual reality at the University of Southern California’s Institute for Creative Technologies, commented, “The next biggest controversy [in] psychology is going to be: How far can we go with AI [artificial intelligence] and virtual therapists?”

And lest one think that machines will supplant real-life counselors any time soon, the BBC’s Science Focusmagazine notes, “VR therapy won’t replace human therapists, but it’s a powerful adjunct and access to it is going to grow.”

Local therapists to whom the Independent spoke also noted that VR could be a useful tool in treatment, but were cautious about its use as therapy in and of itself.

Be’er said he has been on a lifelong quest to understand the roots of family (and societal) dysfunction and to identify the most effective ways to bring about individual and collective healing. He works with individuals, families, businesses and organizations, offering regular workshops, seminars and an online course.

For more information on Be’er’s use of virtual reality therapy, visit b-loops.com/vr.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Khazzoom has new EP

The cover of Iraqis in Pajamas’ new album, Pijamama, features Loolwa Khazzooom’s grandfather, Abraham Khazzoom.

The multifaceted, multicultural and impossible-to-pigeonhole Loolwa Khazzoom is back, along with her band, Iraqis in Pajamas, with a studio-produced album, Pijamama, that was released on July 16.

The new album by the Seattle-based musician honours her mother, E.J., who passed away on July 16, 2019, and who encouraged Khazzoom to pursue her music. Khazzoom credits E.J. with demonstrating that we all have “the ability to radically transform ourselves and our relationships – and to stop the crushing boulder of intergenerational trauma – when are willing to face and go through the darkness together.”

A photo of Khazzoom’s grandfather, Abraham Khazzoom, who she describes as “the original Iraqi in pajamas,” graces the album’s cover. The band’s name, she explained, derives from an uncomplimentary reputation Iraqi expatriates had in the Israeli city of Ramat Gan for putting on their pajamas when they had arrived home and the work of the day was completed.

The EP features Khazzoom on vocals and bass, Robbie Morsehead on drums, Cali Hackmann on keyboard and backup vocals, and Alden Hackmann on guitar. The melodies and lyrics were written by Khazzoom. Pijamama showcases three songs.

“Mahalnu” explores the Jewish practice of asking forgiveness ahead of Yom Kippur. It then raises the question of what happens when someone asks for forgiveness, without changing their behaviour, especially in the case of violence. “What is the difference between forgiveness of you and erasure of me?” Khazzoom asks.

“The Fixer,” a declarative prayer, advocates the rejection of compensating for another person’s not doing necessary work in a relationship. The chorus, “ashir shir hadash” (“I will sing a new song”), comes from “Ezer Musarai,” an Iraqi Jewish song for Purim, which inspired Khazzoom as a child.

“Fireball” looks at being a caregiver in spite of emotional violence. The lyrics proclaim: “You can be downright vicious / Throwing a fireball / At the one who cares most about you / The one who is always there for you….”

photo - Loolwa Khazzoom — Loolwa Khazzoom *(photo from Iraqis in Pajamas)*

Khazzoom has had a varied career. Among other things, she has been an educator, writer and health coach, all of which share, she says, the central principle of individual and collective healing. Ultimately, Khazzoom says she “ditched her power suit and Powerpoint in favour of combat boots and cat glasses to offer bold songwriting as the catalyst for deep and heart-centred conversation.”

The connections between her diverse activities have been subjects she has long contemplated.

“I have been keenly aware of interconnectedness since I was very young, partly because I was highly sensitive and thinking about things deeply, and partly because my identities were a crisscross of those considered at odds or even at war with each other – making it obvious to me that many social constructs and divisions were false,” Khazzoom explained.

“My songs reflect this awareness – explicitly or implicitly connecting dots between things that most people don’t initially recognize as being related to each other, and inviting listeners to rethink their notions and paradigms.”

Khazzoom said she likes to play with this crisscross of identities. For example, people may react one way if she tells them she is Iraqi, and another way if she tells them she is Jewish.

“People generally like shortcuts or scripts in determining what to think about someone, instead of doing the work of getting to know someone, with all the complexity and nuance involved…. I am the same person, yet an entirely different set of assumptions are projected on to me. Standing at the intersection of identities and experiences, I can poke fun at the absurdity of it all,” she said.

Khazzoom refers to her music as “conscious rock,” a way of exploring all our emotions, especially those that allow us to be loud in a healthy way.

“As a collective, we fear intense emotions like rage and grief, and we suppress those feelings in ourselves and others, leading to astronomical levels of addiction and a host of other social and personal ills,” she said. “I believe that all of our emotions are a gift, a GPS system of sorts, pointing us in the direction of that which is true and good, and I find it tremendously liberating, healing and transformative, to express the spectrum of emotions in healthy and constructive ways.”

Khazzoom’s songs are written in English, Judeo-Arabic and Hebrew, and blend Iraqi Jewish prayers, alternative rock and personal storytelling about subjects ranging from cancer, racism and mental illness to national exile.

For more information, visit iraqisinpajamas.com. To participate in the evolution of Loolwa’s work, from poem to spoken word performance to song, go to patreon.com/khazzoom?fan_landing=true.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Listening and learning

Juneteenth webinar panelists (clockwise from top left) Heather Miller, Dr. Tameika Minor, Rafi Forbush and Kendell Pinkney. (photos from internet)

The United Synagogues of Conservative Judaism (USCJ) held a webinar entitled Juneteenth Through the Eyes of Jews of Colour: Sharing Stories and Perspectives on June 17, the same day the United States declared Juneteenth (June 19) a federal holiday. Slaves were freed from Texas, the last Confederate state with institutionalized slavery, on June 19, 1865.

The objectives of the evening were to establish better dialogue, to create a space to honour the Jewish and Black communities, to learn about the challenges people of colour have in the Jewish community, and to find the means by which people of colour can feel welcome in the Jewish community. Marques Hollie, a theatre artist, storyteller and musician, led the evening with a rendition of the post-Civil War song “Oh Freedom.”

“Our people crossed the Red Sea. People of colour are still in Egypt. For Black people, freedom has not come fast enough and not in a straight line,” said Ruth Messinger, a former politician and head of the American Jewish World Service, in opening remarks that preceded the introduction of the panel discussion.

The four panelists were Heather Miller, Dr. Tameika Minor, Kendell Pinkney and Rafi Forbush. Rabbi Ari Lucas of Congregation Agudath Israel in Caldwell, N.J., moderated the event. Lucas encouraged the audience to listen before asking questions.

“In a lot of ways, I feel like I came out as a Black person last year,” said Miller, president of the Jewish Centre in Brooklyn and a future rabbi. “In the Jewish spaces I have been in, people have tried not to see my colour. The stakes are different for us than the majority of people in this Zoom room. I was afraid this would just be a moment for everyone else and that the world would go back to not seeing this stuff again after the pandemic. I was afraid of being left exposed without a community.”

Minor, a professor in clinical mental health counseling and rehabilitation counseling at Rutgers University, said she would like to see Juneteenth become a day of reflection and not just celebration. “Reflection of where we have come from and how far we have to go,” she said. “It’s not a day we should sit back and not look at the wealth gap, mass incarceration and police brutality. Now it is a federal holiday, and yet so many states are banning critical race theory in schools.”

“For me, the question isn’t what does Juneteenth mean to me now but what might it mean to us moving forward,” said Pinkney, a Brooklyn-based theatre writer, Jewish-life consultant and rabbinical student at the Jewish Theological Seminary. “The Jewish people are so, so good at crafting stories, creating rituals. What rituals might be created 20 years from now around Juneteenth? Which stories and voices will we finally open our ears to?”

He added, “I like to think of it more as a promise of what might be and what we might become as a Jewish community.”

Rounding out the panel was Forbush, youth director at Beth Jacob Congregation in Mendota Heights (St. Paul) and founder of the Multiracial Jewish Association of Minnesota, which focuses on creating space for Jews of colour to connect to one another, through the community, education and advocacy.

“If you had told me that our community would be having this conversation at the beginning of the pandemic, I would have laughed at you,” said Forbush. “There is a bright light in our community starting to see outside of ourselves. If we are a people and not a race, then we owe it to each other to get to know who we are. The idea here is, extend the tent and not move it to exclude somebody else.”

Like Pinkney, Forbush spoke of the potential the holiday holds for the future and the sense of inclusion it can bring to the entire community. He pointed out that young Jews of colour often feel excluded.

Throughout the webinar, the panelists touched on various points of exclusion they feel as part of a community – of not believing they are entirely heard and of the microaggressions that occur in Jewish spaces, such as being quizzed on aspects of Jewish life or being viewed as staff and not a member of the community. Understandably, these are the sorts of issues that drive Jews of colour away from synagogues and other Jewish institutions.

The hope was expressed that Jews of colour could achieve more positions of leadership within Jewish organizations. There was also a sense that the community as a whole is not achieving its full potential without engaging more actively and openly with Jews of colour.

“This year, as we expand upon the understandings of diversity and inclusion, we have, despite COVID, actively widened the doors to our tent so to speak,” said Rabbi Susan Tendler of Richmond’s Congregation Beth Tikvah, which has been promoting the recent USCJ webinars on reaching out to interracial families and building a larger sense of inclusion for all Jews.

“We have actively listened and considered with compassion the feelings of people who may want to enter and yet find barriers to feeling authentically accepted within the larger Jewish community,” she told theIndependent. “United Synagogue’s program on Juneteenth is one example of many in which we have taken the opportunity to listen and learn.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Honouring women’s courage

Anne Petrie (photo from Maurice Yacowar)

The University of Calgary has organized a virtual exhibition to honour the efforts of Jewish women in the Canadian Armed Forces during the Second World War. Called She Also Served, it comprises a series of nine banners by various artists.

Originally scheduled to be displayed at the Military Museums in Calgary during Jewish Heritage Month in May, it has been made available online throughout 2021 and will be physically hung in May 2022. Of the 17,000 Jews who served in the Canadian armed services, more than 275 were women.

Among those selected to display their work is Anne Petrie of Victoria. For her banner, a digital print called “In the Tradition of Service,” Petrie chose to list all the known names of the Jewish Canadian servicewomen. She used a font that is reminiscent of the typewriters of the 1940s. Another layer of the banner has the names of 12 biblical heroines, confirming the tradition of Jewish women’s courage and dedication to serving their communities.

“I was immediately struck by knowing that, although they would not have had to hide their Jewish identity, it was still in those days not something that you would be comfortable being completely open about,” Petrie told the Independent. “Even if it was, at best, very casual antisemitism, it was a reality when they would have signed up. So, there you are fighting (even if it’s only at a desk) for something – a religion, a people, a culture – that you can’t really be openly passionate about.”

image - Anne Petrie’s “In the Tradition of Service,” 2021. Part of the She Also Served exhibit, now online — Anne Petrie’s “In the Tradition of Service,” 2021. Part of the She Also Served exhibit, now online.

For Petrie, She Also Served is an opportunity to reveal and contextualize the “Jewishness” of that other “them, the unsung and – worse – unidentified Jewish-Canadian women soldiers.” She said she is honouring them by naming them in “their doubly suppressed identities, as women and Jews.”

Petrie’s intention was to present the full names and rank (where available) of all the Jewish women known to have served. The collection of names fills the background layer of the 75-by-165-centimetre banner. Each name is in the colour of their respective services: olive green for army, dark navy for the navy and a lighter “air force blue” for the Women’s Army Corps. Emerging from the background in a larger, translucent Hebrew script, and in a camouflage pattern, are the names of Judaism’s biblical heroines, “themselves often subordinated by patriarchal tradition to the male heroes,” said Petrie.

“In making the banner itself, I was struck by how powerful it was to actually write out all the 279 names of the Jewish servicewomen that have so far been identified. I knew none of them personally, of course, but I felt that typing each name was a kind of acknowledgement and, strange as it sounds, I did feel a kind spirit or presence as I typed each of the names. I only wish we did know more about them, but I understand that research is continuing and, hopefully, there will eventually be stories attached to each of these women’s names,” she said.

Petrie thanked Janice Shulman and Rabbi Lynn Greenhough for their assistance with the project.

Prior to beginning her work as an artist, Petrie’s career spanned more than 30 years in radio and television, where she worked as a researcher, producer, documentary-maker, columnist and commentator in news and current affairs. She is also the author of several non-fiction books: Ethnic Vancouver, Vancouver Secrets and Gone to an Aunt’s: Remembering Canada’s Homes for Unwed Mothers.

After retiring from the CBC, she returned to school and obtained a bachelor of fine arts from the Alberta College of Art and Design in 2008. Since then, she has had a number of exhibitions. Her next exhibit, said/unsaid, is a two-person show with Jane Coomb – it opens at the errant artSpace gallery in Victoria (975 Alston St.) on July 9.

The other artists whose work is featured in She Also Served are Razieh Alba, Sophia Borowska, Alysa-Beth Engel, Lily Rosenberg, Talie Shalmon, Jules Schacter, Bev Tosh and Susan Turner. The representations exploring the servicewomen’s experiences range from naturalistic to abstract. Some works use archival photographs, while others use media include oil painting and paper-cutting.

The stories of 41 Jewish servicewomen are also featured on the website. These accounts were an impetus for the call for submissions for the exhibition, which was curated by the University of Calgary’s Prof. Jennifer Eiserman and librarian emerita Saundra Lipton. They ask for help in “completing the story” from anyone who has more information about the featured servicewomen and any of those identified in the list of names collected.

To view the exhibition, visit live-ucalgary.ucalgary.ca/she-also-serves/exhibition.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.