Sam Margolis – Page 20

Victoria hosts Klondike

Cooper & Levy store, 104-106 1st Ave. S. near Yesler Way, Seattle, 1897. The store was one of the major outfitters of the Klondike Gold Rush. (photo from Asahel Curtis Collection, University of Washington UW 4770)

The archival images and newspaper headlines contained in the Gold Rush exhibit now on display at the Jewish Community Centre of Victoria (JCCV) evoke a sense of the hysteria that gripped the West Coast more than century ago, in spite of the risks involved in traveling to a severe and treacherous terrain. And Jews were not immune from the mania, as the three-panel display, entitled “The Jewish Presence During the Klondike Gold Rush 1897-1918,” distinctly demonstrates.

The exhibit will be at the JCCV through January. It brings with it a number of revisions from the one that toured Canada from 2016 to 2018 and included a stop in Vancouver.

“During its previous run, we received a lot of additional information from people who visited the exhibit, so much so that we couldn’t include it all in the current display. We are seriously thinking about doing a book starting later this year,” Rick Karp, president of the Jewish Cultural Society of Yukon (JCSY), told the Independent.

Once the previous display returned to Whitehorse, Karp followed up on the input he received and updated the three panels and the booklet accompanying the exhibit.

“As well, we revised the video that details the finding of the Jewish cemetery from the Gold Rush in Dawson, the cleaning and bringing it back to its original condition, and the rededication ceremony,” Karp said. “All the information about the cemetery in the accompanying booklet has been added, as well as the section entitled ‘The History of the Jews in the Klondike Gold Rush’ and the ‘Stories of the Gold Rush.’”

A significant addition to the Gold Rush stories is that of Joseph Barron, one of the first to open a mercantile store in Dawson. Barron came from Winnipeg and followed the stampede of 1898. He mushed into the Yukon via the White Pass route, bringing with him a stock of merchandise.

His beginnings in the north were not the most fortuitous. He lost his supplies on three occasions to fire between 1899 and 1901. Undeterred by adversity, he restocked and started over.

The Barrons would become a prominent Calgary family. Joseph’s son Abe founded the law firm Barron & Barron, which is still operated by the family today. His other son, Jacob (J.B.), was a leading businessman and theatre owner in the city, building Calgary’s first high-rise, the Barron Building, and breaking ground on its first Modern Orthodox synagogue, Shaarey Tzedec (which was demolished in 2013).

Joseph Barron’s wife and children did not come to Dawson until 1902. The younger Barrons only stayed for two years before they left to complete their education. The senior Barrons eventually left Dawson to join their children in Calgary in 1915.

Henry Isaacs was another entrepreneur who ventured north. He earned the moniker “the Butter King of the Klondike” upon learning about a technique using sea water to re-churn a shipment of what others had considered rancid butter into something edible.

Among the most enterprising adventurers was David Gross, a Russian immigrant and dropout trained as tailor, who, not yet 20 years of age when he made the journey north, found ways to make money selling groceries, stoves and other provisions, though his primary business was a clothing store. His ingenuity led him to see opportunities where others did not. For example, if butter had turned rancid and was unsalvageable for food purposes, he would sell it as axle grease for squeaky wheels. After learning that water can only penetrate an inch or two into flour, he would purchase large sacks of flour other merchants thought had been drenched and, therefore, ruined and then sell the flour that the water had not reached at a much higher price. Gross also became active in the nascent movie theatre business in Dawson City.

Yet the prize for the most daring Jewish seeker of fortune would have to go to Max Hirschberg. After losing his supplies en route and then finding, in 1890, that many of the good claims in Dawson had been staked, Hirschberg pushed on to Nome, where more gold was reported to be, on a bicycle!

Later in life, before his passing in 1964, he recounted the 11-week journey in which he made his way along a two-inch trail, confronting snow-blindness, exposure and exhaustion, nearly drowning in the Shaktoolik River and losing $1,500 in gold dust. When his bike chain broke, he made a sail from his coat and rigged it to his bicycle, then crossed the Norton Sound to Nome.

Interest in the Jewish community during the Gold Rush was ignited after the discovery of the aforementioned Jewish cemetery in Dawson City in 1995, and its ensuing restoration in 1997 and 1998. “The discovery of lives lost inevitably leads to questions about lives lived,” the exhibit booklet reads.

“The Jewish Community Centre of Victoria is excited to host the mobile exhibit. We would like to thank Rick for making it possible,” said Larry Gontovnick, president of the JCCV.

After it completes its current tour around Canada, the exhibit will be on permanent display at the Dawson City Museum in the Yukon. A duplicate copy will tour various communities in the United States.

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

Funds for Jewish studies

Prof. Gregg Gardner has held the Diamond Chair in Jewish Law and Ethics at the University of British Columbia since 2011. (photo from UBC Media Relations)

Gregg Gardner conveys an infectious exuberance when speaking of the $1 million donation from the Diamond Foundation to the University of British Columbia this September.

“None of this would have been possible in terms of Jewish studies at UBC without the Diamond family,” Gardner, an associate UBC professor, told the Independent. “Their sense of giving is felt not just here but throughout the broader community.”

The Diamond Foundation’s most recent gift to the school will build on achievements of the Diamond Chair in Jewish Law and Ethics at UBC to date, with a particular focus on the expansion of Jewish studies programming both in the classroom and beyond the UBC campus.

“The gift is part of a larger initiative which will really go a long way in helping to create and augment programming, assist in having students travel to Israel, bring in new speakers and assist in new research,” said Gardner, current holder of the Diamond Chair.

He plans to invite an array of speakers during the 2020 and 2021 academic years.

“The money from the Diamonds can be used to bring in authorities in various aspects of Jewish research to Vancouver. Once here, they can speak at the university as well as at synagogues, retirement homes or cultural centres in town,” he said.

Gardner also hopes the new funds can serve as a stepping stone towards such things as creating a centre for Jewish studies at UBC and, ultimately, bringing the field of Jewish research at the institution to a level commensurate with that of other universities in North America.

Students at UBC, he said, have shown a widespread interest in Jewish studies, and this interest extends well beyond their own personal background.

The Diamond Chair in Jewish Law and Ethics was established in 2001. Gardner has held the position since 2011, with his research concentrating largely on the history of Jewish thought. At UBC, his classes focus on the history of religions, together with exploring Jewish history, texts and traditions.

In 2018, he teamed up with the Hebrew University of Jerusalem to lead a group of UBC students in an archeological field school at Horvat Midras in Israel, a site that may have been developed by King Herod. There, they helped excavate a pyramid that marked a tomb from the first century and an elaborate underground system of tunnels and caves that served as hideouts for Jewish rebels against Rome in the second century.

The Diamond gift will additionally allow Gardner himself to present more lectures locally and internationally. Heretofore, he has given has public talks at Hillel BC (UBC) and academic lectures at Oxford, Cambridge and Yale universities.

Gardner has authored several academic papers and books, including The Origins of Organized Charity in Rabbinic Judaism (Cambridge University Press, 2015), which examines foundational rabbinic texts and places their discourses on giving within their historical – second- and third-century – contexts.

The Diamonds are equally enthusiastic about the results their donations have brought and will bring.

“We wanted to enhance the current chair and enable Dr. Gardner to play a pivotal role in generating sophisticated research and understanding of Jews and Judaism,” said Leslie Diamond. “He has inspired students and the community by enriching their knowledge of Judaism through his courses, public talks and events with visiting scholars.”

She added, “I am very proud with what our funding of the Jewish Chair in Ethics and Jewish Law has accomplished.”

The Diamond Foundation has long played a pivotal and prominent role in Vancouver philanthropy. Created by Jack, z’l, and Gordon Diamond in 1984, its mission is to improve the quality of life for people in the communities in which the Diamonds live and do business. It donates to organizations throughout the Greater Vancouver area, including schools, hospitals and numerous Jewish organizations. The foundation seeks investments in organizations and issues that strengthen Jewish community life throughout the city and its environs. At age 25, family members are invited to become directors of the foundation.

Jack Diamond arrived in British Columbia as a near-penniless refugee from Poland in 1927 and went on to create the province’s largest meat-packing firm, Pacific Meats. He is credited with setting up Vancouver’s first kosher butcher shop and was instrumental in building the Schara Tzedeck Synagogue, among countless other endeavours.

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

Classes on being a DJ

Michael Fraser teaches group electronic music and DJ classes at the Jewish Community Centre of Greater Vancouver. (photo from Michael Fraser)

As a violinist, music producer and DJ, Michael Fraser’s musical talents traverse many realms. Yet, despite the proficiency and versatility he has to create his art, Fraser believes that “personal connection to music transcends skill.”

It is that personal musical connection that the 30-year-old, born-and-raised Vancouverite hopes to instil in the next generations – be they performers or devotees – in the group electronic music and DJ classes he is teaching at the Jewish Community Centre of Greater Vancouver through spring 2020.

The early stages of Fraser’s musical trajectory began in grade school as a Suzuki violin player, though numerous other styles – from classical to hip-hop – seeped into his sphere of artistic influences through various musical mentors. Among them was Vancouver-based saxophonist and flautist Tom Keenlyside, who had a tremendous impact and helped Fraser “connect with music in an abstract, rather than a theoretical, way.”

Marrying and starting a family with his partner Camille, though, has brought about a shift in Fraser’s musical focus in recent years. The sense of wonder possessed by children, and the simple way it is often expressed, led him to view things from a different perspective and to feel a sense of responsibility to teach.

Fraser began playing music for his son before his son was even born. When Isaac turned three, Fraser observed him connecting to the process of making music himself.

“After Isaac was born, I started to see that my purpose as a musician is to help young artists develop their innate creativity and coach artists to deeper levels of emotional intelligence,” said Fraser. “When my son asks to hear my music, I want to help him cultivate a relationship to music and life that goes beyond what words can express.”

Fraser’s professional musical career began in 2007, while in his late teens. Since then, he has collaborated with numerous recording artists, including the Ault Sisters, a Toronto-based vocal jazz trio; performed at the Shambhala Music Festival and the Montreal Jazz Festival, among many other venues; and opened for internationally known acts, such as Michael Bublé, Caravan Palace and Arrested Development.

His success as a live performer led him to working with Ben Affleck on the original score for Ben Affleck on the Meaning of Life, an animated short film about the actor and director’s Eastern Congo Initiative, which premièred at the 2012 Toronto International Film Festival. Fraser also appeared as a violin player in a scene of The Revenant, an Academy Award nominee for best picture in 2016 and for which Leonardo DiCaprio won the prize for best actor.

Currently, Fraser is devoting his expertise to artist development (on both the career and creative sides), as well as working with Black Octopus Sound, a company that produces samples and musical production tools.

Fraser said he has always felt “a visceral connection to Jewish music that can only be explained as being deeply embedded in my DNA. It is the main access point for a depth of emotion that can only be expressed through tones and rhythms.”

On Oct. 29, he began facilitating his first DJ course at the JCCGV for youth aged 10-16, showing them the basics of how music is composed electronically, and the ins and outs of being a DJ. This session ran until Dec. 17.

He could feel how the group connected with the music, and foresaw many new up-and-coming DJs in the Vancouver Jewish community.

“When I am in the class with students, we are focused on how the beat feels. Are there styles of music that feel good? Knowing your tastes is going to differentiate yourself from other DJs,” Fraser explained. “I will sit with a class and play various drums and figure out which one speaks to a particular student. Having that distinction brings us closer to the music – which chords carry tension and which carry release in chord progression? What does that connection to music feel like? How is it one can play the same series of notes in different order and have a different outcome feeling?”

His students take what was done in class and make musical experiments when they get home. Fraser finds that, when they open up GarageBand or Caustic, two of the more popular DJing apps, they don’t feel as though they are doing homework.

Often, he noted, students have used DJing apps before. He also pointed out that, unlike kids from earlier times, kids today don’t differentiate between DJs and music creators. Those barriers are completely gone, he said.

The courses – $180 for JCCGV members and $225 for non-members – comprise 10 lessons, run Tuesday evenings and are open to kids 10-16. Students should bring a pen and paper, a mobile device (laptop, tablet, cellphone) and headphones. For more information, visit jccgv.com/performing-arts/school-of-music.

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

Sketching historic shuls

Ben and Carla Levinson (photo by Sam Margolis)

With the speed of a street-corner caricaturist yet the precision of someone who seemingly misses nothing, Ben Levinson has for decades been capturing the cityscapes of the many places to which he has traveled with his wife, Carla. No pencil, no erasing. Just a black ink pen and a small sketchbook.

“My architectural career taught me to sketch quickly and furiously, and I am able to see details that most would not see,” Levinson told the Independent in an interview earlier this fall.

During these adventures, Levinson has sketched everything of architectural interest to him: churches, cathedrals, mosques, pyramids and, of course, synagogues, while Carla would station herself at a café.

image - Synagogue at Tomar, Portugal. Sketch by Ben Levinson — Synagogue at Tomar, Portugal. Sketch by Ben Levinson.

By the time she was done with her coffee and croissant, Ben would have a complete rendering to show her. During the infrequent occasions she would finish first, incomplete drawings would be filled out when they reached their hotel.

The alacrity, accuracy and artistry of the sketches were at times the envy of those whom they encountered on their travels.

“We met artists whose wives and partners waited all too patiently and were ready to move on, whereas Ben was long done,” Carla said.

After looking through Ben’s sketchbooks one day, Carla suggested he do a show devoted to synagogues. Carla, who ran Victoria’s Gallery 1248, helped curate the selection of sketches that appeared at the Wings of Peace Gallery at Victoria’s Congregation Emanu-El from Sept. 4 through Yom Kippur. Now those sketches have been compiled into a book which is tentatively titled In Search of Identity: The Story of the Wandering Jew.

The book’s 49 sketches transport the viewer throughout the old and the new worlds. Many of the sketches are connected by the common experience of Jews moving on because of antisemitic treatment, despite centuries of coexistence in a community.

The figurative journey, which includes interiors and exteriors and is really the result of several holidays the Levinsons took over the span of two decades, sets off in Toledo, Spain, home to one of the few remaining synagogues left after the Spanish Inquisition scattered Jews throughout Europe and the Americas. Levinson’s exhibit and book spend a lot of time in Sephardi lands: a 14th-century Moorish-style synagogue in Cordoba; a tiny shul in Tomar, Portugal, the only pre-Renaissance temple in the country; larger houses of worship in Morocco, home to the largest Jewish population in the Arab world; and, finally, to the Portuguese Synagogue in Amsterdam, completed in 1675.

Poignant reminders of the once-thriving Jewish communities of Eastern Europe follow. Levinson leads the viewer through Berlin, Prague and Budapest, along with artistic reconstructions of the Terezin sleeping barracks and an ancient dig in Vienna.

image - Templo Libertad in Buenos Aires, Argentina. Sketch by Ben Levinson — Templo Libertad in Buenos Aires, Argentina. Sketch by Ben Levinson.

The voyage shifts to France, Italy and Scandinavia, with the majestic Marais synagogue in Paris, the synagogue at the Museum of Jewish Life in Trieste and the Gothenburg Synagogue, the scene of a firebomb attack in 2017.

Levinson also presents active scenes of a crowd forming outside a Venice synagogue on a sunny Shabbat morning, passersby in front of an Antwerp temple and a sea of bicycles by the Great Synagogue of Copenhagen.

The visual trip wraps up with drawings from Mexico City and the Byzantine-style building of Libertad Synagogue in Buenos Aires.

Born in Medicine Hat, Alta., in 1942, Levinson graduated from the University of Manitoba’s architectural program. In 1966, he moved to Victoria and worked for various firms before starting his 30-year private practice as president of Benjamin Bryce Levinson Architects in 1980. In addition to leading his practice, he continued sketching and showing his work at various venues, including the Architectural Institute of British Columbia and the Jewish Community Centre of Greater Vancouver.

Levinson was instrumental in restoring Congregation Emanu-El in the early 1980s. When he arrived in town, he felt an initial disappointment upon seeing the synagogue with “its pink stucco, balcony balustrade pickets, missing fence and hidden dome ceiling.” He helped the synagogue’s leadership in obtaining grants and helped steer the building and fundraising committees to get the money necessary to revitalize the region’s most historic Jewish building.

Small Town Architect, the name of his first book, documents his 40-year career in architectural design and recounts his travels and artistic endeavours. His work can be found throughout Victoria and in numerous communities throughout the province; in elementary schools, municipal halls, grocery stores and restaurants, among other buildings.

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

Jewish film festival moves

Robert Albanese, executive and artistic director of the Vancouver Jewish Film Centre. (photo from Vancouver Jewish Film Centre)

Community members who associate November with grey skies, falling leaves, American Thanksgiving and, in recent memory, the Vancouver Jewish Film Festival, can now cross the last item off the list. In 2020, the VJFF will be presenting films from Feb. 27 to March 8 instead.

The VJFF, the longest-running Jewish film festival in Canada and one of the longest-running film festivals in North America, will feature a collection of 32 offerings from 14 countries – including many Canadian premières – addressing current, varied and sometimes controversial subjects.

This new annual time period is the most popular season for Jewish film festivals. Of the more than 200 international Jewish film festivals, the majority present films in March. In Vancouver, this will mean warmer weather and less rain.

The move to March also permits the Vancouver Jewish Film Centre (VJFC), the society which oversees the festival, to raise funds at the beginning of the calendar year. Moreover, members of the festival staff believe they will have an opportunity to select from an even wider pool of relevant and available films.

Robert Albanese, who was brought in as executive and artistic director of the VJFC in 2010, highlights the past decade of growth the festival has had in the community, and its impact. He is adamant when it comes to the relevance of film and motion pictures in modern culture.

“Film is the most engaging art form of our era … film accesses and engages the broadest community,” he told the Independent.

“We provide Jewish continuity and an awareness of Israel beyond the front page through storytelling in today’s visually oriented world. It is vastly important to have a visible presence of our culture out in this media-centric world,” he added.

Albanese stresses that the VJFF seeks to engage with the broader community by offering the very best film stories it can find. Three of the international films scheduled to screen in March have been submitted by their respective countries to vie for the Best Foreign Film Award at the 2020 Oscars. In spite of Vancouver’s relatively smaller population, the VJFF has consistently been ranked as one of the top 10 Jewish film festivals for the past several years.

Albanese’s name has been ensconced in the minds of local film aficionados for more than three decades. Before coming to the VJFC, he was a general manager for Cineplex Entertainment for 15 years and served as director of exhibitions for the Vancouver International Film Festival for 10 years. Albanese also helps in the selection process for other Jewish film festivals, such as the one held in Victoria in early November.

According to Albanese, the VJFF aims “to showcase the diversity of Jewish culture, heritage and identity through film.” This can be seen in a quick glance at last year’s program which, as festival-goers might recall, included films on an array of topics, such as The Syrian Patient, about wounded Syrians brought to Israel for treatment; Heading Home, a documentary on the Israeli national baseball team; and Chewdaism, a full-length film on Jewish Montreal and its eateries from internet stars Jamie Elman and Eli Batalion of YidLife Crisis fame.

In addition to the annual festival and other events, the VJFF presents films on the last Tuesday of every month. The November film – on Nov. 26 at 1 p.m. – will be The Invisibles, a 2017 German docudrama following the lives of four Holocaust survivors. The monthly screenings take place at the Peretz Centre for Secular Jewish Culture, where the VJFC office is located, and admission is by donation.

The 2020 festival’s opening film will be held on the evening of Thursday, Feb. 27, at the Rothstein Theatre in the Jewish Community Centre of Greater Vancouver, and will be followed by a hosted reception in the centre’s Wosk Auditorium. The festival then moves to Fifth Avenue Cinemas, screening films from Feb. 28 to March 5. For its conclusion, the festival returns to the Rothstein Theatre, with films March 6-8 and special closing day celebrations March 8.

There are presently openings at the VJFC for volunteers to help with film research and selection, event planning, distribution of promotional materials and assistance at the festival, among other tasks. Volunteers receive complimentary tickets based on the number of shifts worked.

The full list of 2020 films will be available in early January on the VJFF website (vjff.org) and elsewhere. The 2020 festival is rolling back admission prices, with passes for $144 for all films, a five-film package of $60 for adults ($50 for students and seniors) and individual tickets at $15 for adults ($12 students/seniors). Tickets for gala events are $25 and an annual VJFF membership card is $2.

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

Reimagining Hatikvah

Molly-Ann Leikin (photo from Molly-Ann Leikin)

For most of her five-decade musical career, Molly-Ann Leikin felt something was missing – many English speakers singing Hatikvah had no idea what the Hebrew words coming out of their mouths actually mean. So, she set about creating an English version of the Israeli national anthem.

Her version is not a translation, Leikin stressed in an interview with the Independent, from her home in Santa Barbara, Calif. She contends that no translation could possibly convey the meaning of the original Hebrew. Instead, she wanted an anthem set to the same melody that everyone singing it could enjoy, understand and, as she said, “feel the passion.”

Born in Ottawa, Leikin graduated from the University of Toronto. The author of How to Write a Hit Song and How to be a Hit Songwriter, she has composed themes and songs for more than five dozen television shows and movies, and her work has been performed by a diverse array of entertainers, such as Anne Murray, Tina Turner and Billy Preston. Among many other things, she has done private songwriting coaching in Vancouver since the 1980s.

Early in her career, Leikin said she felt there was no way for a tunesmith to make a living in Canada, so she hopped into her dented red Volkswagen Bug and drove – starting her journey during a severe snowstorm – to Los Angeles. Now, she co-writes and consults with new artists and lyricists, helping them advance their original songs to compete in the marketplace.

Leikin lists 12 of her clients as Grammy winners, another 17 as Grammy nominees. According to the latest count on her website, she has helped 7,518 writers and artists place their work in movies, television shows, on CDs, in video games and commercials, and their tracks can be downloaded from various sources on the internet.

“My motto is, ‘If you’ve got the tracks, I’ve got the contacts,’” she said.

In addition to writing songs, Leikin writes bar/bat mitzvah speeches, toasts, roasts, vows and memorials.

Revisioning Hatikvah

When she was a university student in the late 1960s, Leikin spent a year in Ashkelon and, after attending an ulpan for four months, could understand the lyrics of Hatikvah (The Hope).

In 2014, while in Toronto for the Toronto International Film Festival, she was stung by bees and fell into a coma for two years. By the time she recovered, in 2016, a freak accident on her right foot left her unable to walk for another 18 months. Every doctor she saw in Santa Barbara misdiagnosed her. Devastated and unable to work, she lost her home, her businesses and her savings.

In 2017, an old friend she had not seen in 37 years called from Montreal to wish her happy birthday. The friend arranged for Leikin to be transported from Santa Barbara to Los Angeles’s Cedars-Sinai Medical Center. There, the doctors discovered the problem and a 45-minute operation fixed it.

On the way into surgery, she promised God, if He would heal her, she would use her gifts to create something to benefit the Jewish community throughout the world.

During her three-month recovery, she tuned into a classical station and kept hearing the melody to Hatikvah. The words to what would become her take on the anthem slowly began to form.

A family in Toronto, for whom she had written a eulogy, asked Leikin what her next project would be. She told them about Hatikvah, and they arranged for a grant for her to record it. (That family wishes to be anonymous.)

Hatikvah became Israel’s official anthem in 2004. The melody had been heard throughout Europe and was adapted by Czech composer Bedrich Smetana. The Hebrew lyrics are based on a poem by Naftali Berz Imber, who was from what is now Zolochiv, Ukraine.

A growing number of synagogues in the Los Angeles area and throughout the continent, Leikin said, have been playing her version, the chorus of which is “Feel the hope that’s rising everywhere / Feel our song become an answered prayer / For our sisters and brothers as we stand with all of them / In our homeland Jerusalem.”

The B.C. connection

Leikin maintains strong ties to British Columbia. Early in her songwriting career, she was hired to write “It’s Time to Say I Love You,” the theme song for The Other Side of the Mountain Part 2, filmed at Victoria’s Butchart Gardens.

“I flew up to see what I would be writing about and, in the middle of all that beautiful, I didn’t want to leave,” she said. “Almost every summer since 1977 I’ve been back to Vancouver. I go there to celebrate the High Holidays and Passover. When you guys figure out how to make it rain less, I’m moving into English Bay.”

Leikin’s “Hatikvah” can be heard at youtu.be/XV0cX7jB4Q0.

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

The broader impacts of war

Vancouver Peace Poppies co-founder Teresa Gagné at the White Poppy Memorial in 2018. (photo by Diane Donaldson)

A local group is hoping to broaden the scope of Remembrance Day as more than an occasion to honour the brave men and women who have died while serving for their country. Through the distribution of white poppies, the Vancouver Peace Poppies (VPP) movement strives to extend the focus on Nov. 11 to all those who have suffered as a result of military conflicts.

Teresa Gagné, who co-founded VPP with Denis Laplante in 2008, stresses that the group intends no disrespect towards soldiers. Instead, they wish to bring more awareness to the toll warfare has on the whole population, whether it be the loss of life or other trauma experienced. Beyond representing the victims of war, civilian and military, the white poppy, according to VPP, also challenges the beliefs, values and institutions that create the view that war is unavoidable.

“I have always had respect and sympathy for veterans, who put their life, health and family on the line to serve,” Gagné said. “I believe they deserve recognition and support, but, for years, I was uncomfortable wearing a red poppy, because of the undercurrent of promotion and recruitment for present and future wars that I detect in many public events around the topic of supporting veterans. The white poppy attracts questions, and gives me a chance to explain the nuances of my support.”

A 2016 study by Alexandre Marc, a specialist in conflict and violence for the World Bank, brought to light the overwhelmingly disproportionate number of casualties among non-combatants as opposed to combatants in recent decades. According to some reports, civilians constitute 90% of wartime fatalities, a ratio that has existed since the mid-1950s.

What’s more, Marc’s research points out that global poverty is increasingly concentrated in countries affected by violence and that prolonged conflict keeps countries poor.

Gagné and Laplante have been active in the peace movement since their teens. Their 2008 launch of VPP began by distributing handmade white poppies as a way to promote discussion and a broader focus for Remembrance Day. The following year, while still a “kitchen table” operation, they imported 500 cloth poppies from Britain. VPP now sends out more than 5,000 poppies across Canada annually.

Since 2016, VPP has partnered with the B.C. Humanist Association to host Let Peace Be Their Memorial, an annual Remembrance Day wreath-laying ceremony that includes peace songs, short presentations and poetry. This year, the Multifaith Action Society is also a co-host. The event poster highlights, “The time and location of the ceremony has been chosen to avoid any appearance of competition with, or disrespect for, veteran-focused events.”

Holocaust remembrance

As in previous years, this year’s ceremony at Seaforth Peace Park on Nov. 11, 2:30 p.m., will include a special wreath laid in memory of Holocaust victims.

Two members of the Vancouver Jewish community, Marcy Cohen and Gyda Chud, are engaged in the local movement. In 2017, Cohen attended her first Let Peace Be Their Memorial and then sought to get others in the community involved.

photo - Henry Grayman and Deborah Ross-Grayman with the Holocaust wreath at the memorial last year — Henry Grayman and Deborah Ross-Grayman with the Holocaust wreath at the memorial last year. *(photo by Diane Donaldson*)

“I was far more affected emotionally than I anticipated,” said Cohen of the occasion.

After learning of the history, values and focus of VPP, Chud recently joined the committee, and seeks to profile their work in the larger Jewish community. She represented Pacific Immigrant Resource Society (PIRS), a local refugee service group, in laying the refugee wreath in 2017 and 2018.

“The memorial serves as a powerful and compelling call to action for everything we can and must do to create a more peaceful world,” said Chud.

Last year’s Holocaust wreath was laid by Henry Grayman and Deborah Ross-Grayman, both children of Holocaust survivors. Having each experienced the intergenerational effects of trauma, the couple, both therapists, are facilitators for the Second Generation Group, an organization in Vancouver comprised of children of Holocaust survivors sharing their experiences among peers.

The people laying the Holocaust wreath at this year’s Let Peace Be Their Memorial have yet to be announced.

Poppies’ history

The red poppy widely worn today first appeared in 1921 on what was then called Armistice Day. In 1926, the No More War Movement, a British pacifist organization, came up with the idea for the white poppy and, in 1933, the Co-Operative Women’s Guild in the United Kingdom sold the first white poppies as a means of remembering that women had lost husbands, sons and fathers during wartime.

The wreaths that Vancouver Peace Poppies and other groups make, a mix of white and red poppies, highlight the amount of civilian suffering. VPP also distributes white poppies in schools in an effort to teach students that wars mostly kill non-military people, pollute the environment and send the message that violence as a means to settle disputes, even for adults, is acceptable.

VPP hands out its poppies by donation to increase awareness of its cause and not as a fundraiser. Poppies cost $1.25 each, of which 95 cents goes to the Peace Pledge Union, a pacifist organization based in London, England, which, since 1934, has advocated for nonviolent solutions to global problems. A $1 or $2 donation allows VPP to provide subsidized poppies for classroom use and free poppies to disadvantaged groups.

For poppies and more information, visit peacepoppies.ca or call 604-437-4453.

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

Looking for a family doctor?

Arthur and Anna Wolak opened King Edward Medical Centre on Sept. 16. (photo from KEMC)

The King Edward Medical Centre, a full-service family practice in Vancouver offering comprehensive primary care, officially opened its doors on Sept. 16.

Located in King Edward Mall (at Oak Street), the centre was launched by physician Dr. Anna Wolak and her husband Arthur Wolak, PhD. It is open to individuals and families throughout the Greater Vancouver area.

Longstanding and active participants in the community, the Wolaks believe this is an opportune time to help those lacking a doctor.

“Given there are so many people without family doctors – and there will be more soon, as there is a slate of family doctors who will be retiring within the next few months – people will be looking for a family physician,” said Arthur Wolak, executive director of the medical centre.

Anna Wolak is a family physician and clinical assistant professor of family medicine at the University of British Columbia. Fluent in English and Filipino, her practice focuses on all ages.

She studied medicine at the University of the Philippines in Manila, the University of Texas MD Anderson Cancer Centre in Houston and the University of Adelaide in Australia. In 2007, upon completing her training in family medicine at the Royal Adelaide Hospital and the Modbury Public Hospital, also in Australia, she moved to Canada.

Before practising in Vancouver in 2009, Wolak had a large family practice in Osoyoos, and was an emergency room doctor at the South Okanagan General Hospital in Oliver.

She also has been active in medical education, having served on the planning committees of major medical conferences and programs. She spent many years as an active parent class representative at both the Jewish Community Centre of Greater Vancouver preschool and in various grades at Vancouver Talmud Torah.

In 2014, RBC selected her as one of the top 25 immigrants to the country for demonstrating “strong leadership within the medical community.”

“Despite my extensive medical background, I needed the support of an experienced businessperson to pursue this endeavour, as medical training doesn’t include business training,” she told the Independent. “My husband has the skills that I lack. Together, we decided that we could establish a medical centre in the heart of the local community that would fill a great need, as Vancouver is desperate for primary care physicians.”

An entrepreneur and writer who holds several university degrees, including a master’s in business administration, a doctorate in management and a master’s in Jewish studies, Arthur Wolak is the author of numerous articles and books on a wide range of issues, the most recent being The Development of Managerial Culture (Palgrave Macmillan) and Religion and Contemporary Management (Anthem Press).

Born and raised in Vancouver, he is also the president of CMI Chat Media, a marketing company he co-founded with his brother, Richard Wolak.

For his part, Wolak is very excited to serve as the executive director of King Edward Medical Centre, managing the many administrative aspects of the growing office. He had the idea for several years and, with their three children now all in school at Vancouver Talmud Torah, he convinced his wife that this was the time to create a place that would benefit the community.

“My father, Dr. Edward Wolak, was a physician and I was brought up with an understanding of the importance of helping people. It was a natural fit for me, even though my academic and professional background, though very broad, was not medical. Anna has the medical skills. I bring other skills to the centre,” he said.

His mother, Elizabeth Wolak, was renowned as both a music teacher and choral conductor, having established and led Jewish choirs in Vancouver for nearly 50 years. She was awarded the B.C. Community Achievement Award and the Queen Elizabeth II Diamond Jubilee Medal for her Jewish choral work in Canada.

Both his parents were Holocaust survivors from Poland.

Over the years, Arthur Wolak has been active in various Jewish organizations. He was treasurer of the Western Association of Holocaust Survivors – Families and Friends, on the advisory board of Vancouver’s Melton School of Adult Jewish Learning (an initiative of the Hebrew University) and on the planning committee of the Vancouver Jewish Film Festival. He is presently a member of the board of governors of Gratz College, the oldest independent and pluralistic college for Jewish studies in North America, situated in suburban Philadelphia.

King Edward Medical Centre is currently accepting new patients. The website is kemedical.ca.

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

Much going on for songwriter

Harriet Frost performs at Jacob’s Ladder Festival in Israel last May. (photo from Harriet Frost)

How best to describe Harriet Frost’s music? “Impressionistic poetry, witty wordplay, music that is intimate and universal,” is what CBC Radio had to say. “Folk rock with a jazz funk twist,” read another recent write-up ahead of a performance at the renowned Jacob’s Ladder Festival in Israel this May.

“My music explores personal, topical, political and spiritual landscapes. They can be humorous, joyful, painful, ironic, beautiful and not so beautiful. It’s poetry, folk, jazz, rock, spoken word, ancient and postmodern,” she says in her own words.

What is not open to interpretation is that the Vancouver singer, songwriter and musician has had a busy spring and summer. In addition to her Israeli performance, she has been organizing local house concerts in town and working on a new album.

Music is an integral part of what she does outside of being on stage or in a studio, as well. Her work at the Louis Brier Home and Hospital has shown the therapeutic effects music has on people regardless of their age. “You can reach people, even those in deep states of dementia, through music,” she said. Frost also teaches Judaic studies, trains youth and adults to chant from Torah, and has been exploring cantorial music.

The Israel connection

Jacob’s Ladder is more than a music festival to Frost – it is the title of a song she wrote and dedicated to her father, who escaped Nazi Germany for Palestine in 1939. He witnessed the birth of the Israeli state in his decade living there. The song is featured in the Lucy McCauly documentary film Facing the Nazi Era.

Canada ultimately became home for the Frost family, yet the connection with Israel remained. When it was time for university, Harriet chose four years at Hebrew University in Jerusalem – a student by day and a musician playing in the cafés at night. She was the musical director of the groundbreaking theatre troupe, the Gypsies, made up of Palestinian, Israeli and North American artists who performed peace-themed musicals for Israeli and Palestinian youth. Her personal musical biography is so resonant with Israeli content that when a friend told her last year about Jacob’s Ladder and urged her to look into it, she couldn’t resist. The invitation from its organizers came a few months later.

Founded in 1976, Jacob’s Ladder is the longest and most established music festival in Israel, featuring a wide selection of folk genres and international music presented each spring and fall. Located in the north, on the Sea of Galilee, Frost said her first feeling upon arrival was like being at the Vancouver Folk Festival at Jericho Beach Park, due to the proximity to the water.

“It was 45 degrees,” she recalled. “I had no idea what to expect. When I was first introduced as a Vancouverite and the only Canadian performing at the festival this year, people started cheering. It was so welcoming and fantastic.”

She played in an air-conditioned 250-seat hall filled to capacity with an audience comprised of Americans, Israelis, Europeans, Canadians and fellow musicians “of all ages,” she said, “teenagers, families with kids, millennials, a full arc of generations.”

At the Ginosar Kibbutz and Hotel, which hosts the famous event, she met numerous performers who had come to the festival and were playing music in the hotel lobby between their own sets. It was an extraordinary opportunity to connect with some of the country’s most notable folk musicians, she said.

Concerts and album

Through November and beyond, along with other venues, Frost is organizing a series of house concerts, given the positive response to one she held in April in advance of her Jacob’s Ladder appearance. As the name suggests these are concerts hosted in someone’s home, where, according to Frost, “musicians have an opportunity to present their original material in a concert situation, unlike in a café or club where folks may be eating, drinking and socializing.

“There is an intimate concert vibe that is created in the home. You have the freedom to play a full night’s worth of material and really connect with a small audience (between 30 and 50). People attend specifically to listen to new music.” Currently, Frost has been collaborating at these concerts with Vancouver multi-instrumentalist Martin Gotfrit.

And a new album is in the works. Working title: Jacob’s Ladder.

For more information about the album and upcoming concerts, visit harrietfrost.com.

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

Saving audio memories

Stan Shear has been on countless stages with figures Benjy, Jasper and his original puppet, Danny, now retired at the Vent Haven Museum in Fort Mitchell, Ky. (photo from Stan Shear)

To walk into Stan Shear’s studio at his Oakridge home is to take both a step back and a step forward in time. A portrait of a penny-farthing hangs on the wall, old manuscripts and books line the shelves, yet in among the memorabilia is the technology he believes will connect the past with the future.

Shear is launching My Audio Memories (myaudiomemories.com), a project in which he takes recordings – some made in his studio, others that may have been passed down within a family – and combines them into a high-quality MP3 file on a USB stick.

His service is directed at private individuals and, because it is based in his home, he can create recordings at a cost far below those of commercial services.

The process is straightforward but requires a seasoned hand to deal with the production side, which, with decades of musical and engineering experience behind him, Shear offers.

First, you would go to his studio with stories you would like to record, along with any other audio files or recordings you might already have. These are then mixed together with various inputs and accompaniments – i.e., music and other sound effects – to capture the perfect backing for the end result. Finally comes the mastering, the stage that distinguishes a professional from an amateur recording.

“I can bring a recording to the highest level with the resources and experience I have to create a unique sound that will bring out all the hidden qualities of a person’s talents and make them come alive,” said Shear.

The cost of an individual project will vary depending on the amount of production involved.

The man behind the sound

Born in Pretoria, South Africa, Shear was a well-known pianist in his younger days. He appeared on SABC (South Africa’s national radio) on several occasions and, at the age of 19, performed the Beethoven C minor Concerto with the Johannesburg Symphony Orchestra. Playing in concert halls around the country during his youth, he later became a licentiate in music.

At the same time, he studied electrical engineering at the University of Johannesburg, earning his master’s and doctor’s degrees, and specialized in information systems, working mainly on hospital communications systems. He would later teach information systems at the University of Cape Town until his retirement.

Shear, who came to Vancouver in 2004, remains a versatile entertainer and keeps a busy schedule. He plays a number of other musical instruments – guitar, harmonica, piano accordion and ukulele – and has had an active career as a singer, performing in solo concerts and singing with choirs.

In 1976, while still in South Africa, he became fascinated with ventriloquism after discovering a book at the library. Since then, he has been on countless stages, including the International Puppet Festival in Israel, with figures Benjy, Jasper and his original puppet, Danny, now retired at the Vent Haven Museum in Fort Mitchell, Ky. (See stanshear.com.)

He also has been officiating as a chazzan for 40 years, both in South Africa and Canada.

Together with his wife Karon, he is a practitioner of auditory integration training (AIT), a method for improving listening and cognitive skills. Their processes are used to help overcome learning disabilities and improve foreign language skills.

Shear has woven his own story into his new project. He divides his account into three periods, starting with his early, formative years, devoted to growing up, schooling and other events that shaped his life. This is followed by his post-secondary education and early career, and includes extracts from concerts and broadcasts.

The third stage comprises Shear’s mid-career to the present, a “mature” but nonetheless very fruitful time, with musical performances, ventriloquist shows and the My Audio Memories project, as well as his positive views on the future, as he sees it, in his senior years.

“I am following this up with a separate project of my memories of my parents, including recordings that I’m fortunate to have of my mom and dad and members of their families talking, singing and playing the piano,” said Shear. “My mom’s family were very musical and I’m lucky to have these recordings made on an early tape recorder by my dad, and transcripts of my dad’s memoirs, which he wrote.”

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