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Health

Marc Lieberman, Who Introduced Jews and Buddhists Collectively, Dies at 72

Dr. Marc Lieberman, an ophthalmologist and self-proclaimed “Jewish Buddhist” who, when he was not treating glaucoma, organized a dialogue between Jewish scholars and the Dalai Lama and later restored the eyesight of thousands of cataract-stricken Tibetans, died in his home on August 2nd in San Francisco. He was 72.

His son Michael said the cause was prostate cancer.

Dr. Lieberman, who called himself “JuBu”, retained his Jewish faith, but considered aspects of Buddhist teachings and practices. He was kosher and kept the Sabbath, but he also meditated several times a day. He studied the Torah, but also directed efforts to build a Buddhist monastery in Northern California.

If to some it seemed like a contradiction, he agreed, as he saw in both religions a complementary pursuit of truth and a way away from worldly suffering.

“I am a healthy mosaic of Judaism and Buddhism,” said Dr. Lieberman in a 2006 interview with the Los Angeles Times. “Is that fair to both religions? Fair flattery! This is me.”

In the 1980s he became a leader of the Bay Area Buddhist lay community, holding weekly meetings in his living room and receiving monks visiting from around the world.

As such, he was an obvious point of contact when the Dalai Lama, the spiritual leader of the Tibetan people, announced that he was planning a visit to the United States in 1989 and was curious to learn more about Judaism. A friend in the office of Rep. Tom Lantos, a California Democrat, asked if Dr. Lieberman would enable dialogue between the holy man and American Jewish leaders.

Dr. Lieberman stepped into action and hired what he called a “dream team” of rabbis and Jewish scholars for a one-day meeting with the Dalai Lama at a Tibetan Buddhist temple in New Jersey.

It was a success, if only too briefly, because it was difficult to put thousands of years of religious tradition into a single afternoon talk. But the Dalai Lama was impressed and Dr. Lieberman decided to get bigger.

The next year he accompanied eight of the original group to Dharmsala, the city in northern India where the Dalai Lama lives in exile. For four days, Jewish and Buddhist thinkers discussed the common experiences of suffering of the two faiths, their different ideas about God and the role that mysticism plays in them.

The book sold well, spurring thousands of Americans, Jews, and non-Jews to explore Buddhism – while at the same time leading others to see the potential for a different, more mystical Judaism.

“Marc really deserves recognition for this dialogue, for opening up the Jews to their own meditative and esoteric traditions,” said Mr. Kamenetz in an interview.

Dr. Lieberman wasn’t finished yet. During his conversations with the Dalai Lama and his entourage, he learned that 15 percent of Tibetans over 40 – and 50 percent of those over 70 – have cataracts thanks to the harsh ultraviolet light that covers the 15,000-foot Tibetan plateau.

In 1995 he founded the Tibet Vision Project, a big name for the largely solo performances: twice a year he traveled, sometimes with a colleague, to Tibet, where he supervised cataract operations and trained Tibetan doctors to carry them out. Over the next 20 years, thanks to Dr. Lieberman around 5,000 people regained their full eyesight.

It was, he could have said, the ultimate mitzvah for a people and a leader who had given them so much.

“I remember him saying to the Dalai Lama, ‘When you return to Tibet, I want the Tibetan people to see you,'” recalls Mr. Kamenetz.

Marc Frank Lieberman was born on July 7, 1949 in Baltimore, the son of Alfred and Annette (Filzer) Lieberman. His father was a surgeon; his mother worked for a local private school and later for the Planned Parenthood area chapter.

Although his uncle Morris Lieberman was a rabbi at one of the leading reform synagogues in Baltimore, Marc grew up more on the intellectual and activist sides of Judaism than on the faith itself.

He studied religion at Reed College, Oregon, and took medical courses at the Hebrew University of Jerusalem upon graduation. In Israel he met Alicia Friedman, who became his first wife. He also became more religious, keeping kosher and keeping the Sabbath.

He attended the medical school at Johns Hopkins University and completed his residency in Ann Arbor, Michigan. He then settled in San Francisco, where he opened a private practice specializing in glaucoma treatment that later expanded to three offices in the Bay Area.

Despite his professional success, Dr. Lieberman – who was also a successful textbook author and clinical professor at the University of California at San Francisco – disaffected with medicine.

“It was a high price for me to undergo the tough training,” he said in Visioning Tibet, a 2006 documentary about his work. “There have been so few role models of people who deal with patients than others People connected, and the exact reasons that motivated me to go into medicine got further and further removed the further I got in the field. “

In 1982 he met Nancy Garfield at a yoga class who introduced him to the Bay Area Buddhist community. After the two took part in a retreat at a monastery near Santa Cruz, Dr. Lieberman that he had found the answer to his frustrations and despair, or at least found a way to address them.

In 1986, he and Mrs. Garfield married in a Buddhist ceremony. That marriage, like his first, ended in divorce. In addition to his son, Dr. Lieberman his brothers Elias and Victor.

Shortly after his second marriage, Dr. Lieberman made his first trip to northern India at the invitation of a group of Indian doctors. He found the experience transforming.

“The big discovery for me in India was seeing how spiritual the practice of medicine is,” he said in the documentary. “The medical centers in India that I was lucky enough to visit are temples and temples of love and service.”

He started visiting India regularly, working with local doctors, and bringing Buddhist books, devotional items, and esoteric items that filled his house.

“At the table,” wrote Mr Kamenetz, a visitor found “Shabbat candles; incense in the living room; a mezuzah on the door; a five-foot tall Buddha in the meditation room. If he had taken a look at the bookshelf, he would have seen Dharma and Kabbalah compete for space, and Pali would be just as likely to be found as Hebrew. “

Dr. Lieberman did not coin the term “JuBu”, and he was not the first proponent of integrating aspects of Buddhism into the Jewish faith – the poet Allen Ginsberg was one of his predecessors – but he became one of the most famous.

He struggled to focus on interfaith dialogue and leave politics aside. But his many trips to Tibet made him bitter towards the Chinese government, which annexed the region in 1959 and expelled its religious leaders and then tried to overwhelm Tibetan culture with their own.

“It’s like visiting an Indian reservation run by General Custer’s family,” he told the San Francisco Chronicle in 2006.

Beijing didn’t think much of Dr. Lieberman; he was often harassed at the border and had to wait for weeks for a visa in Kathmandu, Nepal. Starting in 2008, the Chinese government gradually banned all foreign non-governmental organizations from Tibet, whereby Dr. Lieberman’s efforts came to an end.

Just before Dr. Lieberman died, Mr. Kamenetz visited him in San Francisco. One day he accompanied his friend to an appointment for chemotherapy.

“We really enjoyed the trees in bloom in San Francisco, simply absorbed every flower, every tree,” recalls Mr. Kamenetz. “Of course we talked about impermanence. And he said the nicest thing: that impermanence not only means that everything passes, but that something new always comes into focus.

“He said, ‘Whatever comes up is the indispensable beautiful event that comes up.'”

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Business

AstraZeneca’s vaccine has introduced in $275 million in gross sales to date this 12 months.

The vaccine, developed by AstraZeneca and Oxford University, had sales of $ 275 million from approximately 68 million doses administered in the first three months of this year, AstraZeneca reported on Friday.

AstraZeneca announced the figure, largely from sales in Europe, when it reported its financial results for the first quarter. It offers the clearest overview yet of how much money is being made by one of the leading Covid vaccines.

AstraZeneca, which has pledged not to benefit from its vaccine during the pandemic, sold the shot to governments for several dollars a dose, which is cheaper than the other leading vaccines. The vaccine has been approved in at least 78 countries since December but is not approved in the United States.

The vaccine accounted for nearly 4 percent of AstraZeneca’s sales for the quarter. It was nowhere near the company’s biggest sales driver. By comparison, the company’s best-selling cancer drug Tagrisso had sales of more than $ 1.1 billion for the quarter.

AstraZeneca has announced that it will seek emergency approval to use its vaccine in the US, even though it has become clear that the doses are not needed. The Biden government announced this week that it will be making up to 60 million doses of its range of AstraZeneca shots available to the rest of the world pending a quality review.

If the company gets approval from the U.S. Food and Drug Administration, it could help build confidence in a vaccine whose reputation has been marred by concerns about a rare but serious clotting side effect. The FDA’s assessment process is considered the gold standard worldwide.

Johnson & Johnson, whose emergency vaccine was approved in late February, reported last week that its vaccine had sales of $ 100 million in the United States for the first three months of the year. The federal government pays the company $ 10 per dose. Like AstraZeneca, Johnson & Johnson is committed to selling its vaccine “at cost” during the pandemic – meaning it will not benefit from sales.

Pfizer and Moderna vaccines cost more, and neither company has announced that it will forego profits. Pfizer expects the vaccine to generate sales of around $ 15 billion this year. Moderna expects sales of 18.4 billion US dollars.

Both companies are expected to publish their first quarter results next week.

Categories
Entertainment

How ‘Unhealthy Journey’ Introduced Again the Gross-Out Comedy

If the comedy “Bad Trip” had premiered in theaters as intended until it switched to Netflix because of the pandemic, an already infamous scene would surely have made the crowd moan and laugh. It’s an encounter between Eric Andre and a gorilla that is best not described in a family newspaper. Clever, absurd and tasteless, it is a sequence that alienates part of its audience and at the same time consolidates a cult reputation with another.

Whatever your reaction is (I loved it) it’s as clear as any mission statement, and shows that the makers of this film are less interested in glowing reviews than in visceral, loud reactions. It also signals the comeback of gross comedy, a genre in decline that is grappling with nerves of social criticism and competition from the shocking value of real life.

In a 2019 interview, an authority no less than John Waters, whose well-deserved nicknames include the Pope of Garbage and the Duke of Dirty, declared the death of the gross comedy. Last week he gave an explanation for this unassailable point on Marc Maron’s podcast. “It’s easy to be disgusting. It’s easy to be obscene, ”he said. “But it’s not easy to be funny about it.”

This is what makes Bad Trip a welcome feat, and why its impact could dwarf that of any movie that took home Oscars over the weekend. It’s smart and crass to find new ways to put up with old-fashioned finesse.

The roots of modern comedy can be traced back to EC Comics and Mad Magazine, dizzying publications devoured by children in the middle of the last century, some of whom made films such as Animal House and American Pie. ”This led to an arms race of vulgarity with increasingly red taboos and funny landmarks: the contagious vomiting in“ Stand By Me ”, the hair gel in“ Mad About Mary ”and the influential“ Jackass ”franchise. (One of its creators, Jeff Tremaine, is the producer of Bad Trip.)

“Bad Trip” is firmly anchored in this tradition, but has been updated for an era in which reality and fiction are becoming increasingly blurred. It’s no surprise that Nathan Fielder and Sacha Baron Cohen, who used the tools of documentaries to expand the range of comedy, helped out with the advice. “Bad Trip”, which contains elements of a buddy movie, romance and prank show, spills every imaginable body fluid and stomps on sensitive sensations, but manages it with warmth and deserved feeling.

The key to his success is the benevolent, mischievous charisma of Eric Andre, an anarchic performer who always seems to be on the verge of accidental destruction, be it in his stand-up or on his brilliantly experimental talk show. Through “Bad Trip” it moves like a giant pane of glass in a silent film. His fragility deserves your sympathy from the start.

In the first scene, his character Chris, who works at a car wash in Florida, is chatting with a customer when he spots a woman in the distance with a crush on high school. With his mouth open and tasty music in the background, he explains how nervous he is to see her before inadvertently walking towards a vacuum that suddenly sucks off his jump suit. He is naked when the girl approaches. He and the woman are actors, but the stranger watching this is not, and this whole stunt is constructed to find a comedy in his reaction as he sets the gears of the plot in motion. It’s a used cringe comedy.

“Bad Trip” is organized around a series of increasingly sophisticated set pieces that include reactions from real people who are not involved in the joke. They are cleverly integrated into a fictional story rooted in relationships that are given room to develop and fill out. Andre has excellent chemistry with Lil Rel Howery, who plays his frustrated, sensible friend Bud Malone, who goes on a road trip to find his lost love. They begin by stealing Bud’s sister’s car, which is brilliantly played with a light-hearted enthusiasm from Tiffany Haddish that plays off real people as well as professionals.

These are some of the funniest comic book actors to work today, but what makes the most laughs here is their interactions with common people. Director Kitao Sakurai (who directed many episodes of “The Eric Andre Show”) alternates between slick-action films and Vérité shots that draw attention to the unwritten element. Just as the string comedy “Borat” helped to give the political humor against Trump a spontaneity and danger, this also applies to the coarse humor. “Jackass” did so too, but it didn’t have the same narrative belief.

There are some moments when you really worry about Andre, like when he’s drunk and wreaking havoc in a country bar. While “Borat” views many of the real people the character encounters with a cutting satirical gaze, “Bad Trip” aims for a much more lovable tone, even in its most confrontational scenes. It is a film that ping pong between gross and feeling good.

The crux of the joke is usually Andre, and yet the film takes care to keep the audience on its side. There’s an unexpected innocence here that makes the chaos tastier. The way the sequences escalate shows an alertness to structure and rhythm. There’s a scene where Haddish sneaks out from under a prison bus in an orange jumpsuit and asks a man on the street for help in escaping the police who eventually arrive. What follows is a series of car chases, a farce that might remind some of the classic Charlie Chaplin. But luckily not too much. “Bad Trip” never wants to be too respectable. Who makes good taste anyway?

No mainstream film genre gets less respect than gross comedy – not even its artistic cousin, the bloody horror, which also deals with gushing body fluids, disgusting ID cards, and happy transgressions. There is no comedy equivalent of writer David Cronenberg, who is often hailed for his intellectually challenging bloodbaths. Critics regularly reject films as free and youthful. Well duh

Children understand some things better than adults, and that includes the weird potential of vomit. A rough comedy provokes explosive laughter in part because it exerts parts of the sense of humor that were given up when we were growing up. It evokes the laughter we experienced before we learned how to do the right thing. While transgressions are built into these films, their joys are inherently nostalgic, which is why they age poorly, act with regressive attitudes and tired stereotypes. But you don’t have to.

The best provocateurs pay particular attention to shifts in sensitivity. And blatant connoisseurs can also be snobs. Therefore, for a certain type of fan, this gorilla scene signals a twisted kind of integrity, an obligation to those who, above all, are in the mood for insane moments of provocation. You need high standards to be so simple.

Categories
Entertainment

Juan Carlos Copes, Who Introduced Tango to Broadway, Dies at 89

This obituary is part of a series about people who died from the coronavirus pandemic. Read about others here.

Tango was originally a ballroom dance performed in neighborhood gatherings and dance halls. But Juan Carlos Copes turned it into dance for the stage, with a complex, highly polished choreography that could delight an audience for an entire evening.

Mr. Copes moved across the dance floor for seven decades. Most of the time he danced with a partner – at times with his wife – María Nieves Rego. They came to define a new style of tango called “estilo Copes-Nieves”.

“I’ve seen two styles danced,” said Copes in a 2007 interview with tango magazine “La Milonga Argentina”. “One with many steps and the other smooth and elegant. My innovation was to combine the two into one. “

Mr. Copes died on January 15 in a clinic in the suburbs of Buenos Aires. He was 89 years old. The cause were complications from Covid-19, said his daughter Johana Copes.

Mr. Copes and Mrs. Nieves may have had their greatest influence on the show “Tango Argentino”, which premiered in Paris in 1983 and became an international juggernaut. She toured Europe and Asia before coming to Broadway in 1985, where she was nominated for several Tonys. The show, in which the couple re-starred, returned to Broadway in 1999 when it was nominated for Best Revival.

“Tango Argentino” led to a worldwide resurgence of tango, which had fallen out of favor even in Argentina and was replaced by the emergence of predominantly American pop music. Tango clubs have opened all over the world.

“The fact that we tango artists today even have a profession is thanks to Copes,” said New York-based dancer Leonardo Sardella, who has often performed with Johana Copes, in an interview.

Mr. Copes stayed in the spotlight, dancing and choreographing dozens of tango shows in the 1980s and 1990s. In 1998 he starred in the dance film “Tango” by the Spanish director Carlos Saura alongside the Argentine ballet dancer Julio Bocca, to whom he had taught tango. (He also taught Liza Minnelli.)

Mr Copes was born on May 31, 1931 in Mataderos, a district of Buenos Aires, to the bus driver Carlo Copes and the housewife María Magdalena Berti and grew up in the Villa Pueyrredón, another district on the outskirts. His maternal grandfather, Juan Berti, was a pianist who specialized in tango.

As a teenager he studied electrician. But he also attended tango evenings in social clubs, where he met Ms. Nieves.

In 1951, the couple took part in a major dance competition at Luna Park Stadium, where they won the grand prize among 300 couples. This led to appearances in clubs and cabarets and in 1955 to her first tango show at the Teatro El Nacional.

Mr. Copes and Mrs. Nieves went on tour four years later with the composer Astor Piazzolla. The itinerary included the United States, where they landed the first of several spots on the Ed Sullivan Show in 1962. The footage from this first performance shows the super-fast footwork, sharp kicks, and streamlined style that had made them so popular.

They married in Las Vegas in 1964. The marriage ended in 1973, but they continued to dance together until 1997, despite being very opposed to each other.

“We’d scold each other when we went on stage and carry on when we left the stage. But in between there were the real Copes nieves, ”said Copes in a 2007 interview.

After divorce became legal in Argentina, he married Myriam Albuernez in 1988.

Together with his daughter Johana, who has become his main partner in recent years, he is survived by Mrs. Albuernez. another daughter, Geraldine; and five granddaughters.

“He taught me how to breathe tango,” said Johana Copes. “His dance had a delicacy and purity that was difficult to achieve. I now understand why he always wanted to prepare, rehearse and dance. I understand this need. “