Features
Daniel Raiskin, music director of the Winnipeg Symphony Orchestra, discusses his life – from his boyhood in Soviet Russia to his coming to Winnipeg and his admiration for the Jewish community here
By BERNIE BELLAN Daniel Raiskin has been the music director of the Winnipeg Symphony Orchestra since 2018. This paper has been remiss not to have interviewed Raiskin until now, although to be fair to ourselves, he is an extremely busy fellow,
so finding a time when he could sit down and talk about his career, what life was like growing up in a Jewish family in Soviet Russia, and how he feels about spending a good part of his time in Winnipeg, was not easily arranged.
But then Covid-19 suddenly took over everyone’s lives – no matter who they are or where they live and, without much planning required, we were able to arrange to speak with Raiskin from his Amsterdam home.
At the outset of our conversation, which was conducted via WhatsAapp on Friday, April 3, Raiskin explained he’s “lived in Amsterdam for 30 years.” While he travels the world serving as guest conductor for many different orchestras, he “shares his time between Winnipeg and Amsterdam. My home is both in Amsterdam and Winnipeg,” he said.
I asked him, since he’s lived in The Netherlands for so many years whether he holds Dutch citizenship? Raiskin answered that he’s been a Dutch citizen for 26 years, although he still “has a Russian passport, too.”
At the present time Raiskin is also resigned, like the rest of us, to remaining in his Amsterdam home with his wife and two children (a son, 21, and a daughter, 16) for the foreseeable future..
“I was actually caught here between two projects – both of which were in Winnipeg,” Raiskin explained. “I was supposed to return to Winnipeg to spend 10 days there, but then things began to get really cloudy and we decided it doesn’t make any sense for me to fly into Winnipeg and get stuck there without my family, so I decided to stay here.”
We discussed how The Netherlands had taken a relatively hands-off approach to the Coronavirus to begin with, but as the danger has become more apparent, the liberal attitudes that most Dutch have in being uncomfortable with seeing their liberties restricted have begun to dissipate.
“People here are used to going to parks and to the seaside, but I’m afraid that on Monday (April 6) the lockdown is going to be announced,” Raiskin observed (on April 3).
Before we began to talk about Raiskin’s musical career, I said to him that I wanted “to take him back to his childhood in St. Petersburg.” I remarked to him that when I was a student in Israel (a very long time ago – 1974-75 to be exact). I became friends with a girl from St. Petersburg, who bragged to me that people from St. Petersburg were so much more sophisticated than Israelis, also that St. Petersburg had “the best ice cream in the world.”
I asked Raiskin whether the part about the ice cream was true.
“Yes, that ‘s very true,” he responded – “at least judging from my kids’ reaction any time we go to St. Petersburg, they say ‘this is really the best tasting ice cream.’ “
I wondered whether Raiskin was a musical prodigy as a child.
“I was not a prodigy at all,” he said. “I took up the violin when I was six – and I didn’t ‘take it up’. I was given it. It’s an old joke that with the wave of Russian Jewish immigration to Israel every second Russian landing in Israel at Ben Gurion Airport had a violin in his or her hands. Those that did not were piano players.”
“I was born into a Jewish family where music played a very important role,” Raiskin explained.
“My father is one of the foremost Russian musicologists (who is also a now retired physicist, Raiskin noted). One of the first sounds I heard when I was born was my brother (who tragically died at a the age of 34) practising his cello. By the time I was six – I like to joke my mother was so tired of carrying my brother’s cello around, she opted for something smaller for me: a violin.”
By the way, both Rasikin’s parents are alive and still living in St. Petersburg, he told me. His father’s first love was always music, Raiskin noted, but as part of the generation that grew up in the Soviet Union following World War II, it was unrealistic for anyone to make a career of music, he explained.
“He was teaching physics at a university in St. Petersburg when he was 35, but he graduated from a music conservatory when he was 40. That goes to show how important music was to him,” Raiskin observed.
“My mother stopped working a year ago (when she was 82),” Raiskin said. “She was a mathematician and a software programmer.”
I asked Raiskin whether his “parents ever endured any discrimination because they were Jewish that you can speak of? ” I added that “I didn’t want to seem naive by asking the question (since anyone who was following the fight of “refuseniks” in Russia attempting to leave Russia at the time that Raiskin was growing up would have known that anti-Semitism was rampant in that country.
” We lived in a country with a great rate of anti-Semitism,’ Raiskin answered. “My parents and my brother and me and friends all around us were all subject to state-sponsored anti-Semitism. At some point my family had also made the decision to leave (Russia), but it was too late. The Afghanistan war had broken out and everything was hermetically sealed. We got stuck.”
At that point I said to Raiskin that I wanted to talk about what it was like growing up as a young Jewish boy in Russia at that time – and how much love of music was inculcated into his and his peers’ lives.
“It was like – any given picture of Chagall has a violin in it,” Raiskin observed. “It’s part of the Jewish heritage and DNA; this whole ‘3,000 years of endurance’. Music was one of the things that kept us from getting alienated.”
At the same time though, Raiskin said that “music was not something that I particularly wanted to do. I wanted to play football and ice hockey with my mates outside. As a kid you don’t want to spend hours practising and doing scales for hours, looking out the window of your seventh-floor apartment while other kids are playing outside. I wanted to be more like them.”
“It’s very often a mistake to think that it’s the child who makes the decision at age six or seven to become a musician. Some kids are so incredibly gifted they show a unique talent at such a young age, there’s nothing else they want to do. I definitely don’t want to give the impression that I was one of those kids. I was pretty much normal and not very well behaved; I was pretty naughty.
“It was only later that I developed a real taste for music – and worked hard to become something.”
To that point we hadn’t discussed Raiskin’s particular musical interests. I noted that I had read in various articles and interviews that his favourite composer was Gustav Mahler (who was also Jewish, by the way). I wondered when Raiskin first became interested in Mahler’s music?
“You know, in fact, Mahler was not a composer whose music was very often played in my years in the Soviet Union,” Raiskin explained. “The performances of Mahler were always a great event,” but it was only one or two of his symphonies that were ever played, he noted.
“It was only with the collapse of the Soviet Union and the first Western orchestras that started to come on European tours that we really started to hear Mahler played. I’ll never forget the first time I heard Mahler’s Seventh Symphony played by the Pittsburgh Symphony…I think this was when it really hit me hard. This is the moment that I said to myself: ‘I’m going to conduct this once’…and I did, on many occasions…I try to conduct his music as often as I can.”
We skipped ahead to Raiskin’s first time coming to Winnipeg which, he said, was in 2015, as guest conductor of the Winnipeg Symphony Orchestra. There were two more appearances as guest conductor of the WSO in 2017 before Raiskin was appointed as music director in 2018.
“It was a lengthy process,” he said, “but I am, in fact, already looking back on five years of being associated with Winnipeg. It’s not like it started in 2018.”
Raiskin also observed that “no matter how successful a relationship a music director has with an orchestra – it’s never a relationship for life. It’s just the nature of the profession. It’s a marriage for a time…It’s not the conductors who play the music; it’s the orchestras. It’s about 67 musicians who play. It’s very important – the mandate we get from the musicians …and at a certain point it’s time for the conductor to go.”
However, Raiskin wanted to make clear that this is not something he is thinking about now. With his second season cut short due to the COVID-19 pandemic, he said that, |“more than ever our relationship and interdependency is being tested and I am confident we’ll get out if the crisis, whenever this might be, stronger than ever.“
Raiskin explained that, while he is contractually obligated to conduct the WSO for 12 weeks during the year, it is hugely important for any conductor to get out on the road as much as possible. He used the following analogy to illustrate his point: “A hockey player cannot perform at the highest level of his ability if he just plays home games. It’s also important how you perform outside.”
I noted at the outset of this article that, although Daniel Raiskin has been music director of the WSO for two years now, we still hadn’t interviewed him which, given that we’re a Jewish newspaper and he’s Jewish, is something that we should have done much earlier. But, since he’s now had time to get to know Winnipeg – and its Jewish community, much better, I asked him what his impression of our community was?
“I’m sure you’ve met Gail Asper,” I said (tongue in cheek; how could the music director of the WSO not have met one of the foremost supporters of the WSO – and arts in general in this city?)
“Yes, of course,” came Raiskin’s reply, “and many other people, like Laurel Malkin, and Michel Kay and Glenna Kay. You know, Winnipeg became a place where being Jewish for me suddenly started to matter in a very personal and positive way. Growing up in the Soviet Union was definitely not. I was once expelled from a music conservatory for visiting a synagogue – for the first time, just out of curiosity.
“And when you’re in a very cosmopolitan city like Amsterdam, with a very tragic history of Dutch Jews – one needs to acknowledge that there were 150,000 Dutch Jews before the Second World War, and only 15,000 survived – so, for me, connecting to the Jewish community here…like the first Rosh Hashanah dinner I ever attended was…in Winnipeg! Because some friends just took me and my wife and said: ‘Come’. I really feel that it matters in a very positive way that I’m Jewish and I can connect to many people in Winnipeg and many in our audiences are Jewish.”
“I feel more Jewish than ever since coming to Winnipeg,” Raiskin suggested. “Jewish music is so important to me. One of the first things I recorded as a musician – as an instrumentalist, was a complete edition of music for viola and piano by Ernst Bloch, the foremost Jewish composer.”
At the end of our interview we discussed the devastating effect that the current crisis is having on people’s lives – in so many ways. Raiskin said that he was still fully involved in planning for the coming season of the WSO – and for the season after that as well.
In terms of assessing people’s hunger for music, he had this to say: “I think there will be a sense of growing hunger…our souls and our spirits are being so hollowed, there will be a growing need to fill in this gap – and this is where we can step in.”
Raiskin closed our interview with this observation: “I feel: today, more than ever, people feel how important arts and culture are to them. We suddenly realize that we use art to communicate with each other!“
Features
Musings from Dizengoff Street – by Bruce Brown (updated Sept. 18)
(Posted Sept. 18) Just wonderin’. When a tree falls in a forest and no one’s there to hear it, does it make a sound? And if Iran says it’s not enriching uranium and no one’s there to verify it, do they develop fissile material?
Now Iran just obtained a seat on the General Committee of the International Atomic Energy Agency’s General Conference – how crazy is that. Like letting the cat guard the milk.
(Posted Sept. 15) Apparently some superheroes are against us. But not really. Whewww!!! Fortunately it’s just the progressive actors who play them in movies. Such as Benedict Cumberbatch (Dr. Strange) and Mark Ruffalo (the Hulk) as well as other minor actors not worth mentioning. What are these misinformed thespians aligning themselves with. Not sure they really know. Well. It’s with The Freedom for Marwan campaign, which pushes for the release of convicted, arch-terrorist mastermind Marwan Barghouti. Convicted in 2004 and sentenced to five life sentences plus 40 years for orchestrating various heinous shooting sprees in Israel during the Second Intifada (2000-2005). Killing and wounding too many innocent Israeli civilians including a Greek Orthodox monk outside Jerusalem. As a comic book fan, and closet Batman and Aquaman (when I swim), it saddens me that these guardians of the universe can be associated with defending evil. But then I remind myself it’s only the actors -what do they know anyway- and not really the superheroes. Unlike our own Gal Gadot (Wonder Woman), Natalie Portman (the Mighty Thor), Shira Haas (Sabra) and Liev Schreiber (Sabretooth). All firmly on the side of good.
(Posted Sept 10) Honey cakes. Honey cakes. Honey cakes. It’s that time of year. Yummy! Here comes Rosh HaShana 5787. And its…. You guessed it. Honey cake season. That light brown loaf our baba used to make. Starting a few weeks before Rosh HaShana and extending through Yom Kippur – a first bite to break the fast and usher in a sweet year- honey cakes are found throughout the country. The familiar sight of the ready-made, pre-packaged, ‘assembly-line’ honey cakes wrapped in cheap cellophane found in Grocery stores. The freshly baked honey cakes adorning window displays at local bakeries. The exorbitantly priced, gourmet honey cake desserts offered at fancy Tel Aviv restaurants. And of course, honey cakes festooning the festive, colorful, Rosh Hashana dinner tables across Israel. I bake my own honey cake which is pretty good. My wife and kids would beg to differ. But these slightly glazed honey cakes -of my own culinary, shtetl inspired creation- are heartedly enjoyed by me as I gain several honey cake induced pounds. Shana tova!
(Posted Sept. 8) Hoarding. A combination of my own little wartime PTSD and some recent headlines about Iran trying to coordinate a multifront attack (is that capability still there?!) and October 7 like rumblings from the West Bank (or Judea & Samaria, depending if you wear a kippa and if its knitted and if it tilts to this side or that side -that’s a shtetl insider joke). I digress and Yikes! And we just had a nation-wide drill of the IDF’s top-level headquarters preparedness for such scenarios. Double Yikes! So ya. I’m always checking and rechecking that we have way more than enough of some things. The thought of entering another prolonged war and some stuff no longer available, even for a short time, scares the bejeebers out of me. Just writing about it triggers the ‘go and buy’ dopamine hit. Medications. Toilet paper. Bottled water. Canned goods. Also worried about the country running out of bullets. But I can’t hoard those.
(Posted Sept. 5) An open letter to the zany and zealous mouthpieces of those delightful, anti-Israel protests held regularly in Toronto. In the heavily Jewish Bathurst & Sheppard area no less. Fear and harassment in the community? Not by the hairs of our chinny chin chins.
Dear Friends.
Are you serious.
Sincerely,
Bruce Brown, a Zionist who does not rape children. Who does not murder children. Who does not eat children. And, get this, who lives in Israel.
(Ed. note: To better understand what Bruce is talking about, go to this story on our website: Police open hate-crime investigation)
(Posted Sept. 1) Can you be more of an international embarrassment and liability? Yes talking about Israeli’s antagonist extraordinaire and National Security Minister Itamar Ben Gvir.
Declaring that Israel should kill ’30-40 Gazans a day’. Seriously?!?! His actual statement may have been more refined and qualified. But it doesn’t really make a difference. That’s the takeaway. Like whose side is he on anyway. Talk about giving our detractors ammunition to delegitimize our little shtetl. Hello?!?!
And a few days later. Showing off in front of a gallows site under construction at a high security prison. Seriously?!?! The death penalty for terrorists. Right or not – I think the former. But like can you give us reason to be compared to an extremist state. That’s the takeaway. Like whose side is he on anyway. Talk about giving our detractors ammunition to delegitimize our little shtetl. Hello?!?!
Serenity now!
(Posted August 28) Kites. Color. Childhood. Hamas and friends should watch Mary Poppins with the final kite flying scene. Remember that song, Let’s Go Fly A Kite. Ya, I know. Somewhat ethnocentric. But still…. I have fond memories of flying kites with my kids. Down the Mediterranean shoreline in Tel Aviv. At the Ness Tziona kite flying festival. Along the green grounds of the Weizmann Institute. Laughing and running. Looking to the sky with awe. Multi-shades and fancy. Kites.
With your fist ‘olding tight
To the string of your kite
…oh, oh, oh!
Lets go fly a kite
Kites. Fun. Laughter. Innocence.
Kites. Not an instrument of war.
(Posted August 25) How principled can you be! Ireland -one of the most anti-Israel and foggiest countries in the EU- insisted that its government’s new, 60$M executive jet NOT be equipped with Elbit’s FalconEye navigation system, which helps pilots navigate in fog -how ironic- and other difficult weather conditions. Without this unique system the plane must be diverted to alternative airports. This a part of the government’s official boycott of Israeli goods. So good luck to Prime Minister Michael Martin in landing his aircraft in Dublin.
And despite some negative sentiment towards everything Israel, Elbit achieved over 32$B in backorders with Europe driving much of its export growth. On a more personal muse. The morning after Iran’s first attack on Israel (April 13 2024), I woke up not with fear and panic. Well. Okay. Some of that. But also great excitement regarding an investment opportunity which developed overnight. Actually it was the wife’s suggestion. After Israel successfully intercepted over three hundred missiles and drones – showcasing the strength of Israel’s defense industry- my wife had a eureka moment. What better public relations for Israel’s defense industry. Let’s buy stock in Elbit, a key player in that ecosystem. We did. And about eighteen months later we cashed in. With about 150% profit. This is not an endorsement to buy… blah, blah, blah….
Again. Good luck to Prime Minister Martin.
(Posted August 21) Sometimes musings are terribly sad. But should be shared.
Happy belated birthday beautiful Ariel. Turned seven on August 5th. Thought about him and his younger brother Kfir and mother Shiri. All murdered by Hamas shortly after their unbelievable and surreal abduction on Oct 7 2023.
As I was driving home today. “I Thank You Child” by Zakk Wylde shuffled onto my Spotify. Always kills me, this song. It was played by Yarden, the father who himself was held hostage, at the funeral of his family. For Ariel and Kfir. The lyrics chilling. The frequent drum rolls haunting.
It was you who made living all worth the while
Oh, I thank you, my child
Comfort in your eyes
For the warmth inside your smile
Faith’s done gone astray
It was you who made living all the while
All my fears repressed
Oh lovin’ you child it’s the best
This song. Written almost thirty years ago. Finds its devastating meaning today. With the Bibas family tragedy.
How.
Listen to the song here:
(Posted August 18, 2026) And the beat goes on in the strait. A bit quieter lately although may be heating up again with the 60day ‘ceasefire’ officially expired. And while Iran occasionally lashed out over the last two months, they did not attack Israel. How do you spell deterrence. According to my Yiddisha mama, its spelled ‘Pftt. Pftt. Pftt‘.
(August 14, 2026) Despite three years of varying degrees of warfare. Moody’s biannual report of the Israeli economy was quite positive. Basically, the report saw no pressures on Israel’s credit rating. While the macro data remains strong, Israel still faces a complex geopolitical situation further complicated by upcoming elections (we pondered about how crazy that is in an earlier muse). And Israeli’s inflation rate for the first half of 2026 fell to a historic five year low of 1.2% (vs Canada’s 2.6%). As for my own pocketbook. Haven’t had an infamous Israeli bank overdraft in years. So all is fine.
If that’s not enough economic voodoo talk for one musing. According to one famous barometer. Israel moved to second place in the Economist’s Big Mac Index. Introduced in 1986, this tasty indicator compares the purchasing power parity across countries by measuring the price of a McDonald’s Big Mac -which most can relate to- against the benchmark U.S. burger. So while a Big Mac in the U.S. costs $6.22. In Israel it costs $7.67, the second most expensive place to buy the hamburger in the world, Switzerland being the most pricey at a whopping (no reference to Wendy’s) $9.04. While the cheapest Big Mac can be enjoyed in Indonesia at only $2.38. Canada ranked 22nd of the fifty-four countries considered, at $5.85. Parity. Smarity. I’m going for my Big Mac fix. Just after I finish writing this muse….
(August 11, 2026) Bravo Boy George. We certainly will dance again! And what better way than with his new reggae tune. Now Boy George is dealing with a hostile backlash against his just stand for Israel. Having to withdraw from London’s East End production of Jesus Christ Superstar where he was going to play – guess it. King Herod. Never a big Culture Club fan, but I am anyway -as a sign of support- going to download his greatest hits to my Spotify library. And hoping to have a chance to buy a concert ticket should Boy George perform in Israel. Kind of reminds me of Bob Dylan’s 1983 song Neighborhood Bully. Also in defense of Israel. I’m going to download that song as well. Although don’t think he was hounded the way Boy George is now. Sign of the times I guess.
+++++
Coming clean. I sometimes find myself chanting, to no one in particular, that snappy little ditty ‘from the river to the sea, Palestine will be free.’ Now why can’t we come up with something as catchy. With such an impressive gene pool of great Jewish songwriters. George Gershwin. Irving Berlin. Burt Bacharach. Carole King. Neil Diamond. Leanard Choen. Paul Simon. Gene Simmons, Amy Winehouse. Bob Dylan. And yes, even the Buddhist Boy George. And still… gurnish! No wonder we’re losing the global PR battle
(August 8, 2026) Outside Basimta Café in Central Jerusalem. Love the red shirt against a tiny sea of black. Not sure I am shrugging because of the ultra-orthodox uproar over a Jerusalem café operating on Shabbat or the lack of an ultra-orthodox uproar over a Jerusalem café operating on Shabbat. For the last six weeks Israeli headlines shouted about the cafe chaos. With the ultra-religious blocking entrances and storming the café. While shouting ‘Shabbos! Shabbos!’ Upsetting the secular amongst us just wanting to enjoy our Saturday iced matchas. So the wife and I thought we would check it out. And. Yes. Buy something to support the business. Uproar. Not. Blocked entrances. Not. Storming the café. Not. Albeit there were police barriers separating the devout protesters from the coffee drinkers. The protesters being just a few dozen black clad, pious Jews. Mostly teenagers. And yes. Shouting ‘Shabbos! Shabbos!’ Certainly underwhelming in its reported mayhem. Reminds me of the famous saying misattributed to Mark Twain – “If you don’t read the newspaper, you’re uninformed. If you do, you’re misinformed.” But I did enjoy my iced matcha.
(August 6, 2026) Here we go again. Another round of forever negotiations. As someone who negotiates for a living. The way things are going in the straits. If I had to recommend a book on the subject to a new hire. Between The Art of the Deal, A Presidential Edition by Donald J. Trump or The Real Art of the Deal by the Mullahs of Iran with a special forward by the IRGC. Well. I would choose the latter.
(August 3) Bravo Yoav Segalovitz, Liberal Yesh Atid MK and Monsour Abbas, United Arab Ra’am MK and party head. For breaking a glass ceiling where a Jewish lawmaker joins an Arab political party. No less a political earthquake in my little shtetl. Which can significantly impact coalition block arithmetic and posturing and strategy in the upcoming elections. Now Ra’am can be considered a legitimate ‘Zionist’ partner when forming coalition blocks and potentially pushing the ‘center left/right’ party over the 60 seat majority threshold. In our crazy parliamentary democracy defined by a multi-party (about fourteen!!), proportional representation system. To paraphrase Winston Churchill, Israel’s proportional representation model of governance is the best parliamentary democracy system except for all other forms of working democracies. Stay tuned for more amateurish political musings as we move towards Israel’s 26th national election – five of them held since 2019.
(August 1) Although both sides say they are open to diplomacy. Neither really trusts the other. And American military action, or its threat, continues. I read headlines in the middle of the night -it’s a nervous habit lately– that the Dynamic Duo of Trump and Netanyahu may again strike in unison. Possibly this weekend. Yikes! Prompting me, at 2:30 AM, to dash around the house stocking my safe room. Bottled water. Canned food. Medicines. Documents. The beat goes on….
If it’s crazy here. It’s insane in Italy. With a recent online ‘Jew Hunt’ in the Milan area. Before being removed, the digital forms urged reportings of Israelis and Italian Jews staying in local hotels. The infamous Global Sumud Movement -yes, the one coordinating ‘peace and humanitarian’ flotillas to Gaza- was somehow connected. Although they deny involvement?! This deranged decree was looking to identify Zionist tourism and Zionist neo-colonization in Italy. I’ll stick with stocking the saferoom.
Then there’s New York Mayor Mamdani, a Global Sumud Movement supporter, threatening to arrest Prime Minister Netanyahu if he comes to New York. But since discovered he has no legal right for such a grandstanding, antisemitic, anti-Israel, anti-Western, anti-democratic antic. Maybe Mandami should be arrested! Or at least impeached. For being a grandstanding, antisemitic, anti-Israel, anti-Western, anti-democratic mayor.
Here’s a post Bruce sent us Friday, July 31:
WARTIME MUSINGS
Should credible threats against FLOTUS and ‘FSOTUS’ (first son..) not be justification to attack first.
As for yesterday’s summit. Netanyahu really can’t win. Explainer. If Trump now attacks without victory its ’cause of Netanyahu. If Trump now attacks with victory its ’cause of Trump. And, in Israel, if Trump doesn’t attack -victory or not- Netanyahu failed in his eighth meeting with Trump. And if Trump does attack -victory or not- half the country will vilify Bibi anyway. Missing a permutation?
Ya. I know. Kinda’ need a definition of victory for that musing to work.
And here in my little shtetle. We go to sleep unsure if there will be a code red in the middle of the night. And if not. We wake up thinking it will be tonight. How do you define stress?
Seemed like an appropriate way to end this musing.
Bruce Brown is a former Winnipegger who made aliyah to Israel over 35 years ago. Bruce first began writing for us – in his own inimitable style, in 2012, during what was known as “Operation Pillar of Defense.” His occasional musings on aspects of life in Israel that were far from what you’d typically read in other reports from Israel were hugely popular – both in the print Jewish Post & News and on this website.
We’re now glad to report that Bruce is back writing for us – this time on a regular basis. We will post Bruce’s reports as they arrive – with the date of each post at the beginning of that post.
Here’s some information about Bruce – and awards he’s received for his writing:
Bruce Brown. Canadian born. Now living in Israel (for a long time). Bruce works in Israel’s hi-tech sector by day and, in spurts, is a somewhat inspired writer by night. He received the American Jewish Press Association’s award for writing excellence in 2019 and 2025. And wrote the1998 satire, “An Israeli is….”. Bruce’s visuals are AI-assisted and created with ChatGPT under his inimitable visual concept and creative direction. Bruce’s musings are political, social, economic and personal. With lots of biting, contrarian, sardonic, irreverent and mischievous insights.
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Why NBA Teams Start Defending Before Half Court
An NBA defender who meets a ball handler near the opposite baseline is trying to interfere with the possession before the offense gets organized. The immediate reward need not be a steal. Making a guard change direction, protect the ball, or find another receiver can interrupt the route into a play. But pressure has several possible results, and slowing that first journey does not necessarily slow the whole game.
In Logan Murdock’s November 2025 report on full-court defense, Phoenix Suns guard Jordan Goodwin described his aim: “Try to make them take at least six seconds off the clock.” That was his target, not a measured average. Indiana Pacers coach Rick Carlisle described another purpose: getting opponents to play faster than they prefer. Both approaches interfere with timing, though one delays the setup while the other hurries decisions.
The shot clock helps explain the difference. In a normal NBA possession following a made basket, the offense has 24 seconds, with the countdown starting when the inbound pass is legally touched on the court. It must also advance out of the backcourt within eight seconds. Crossing half court does not start a fresh shot clock. Time spent getting there leaves less time to create a shot. A defensive deflection that stays inbounds does not restart the countdown.
Defensive pressure also needs careful interpretation in basketball betting. An NBA matchup on the Bovada website cannot be reduced to whether one team presses: the combined score depends on how often both sides get the ball and what they do with their chances. A defender delaying the first pass into an offense can leave less time for a good attempt. A turnover followed by a quick basket has a different effect.
Those possibilities make defensive intensity an incomplete description of a scoring outlook. A team can force its opponent to work harder while creating quick attacking chances for itself. It can also concede an easy chance when pressure fails. Understanding the tactic means separating its purpose from its outcome, rather than treating an aggressive defender as evidence that the game must produce fewer points.
Pressure does not always mean a trap
One defender following the ball is different from two defenders closing around it. The first can contest the dribbler while teammates remain with their own assignments. A trap commits another player to the ball, so teammates elsewhere must cover the passing options and protect the basket.
A stopped dribble changes the contest. Once a player voluntarily picks up the ball, he cannot simply start dribbling again. He can still pivot, pass, or shoot, but moving away from pressure with another dribble is no longer an option. A defender can therefore restrict movement without taking possession. This is also why a guard’s choice to keep the dribble alive deserves attention: it preserves a way to move while searching for a pass.
Watch where the ball goes next. A trap can succeed by forcing an awkward pass that another defender intercepts. The players surrounding the ball do not have to be the ones who take it away. Reaching for a steal also differs from keeping the ball handler contained; abandoning position can give the guard a route past the pressure.
The offense has answers. In the Murdock report referenced earlier, Golden State guard Brandin Podziemski described using his body to shield the ball against smaller defenders and quickness to get beyond longer opponents. Beating the first defender can leave that player trailing, creating a temporary advantage farther upcourt. The remaining defenders then have to respond to an attack before their teammate has time to recover.
The work before a highlight
Former NBA guard Keith Bogans gives a defender’s perspective in his conversation with Vernon Maxwell. Discussing Jaden McDaniels, Bogans says that seeing a defender pick up a superstar across the court gets him excited in the way a dunk or crossover excites other viewers.
*
His reaction focuses on the challenge being accepted. The scorer has someone to deal with before reaching a preferred attacking position. Bogans also describes the recognition that such defensive work receives from teammates and coaches, even when it attracts little attention elsewhere.
The assignment does not end when the scorer passes. The defender still needs to follow the play and be ready for the ball to return. Early pressure can force a star to give up the ball without removing him from the possession. Watching the next pass shows whether the defense has actually disrupted the attack or merely moved it.
When defense creates offense
Indiana scored 19 points off turnovers in Finals Game 6 against Oklahoma City on June 19, 2025. The figure does not isolate full-court pressure.
A change of possession ends one team’s opportunity and begins another’s. The team winning the ball can attack immediately or organize its offense, depending on the space and defenders ahead. Pressure therefore cannot be assessed only by the time an opponent spends bringing the ball forward.
Look beyond the pickup point. Does the offense arrive late but still organized? Does it make a hurried pass? Does the ball handler escape and make the remaining defenders cover extra ground? The first defender can use up time without winning the ball. If the guard gets past him, watch whether the other defenders can stop the drive without leaving someone open.
Features
In new ‘Fauda’ season, the aftershocks of Oct. 7, without a thought for Gaza
By PJ Grisar September 8, 2026
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
When Fauda Season 4 ended an eternity and a devastating war ago, our hero was at death’s door, reciting both the central prayer of Judaism, the Shema, and the Muslim Fatiha.
It was a cliffhanger with monumental implications for Doron Kavillio (Lior Raz), an Israeli Jew who spent his days undercover as a Muslim Arab — an identity crisis long in coming. Zoom out and you can see the doomed duality of Israel and Palestine, Jew and Muslim, connected in a cycle of death and more alike than they may seem.
Season 5 begins bilingually, with Hebrew and Arab definitions of the Arabic word Tha’r, blood revenge, “restoring violated honor or avenging injustice.” This concept is now the point of commonality — not how men pray, but how they seek revenge.
Welcome to a post-Oct. 7 Israel. Doron is in therapy, struggling to recall eight missing hours of his life on the day of Hamas’ attack on the Gaza envelope.
Comrades have left the country — Steve (Doron Ben-David) is protecting oligarchs in London, Sagi and Nurit are in Australia. Eli (Yaakov Zada-Daniel) is now Orthodox, living in a settlement and reeling from the murder of his wife and stepchildren at his now-torched kibbutz. When a Bedouin friend, Salem (Bian Anteer) who lost his son in the raid on Eli’s home, approaches him with a tip on the Nukhba fighter responsible, they depart for Marseille to answer the call of Tha’r.
It would hardly be Fauda if this act of vengeance didn’t give way to a much larger plot. Marseille is the staging ground for Saeed el Hatib (French-Algerian actor Hakim Djaziri), “the Sinwar of Europe,” who is recruiting sympathetic, white continentals for a fresh massacre in Israel.
Fauda has always made some viewers uncomfortable. Massively entertaining, bingeable to those of us who stream it in the Netflix aftermarket, its existence was premised on ongoing injustices in the West Bank and Gaza and the violence that bursts through their borders. (The BDS movement labelled it a “war-crimes glorifying” series;” Haaretz called it “morally dubious.”)
And yet as late as the last season it contained very real criticism of Israel’s conduct, including its costly campaigns to recover captured soldiers and the torture used to extract information on their whereabouts. The show always alluded to real operations — Cast Lead, Brother’s Keeper — in dialogue. But because it can’t merely mention an attack as raw and monumental as Oct. 7, and because it has no desire to question the response to it, it chooses to recreate its savagery.
Episodes 7 and 8, flashbacks to that day, are front-loaded with a trigger warning and a disclaimer that you can skip them and still be able to follow the main plot.
It’s hard for me to recommend those episodes. If not exactly atrocity porn, their central, race-against-time set piece is too anchored in recent events and constructed too much like an action movie. It feels in a sense exploitative, even if intended as a tribute. (To give them credit, both Lior Raz and his co-creator Avi Issacharoff, who said they “wrote from their trauma,” were on the ground helping the south of the country evacuate in the aftermath.)
The new season starts with the promise of complexity. It opens on a grieving Muslim father and shifts to a milksop accountant who worked for Hamas, seemingly tortured by Eli in a blind rage for a crime he didn’t commit. Could an excessive devotion to Tha’r, a tribal code of retribution, be the diagnosis of the show’s creators of Israeli society at this moment?
If it is, it’s not a critical one. The villains are the villains, and, most revealingly, they now number people with no connection to the conflict.
Hatib’s enlistment of white Europeans for a mass-casualty terror attack services a trite narrative of postcolonial guilt finding an outlet in the pro-Palestinian cause. It works on another level too: This fighting force is squaring off against Doron’s corps of Mizrahi Jews, whose mere presence dismantles the lie that Israelis are themselves all white colonizers, and that Israel and the European empire of yore are in any way analogous.
When, back at mission control, the counterterrorists speak of “suspicious-looking Europeans” who are “in their 30s,” the derision for this type of fellow traveller is palpable. Their standard bearer, Mélanie Laurent, formerly Tarantino’s “face of Jewish vengeance,” plays Anne, a blonde, “high middle-class Catholic French woman” who straps up with C-4, a keffiyeh ever-draped around her neck. Through her, and in a quite literal way, the show suggests the Western love affair with Palestinians — which in this season’s logic means Hamas — is misguided.
All the while, we never see Gaza, where much of Season 3 was set, with some among its population humanized. We never reckon with the destruction there. We hear about it, and a kind of lip service is paid to the crime of collective punishment — the sort that we hear at the end of almost every season — but it’s secondary to storytelling as elegy and justification. One could just have easily placed the Hebrew word Zachor before that first cold open: Remember what they did to us.
At one point, after a shootout with more blood spatter than I ever recall seeing on the show, Doron empties his clip into an enemy with the words “this is for October 7.” Seconds later, in a Shin Bet command room his handler Gabi (Itzik Cohen, whose between-seasons weight gain is a running joke) quips, a la Danny Glover in Lethal Weapon, “I’m too old for this.”
He’s not the only one.
In the past week I’ve chatted with some folks older than me — they don’t know each other and are largely to my right on Israel — who don’t relish the thought of another season. Not just because they don’t want to watch Oct. 7 reenacted, but because following the exploits of Israeli security agents has vastly different optics after the Hamas-Israel war, unprecedented settler violence and National Security Minister Itamar Ben-Gvir’s recently-stated ideal scenario of killing “30 or 40” Palestinians in Gaza each night.
This may well be the privilege of the diaspora, but the fatigue points to a shift in attitude that’s worth paying attention to. If these horrors are out of sight, out of mind this season, they’re top of mind to many who are watching — and many others who might have once tuned in.
PJ Grisar is a Forward culture reporter. Read full bio →
This story was originally published on the Forward.
