Wednesday, December 31, 2025

The Dangerous Self-Hating Jew


'I am determined that if they have one drop of Japanese blood in them they must all go to camp.' 

- Karl Bendetsen (October 11, 1907 – June 28, 1989) 

You’d be forgiven for thinking these words were spoken by Adolf Hitler, or Heinrich Himmler, the principal architect of the Nazi concentration camp system and the Final Solution.

In fact, they were spoken by Karl Bendetsen, a Stanford-educated U.S. Army officer who rose to the rank of colonel and later became Under Secretary of the Army.

The quote comes from an exchange reported by Father Hugh Lavery of the Catholic Maryknoll Mission in Los Angeles. Lavery explained to Bendetsen that there were children in his orphanage who were half-Japanese, others one-quarter Japanese or less. He asked, “Which children should we send to the relocation centers?”

Bendetsen’s reply was unequivocal.

Bendetsen was one of the chief architects of the U.S. government’s plan to intern approximately 125,000 Japanese Americans during World War II—native-born citizens and legal residents alike—on the basis of race alone. He played a central role in implementing one of the most shameful and unconstitutional policies in American history, aided by countless officials, including the Supreme Court.

I learned about Bendetsen through Rachel Maddow’s recent podcast series Burn Order, which recounts the internment, the long fight for justice by survivors, and the government’s sustained efforts to conceal its wrongdoing. In the series, Bendetsen emerges as the principal antagonist: ambitious, highly intelligent, conniving, ruthless, and unrepentant.

Why do I care about Karl Bendetsen?

Partly because there are unmistakable echoes of his logic in today’s America, as masked and armed government agents sweep through communities and transport people to brutal penal colonies abroad, without due process.

But there is another reason—one that hits closer to home.

Karl Bendetsen was Jewish.

His grandparents immigrated to America in the 1860s from Lithuania and Poland. His father was born in New York and co-owned a clothing store. And yet Bendetsen repeatedly denied his Jewish identity, inventing elaborate and shifting genealogies that traced his lineage to Danish farmers or 17th-century timber families. All of it was fabrication.

In 1970, he claimed descent from “Benedict and Dora Robbins Bendetsen” of Denmark. In 1983, while testifying against redress for Japanese American internment survivors, he asserted that his family had arrived in 1670, abandoned seafaring for farming, and had been “in timber ever since.” In reality, Bendetsen entered the timber business only after retiring from the army in the 1950s.

What accounts for this erasure? Shame? Strategy? Delusion? Or a calculated understanding that Jewishness was an obstacle to advancement in the military and government of his time?

What we do know is this: Bendetsen believed race alone was sufficient to establish guilt. He pursued this belief with extraordinary zeal, as if performing loyalty, proving patriotism, and distancing himself—violently—from any association with the persecuted.

Jewish self-hatred is not a new phenomenon. The term was coined in 1930 by the German philosopher Theodor Lessing to describe the internalization of antisemitic stereotypes by Jews themselves. The most infamous example is Otto Weininger, the Austrian philosopher who absorbed antisemitic ideas so thoroughly that he came to despise Jewishness itself, before taking his own life in 1903 at the age of 23.

This is not mere assimilation. It is not anglicizing a name or smoothing an accent to fit in. It is assimilation taken to the extreme—identification with the persecutor.

The term is often abused today, particularly as a political weapon. Disagreement with Israeli policy does not constitute self-hatred. But there is a line—crossed when critique becomes zeal, when participation shifts from dissent to active self-righteous efforts at delegitimization. Here I am thinking of someone like Norman Finkelstein.  

Bendetsen crossed that line decisively. At a time when reports of the annihilation of European Jewry were already circulating, he embraced his role as inquisitor and jailer of another racialized minority. Though he did not target Jews directly, it is difficult not to see Japanese Americans as stand-ins for his own repudiated identity.

What unsettled me most in listening to Burn Order was not the cruelty itself, but how administrative it all sounded—how carefully reasoned, how legally scrubbed, how certain of its own righteousness.

Karl Bendetsen did not act out of rage. He acted out of conviction, ambition, and a belief that his loyalty required visible severity. That combination—zeal, intelligence, and bureaucratic power—is far more dangerous than demagoguery.

Bendetsen had his camps. He had his memos. He had his courts. We tell ourselves that we would recognize such a figure if he appeared again. But I'm not so sure.

Every generation produces an official who translates prejudice into policy and calls it security. And sometimes that dangerous official is a self-hating Jew. 

In ours, that role has been filled by Stephen Miller.

Tuesday, December 30, 2025

2025, the decade that was

Sayonara 2025: It was quite a decade.

The year that started in 2015—the year trump entered politics and Americans demonstrated that they didn't grasp the concept of public office. They thought it was a television show.

A very bad television show.

Some argue Americans were confused. They mistook reality television for reality itself, and figured why not turn reality into a TV show? I predicted The Trump Show jumped the shark on January 6, 2020. Boy, was I wrong.

Americans opted for a sequel in 2024. And we all know how bad sequels are. 

Trump’s was way worse.

By many accounts, 2025 became the most violent year in American politics since the 1960s. In the first half of the year alone, roughly 150 politically motivated attacks were recorded—nearly double the same period in 2024. The tone was set the year before with two assassination attempts on trump. That was followed this year with the killing of Minnesota state representative Melissa Hortman and her husband, and then the assassination of conservative activist Charlie Kirk. There was also an arson attack on Pennsylvania Governor Josh Shapiro’s residence, and a shooting at the CDC headquarters—thankfully limited to property damage.

I don’t think this is a red or blue problem—though statistically, vastly most political violence until this year came from the right. I think when regular politics fails, people take matters into their own hands. And politics is clearly failing in the United States.

Trump bears direct responsibility for ginning up the violent rhetoric—the Destroyer in Chief. But the deeper cause of his return is the collapse of politics itself.

During Trump Show - Season One, he was still learning the role. He performed a clumsy song-and-dance about putting his businesses in the hands of his idiot children and hadn’t yet figured out how to properly monetize the Oval Office. He settled for diplomats staying at his Washington hotel and selling merch to his cult followers. Petty larceny.

This season, he’s gone big. Threatening titans of industry and world leaders with illegal tariffs as a protection racket to funnel billions into his crypto ventures. Trump has no reason not to treat the presidency like a tawdry one-night stand with an under-aged, starry-eyed model or a former porn actor. He’ll be leaving town soon enough.

But trump’s re-election was enabled by the feeble, inept, and criminally underappreciated Joe Biden. Biden’s core flaw has always been that he’s old school. That worked during a pandemic, when Americans craved normalcy. But a return to normalcy only reminded them how bored and miserable they already were.

Biden never grasped that the rules had changed. Americans wanted to be entertained more than they wanted a semi-functional government. Harris suffered for the same reason. Biden and Harris didn’t just alienate Republicans and Independents—they put Democrats to sleep in 2024.

How do I know? Two words: Zohran Mamdani.

The avowed democratic socialist proved political labels barely matter anymore—something trump obliterated back in 2015, along with the Republican Party. The surprise New York mayoral race showed voters were fed up with both the tired old guard (Cuomo) and the pro-trump corrupt guard (Adams). They wanted a young, sharp face with some nerve, regardless of ideology.

Democrats had better get the message for 2028: People want something new.

America has shifted from a country on a mission—confident, disciplined, and forward-looking after World War II—into a spoiled, bored, whiny, entitled brat that takes everything for granted. Trump was the perfect avatar for that transformation.

Fortunately, it appears Americans are beginning to recognize what they re-elected—thanks in part to the Jeffrey Epstein scandal—and they don’t like the reflection staring back at them.

The next three years will be rough. An easy prediction to make. Trump is effectively a lame duck. Democrats will retake the House. There will be corruption probes, cover-ups, and hearings galore. Trump will howl and snarl like the wounded, cornered dog he is. One can only hope he doesn’t drag America into a war with Venezuela, a plotline twist for his flailing show. 

Looking ahead to 2028, Democrats have a simple task: nominate someone who knows how to manage the bored, rude, entitled child America has become. Entitled children are miserable. They lack boundaries, respect, and consequences. Sound familiar?

According to my sources (read: the internet), there are a few ways to deal with them:

1. Simple, clear, ambitious messaging: Articulate what America stands for. Not a policy menu—a vision. Democrats haven’t offered a compelling national vision since the 1960s. Biden-Harris demonstrated that policy talk is the refuge of those with no vision. An entitled child desperately needs direction.

2. Expect more, encourage accountability, not dependency: Lower expectations and Americans will always oblige. JFK had it right - don’t tell Americans what government will do for them, tell them what they will do together. Set bold goals with deadlines. We will go to the moon by the end of the decade etc.

3. Model respect, show that character is strength: Entitled children suffer from a deficit of meaningful attention. They prefer abusive attention to none at all—Trump in a nutshell. The antidote is leadership grounded in character: integrity, honesty, respect, authenticity, discipline, kindness and generosity. And a little charisma would help.

America doesn’t need another show. It needs a grown-up.

[Side-note from the Canadian hinterland. We were no exception to the entitled child rule. We had Trudeau and were on course to elect the whiny spoiled child of Canadian politics Pierre Poilievre until trump's reelection slapped us out of our stupor. The threat to our sovereignty from the south restored our sense of national purpose and we responded by electing the grown-up we needed. America might learn something from us for a change.]  

Sunday, December 28, 2025

Just Sayin

CLICK HERE TO HEAR THE SONG 


Turn the music up,

Keep your eyes on the road.

You're looking sorta sleepy,

Or is it just bored?


Something with a heartbeat,

And lyrics you can hear.

So your mind stays alert,

And your direction is clear.


The night is so black,

The lines so white.

Can't see the route ahead,

Beyond our headlights. 


Is this the way home?

Did we cross a wrong bridge?

Did we miss a sharp turn?

Are we heading for a ditch?


You're in charge from here,

Keep a grip on the wheel.

I'm not a great passenger,

Just sayin how I feel.


Just saying how I feel.


Everything's a blur,

We're moving so fast.

It's hard to keep track,

Of what we just passed.


It's been a long time,

Since I've felt in control.

My mind keeps screaming,

You're heading for a hole.


I think we talked - 

I've had some accidents.

And you really can't repair,

All your scratches and dents.


I need reassurance,

And it has to come from you.

I'm trying to find a way,

To enjoy the view.


You're in charge from here,

Keep a grip on the wheel.

I'm not a great passenger,

Just sayin how I feel.


Just sayin how I feel.

Friday, December 26, 2025

The World Is Flat

Magellan was wrong after all. The world is flat.

This past week I had another conversation with a 30-year-old who said he didn’t know who the Beatles were. Well, that’s not exactly true—he’d heard of them, but wasn’t sure he knew any of their songs. I’ve had that conversation a few times before with people of that age or younger. It makes me wonder whether this is just the usual generation gap, or something more profound.

I think back to when I was in my teens and twenties. In addition to listening to hard rock bands like The Who and progressive rock bands like Yes and Pink Floyd—the music of my generation—I also knew crooners like Frank Sinatra from my father’s generation. In fact, I was a big fan of Sinatra. But maybe that was just my own weirdness.

Still, let’s assume there’s something more going on than the ordinary passage of time. “Profound” seems like the operative word here—as in deep. Could it be that younger people have become more superficial? I don’t mean superficial in their values. Our generation was hyper-consumerist; theirs seems far more concerned about the planet than we ever were. By “superficial,” I mean having less of a sense of history. Their world feels more horizontal than vertical. It’s wider, but not as deep. Everything exists on the same plane of meaning.

In 2006, Thomas Friedman wrote a book called "The World Is Flat". In it, he primarily discusses how globalization and the internet were changing the way companies did business. He focuses on the speed and ease with which economies now compete across borders, and how this reshapes flows of capital, information, and immigration, with profound effects on society. Friedman’s view is largely positive. Globalization, he argues, offers opportunities to lift millions out of poverty through education and economic integration. He also suggests there are political benefits, since integrated economies are less likely to go to war with one another.

What Friedman didn’t fully address were the more disruptive social consequences—ones we have since come to know well: cultural backlash, widening inequality, friction around immigration. To be fair, Facebook didn’t exist when the book was published, and even when social media emerged, few anticipated its more corrosive effects.

What we’ve learned in the two decades since is that we’re being flattened in another, even more meaningful way: in our thinking.

Experiencing the world primarily through a screen has a powerful flattening effect. It makes everyone and everything appear equivalent and relative. It diminishes our sensitivity to the dimensionality of others—and even of ourselves. Expressions of vitriol and hatred are stripped of consequence, making them easier to produce and consume. People become more shameless, quicker to judge, and less reflective. This flattening helps explain why intolerance spreads so easily and why conspiracy thinking finds such fertile ground.

The searchable universe of the internet also flattens time. Everything exists in a kind of suspended present, untethered from what came before or what followed after. The sense that one thing grows out of another—that it owes its existence to its predecessors—is weakened. Yet it’s precisely that awareness of connection and lineage that gives us perspective, gratitude, and appreciation.

When I asked my young friend what music he listens to, he did mention a few songs from my era. When I asked how he discovered them, he explained that some of the music he likes samples older songs. His curiosity about the originals led him to look them up online. That, I suppose, is one way of forming a connection with what came before.

My fear is that when life is flattened—when everything is placed on the same level—it ends up devaluing everything equally. Nothing feels more important, more true, or more meaningful than anything else. Cultural and artistic touchstones lose their prominence, not because they lack merit, but because the context that gives them weight has eroded.

Understanding the rich, layered evolution of thought and sensibility is central to our personal development. A flat experience of the world is impoverishing. Without depth, there is no perspective; without perspective, no humility; and without humility, little chance for wisdom. A world that is wide but shallow risks mistaking immediacy for significance, and novelty for meaning.

Lucky Enough

CLICK HERE TO HEAR THE SONG


If you’re lucky enough to have good looks,

Lucky enough to know a good cook.


If you’re lucky enough to have loving parents,

Lucky enough to pay a cheap rent.


If you’re lucky enough to get top grades,

Lucky enough to be self-made.


If you’re lucky enough to be a good speller,

Lucky enough to write a bestseller.


If you're lucky enough to win a few bets,

Lucky enough to have a safety net.


If you're lucky enough to take a few risks,

Lucky enough not to fall off a cliff.


If you’re lucky enough to have a hit song,

Lucky enough never to be wrong.


If you’re lucky enough to have nice neighbours,

Lucky enough they do you nice favours.


If you’re lucky enough to have lots of money,

Lucky enough be earn a big salary.


If you’re lucky enough to have a warm home,

Lucky enough to own a smart phone.


If you’re lucky enough to breathe clean air,

Lucky enough not to live in despair.


If you’re lucky enough to live in peace.

Lucky enough to get a good night's sleep.


If you’re lucky enough to have good genes,

Lucky enough to drink water that’s clean.


Lucky enough to get your fair share,

So lucky you don't know that luck is even there.

Wednesday, December 24, 2025

Take dancing lessons

Sometimes we need to go back to the beginning.

Bereshit bara Elohim et hashamayim ve’et ha’aretz.

In the beginning God created the heavens and the earth.

God’s story, according to the Western biblical tradition, begins with creation. There is no prologue—no scene of God cavorting in a heavenly realm with other gods, no sense of what the Creator might have been doing before deciding to make the world, or even why He decided the world needed to be created at all.

Was God lonely? Why doesn’t the text say, “In the beginning God was lonely, and so He created some company”? Or bored? Why not, “In the beginning God was bored, and since crossword puzzles required words—which had yet to be created—He decided to take on a different project to occupy His time: making a world”?

It can’t be that God needed to create the world. That would imply that creation and God exist on the same level of necessity, which theology insists cannot be. The only explanation that makes sense is that God made a decision—one whose reason we simply do not know.

In the Hebrew tradition, human beings are described as 'partners' in creation. Our purpose is to help God “repair” the world—tikkun olam. But we must be junior partners, since by definition we cannot be equal to God. That already presents a problem. And it gets worse.

Because we don’t know why God created the world, we don’t know “God’s Plan” for it either. Yet we are repeatedly told there is a plan—otherwise, why bother creating anything at all?

It’s like being asked to help build a shelter without ever seeing the blueprints. We don’t know what the shelter is meant to look like, what purpose it serves, or why the architect decided to build it in the first place. And the architect isn’t taking questions.

Conveniently, not knowing God’s Plan has given people endless excuses for the tragedies and injustices of the world. Suffering becomes part of God working in “mysterious ways.” We’re told we aren’t supposed to understand the plan, because if we did, we would be equivalent to the Creator—which we cannot be. The arguments quickly collapse into a tangle of circularity.

It would have been far simpler if scripture had said: "In the beginning God got tired of the heavenly décor and decided to add another wing, populated with animals and humans, whom He could summon to relieve His boredom." At least then we might reasonably conclude that the purpose of creation was to entertain God—a view some have argued, only half-jokingly.

But perhaps creation begins with creating because it isn’t His story at all. It’s ours.

When we interpret the creation story as God’s story, with humans as secondary bit players, life itself becomes secondary to serving God. And that framing—serving a divine plan we cannot see or question—has been used to justify some of the most heinous and inhumane acts in human history. Human life becomes expendable in service of something abstract and unknowable.

If the story of creation is not about a plan, then it may be about exactly what it describes. Creation is its own purpose. We are not meant to serve a mysterious divine blueprint; we are meant to serve creation itself—to find our place in it, to honor and respect it, and to be fully present in our own lives.

And now, the pivot to the non-biblical, technologically advanced present.

People today worry about the growing power of AI—the omniscient entity they fear will one day enslave us.

But there is a moment—if you’re lucky—when you realize that what your smartphone is doing is more than manipulating your choices or nudging your decisions. It’s trying to disempower you. It’s trying to strip you of your agency.

Once you see that, you understand that it isn’t enough to “escape” technology by turning it off, as if it were Rikers Island and freedom were just a matter of walking away. That’s not how it works.

You have to be active. You have to learn to play the guitar. Or the piano. Learn to crochet. Build furniture. Practice Tai Chi.

You have to re-empower yourself by creating. Learning and practicing skills—one, two, three—is how agency is reclaimed. That’s how you begin to break free. Because the technology has you in your head. That’s where it lives, and it follows you wherever you go. To resist it, you have to re-enter the world—much like God did when He created it.

You have to use your hands. Or your feet. Or both.

Alan Watts famously compared living to dancing. Like dance, he said, the purpose of life is not to reach a particular destination or end point, but to engage fully in the process itself. Life is musical, playful, and immediate—not a grim, goal-oriented march toward some final achievement. 

It turns out that modern technologies are designed to exploit our goal orientation to turn us into addicts seeking the next fix.  

But creation is not something that happened once. It's happening all the time, if only we can attend to it.

The only way to be present in biblical Creation is to be creative in the mundane everyday sense. So take dancing lessons.

Tuesday, December 23, 2025

Shimon Ben-David z"l

I need to tell you about Shimon, who passed away yesterday. 

We typically pay public tribute to famous people, celebrities, or to people who have made some important or noteworthy contribution in some field of endeavour that affects many of us. Shimon did none of these things. He sold textiles. A jobber (or more formally a 'converter') in the parlance of the shmatta trade. It's someone who buys ends or remainder textiles from manufacturers to re-sell wholesale to other smaller manufacturers or to retail customers. 

I need to write something about Shimon because on the website of Paperman's & Sons, where obituaries of most every member of the Montreal Jewish community normally appears, there's a photo of Shimon (above), but no obituary. I don't know why the family has chosen not to write anything. That's okay, we all have our memories. But because there is no formal obituary I can't put his dates next to his name. I believe he was close to 80 at the time of his passing. 

To say Shimon wasn't a celebrity is not exactly right. To many of us who worked in and around the Montreal shmatta business he was a kind of celebrity. I got to know him when I started managing 99 Chabanel. He had a textile business on the 4th floor of the building. He was a tenant long before I got there in 1995. He frequently told me that he was the oldest continuous tenant in the building, and I believe that is true. He took a lot of pride in that.

The photo posted on Paperman’s website captures him perfectly: the enormous smile beneath his equally enormous trademark mustache. Shimon had a warm, larger-than-life personality and a booming, expressive voice. He was open, affectionate, and endlessly talkative, a natural storyteller who could charm you within minutes. Once Shimon liked you, he liked you forever, without reservation. I was fortunate to be on the receiving end of that affection.

I never learned much about Shimon's upbringing, except that he was born and grew up in Israel. Even after many decades of living in Canada Shimon never lost his Hebrew accent. I'm sure he did military service and perhaps even fought in '67 or '73. But I can't say for sure. He never talked about it. At some point I may have asked him why he came to Canada, something I asked many of my tenants who were immigrants - and most of them were either first generation immigrants, or the children of immigrants. I wanted to know if he was a 'Yored' because of war. 'Yored' is the Hebrew word for a native Israeli who leaves Israel, literally someone who goes down, the opposite of an 'Oleh' which is someone who goes up ('makes aliyah') when they immigrate from the diaspora to the Holyland. In our tradition immigrating to Israel from the diaspora is considered a spiritual 'step up', which is why I am always fascinated by Israelis who chose to leave. Shimon never said much about it. One 'Yored' who I knew told me that he left because being a businessman in Israel is like swimming with sharks, while in Canada it's like taking candy from babies. Maybe that's why Shimon left, I don't know. But one thing I can say about Shimon is that he was no business shark, and I mean that in the best sense.   

Shimon had a huge heart, that I know for sure. He loved the textile business, but he loved people even more. I saw it every day in the way he treated his suppliers, his customers, and his employees. Shimon liked to make a buck as much as the next guy. But I got the impression that doing business was more about the people he interacted with than about the deals he made. His customers loved him and he built a loyal retail clientele, mostly consisting of the immigrant ladies who sewed their own clothes, in recent years mostly Haitian and Arab women. When you bought fabric from Shimon he always gave you an extra yard at no charge to make sure he wasn't shortchanging you. 

When my youngest daughter learned to sew and wanted to buy some fabric to make her own clothes, the first place I took her to find fabric was Shimon's on the 4th floor at 99 Chabanel. She was so excited to peruse his shelves stacked high with roll upon roll of fabric. He had a great selection and she always found exactly what she was looking for at Shimon's. 

Truth is I took my daughter to Shimon's not just because I knew she would find the fabric she needed, but because I wanted her to meet him. I wanted her to get a feeling for the relationships I had with my tenants, and Shimon was at the top of my list. I wanted my daughter to get a sense that what I did for a living was meaningful not for the money I earned but for the relationships I made - and Shimon embodied that more than anyone. I didn't expect that after she collected an armload of fabric, Shimon wouldn't let us pay for it. On our last visit to his place, he told me, to my embarrassment, that he would never let me pay no matter how much fabric my daughter wanted. Like I say, he was no shark in business.  

He had a feud with another textile retailer in the building for a while. They were neighbours on the 4th floor and kept trying to undercut each other on price. There was some animosity between them, but it didn't last for very long. Not even fierce competitors could hold a grudge against Shimon.

Shimon loved his family and took tremendous pride in the accomplishments of his children, Dominic, Carmello, Amanda and Sheena. In the years I managed 99 he was married to Angela and they worked together. I don't know what went on between them behind the scenes, all I can say is that even years after they split, he would talk about her fondly and with affection.  

Shimon stood out simply by being generous, loyal, and a mensch. He loved people and they loved him back. That, in the end, is more than enough. He will be spoken about with affection for many years to come.   

Monday, December 22, 2025

The Antisemitic Cultural Moment

After a brief conversation with a friend last week about the Bondi Beach massacre, I realized that I am far more concerned about the all-consuming power of technology than I am about the rise in antisemitism. Almost immediately, another thought followed: what if the two are connected? What if the current resurgence of antisemitism is related to new technologies—but not in the obvious ways?

Recently, some of the more perceptive online commentators (the smart ones worth reading), have been noting that society is becoming increasingly conformist. They describe it variously as cultural blandness, the disappearance of “weirdness,” or the flattening of taste. What I’ve observed in a much more personal way—watching my own children move through adolescence into adulthood—is that they are markedly more conservative than my generation was.

Admittedly, my experience is highly skewed: I’m an Ashkenazi Jewish, upper-middle-class, university-educated person. Still, when I was growing up in the 1970s—the first broadly affluent postwar generation, living in the so-called “Me Decade”—there was a widespread spirit of testing social boundaries. In the wake of the 1960s, experimentation with drugs, sex, art, fashion, and identity was not marginal; it was mainstream. Life was meant to be lived colorfully, weirdly, even dangerously. Rock stars were idolized not just for their music but for their excess, their refusal of bourgeois norms, their visible transgression.

That cultural moment is gone. The rock-star lifestyle—defined by sexual freedom and drug experimentation—began its decline with the AIDS epidemic of the mid-1980s. Around the same time, political neoconservatism took hold under Reagan and Thatcher, and we’ve arguably never recovered from that turn. The radical energies of the 1960s and 70s were slowly neutralized—either demonized or absorbed into the mainstream and rendered harmless.

It’s difficult to point to genuinely new movements in fashion, music, art, or literature over the past 30 years. As one telling example, the popular music YouTuber Rick Beato argues that rock music effectively died in 1996. Whether or not that date is precise, the broader point stands. The most dominant American musician of our era, Taylor Swift, is less an artist in the traditional sense than a perfectly optimized creative entrepreneur—the prototype of the monetized content creator. The last truly disruptive popular music movements were punk and hip-hop, both of which emerged from specific subcultures, underground scenes, and physical spaces that no longer exist in meaningful form.

Those scenes depended on infrastructure: clubs, independent labels, local promoters, critics, and risk-taking entrepreneurs willing to back the non-conformist. That infrastructure has collapsed. In its place stand tech megacorporations that don’t cultivate cultural risk so much as absorb it, sanitize it, and feed it back through algorithms optimized for scale, predictability, and engagement.

Social media and algorithmic culture haven’t created conformity from scratch, but they have accelerated and entrenched it. Social media may be the most powerful pacifying force in history—more intimate and omnipresent than any religion. It offers the feeling of belonging without the obligations of community, the sensation of political engagement without political action. Above all, it optimizes our most conformist activity—consumption—making it frictionless and total. Where shopping once required exposure to other people, other classes, other tastes (think of going to the mall) consumption now arrives at our doors, curated precisely to reinforce who we already are.

So what does all of this have to do with antisemitism?

First, the obvious point: algorithms keep us in bubbles, endlessly reinforcing our existing preferences, biases and resentments. That has been thoroughly discussed.

But there is a deeper historical pattern worth considering. Jews have long occupied the position of the non-conformist outsider. Think of Marx, Freud, and Einstein—figures who didn’t merely contribute to their fields but fundamentally altered how we understand history, the 'self', and the universe. In both 19th-century Europe and 20th-century America, Jews have had an outsized cultural influence precisely because they lived at the margins of mainstream society. That marginality granted a certain freedom: the freedom to question received wisdom, to cross boundaries, to think otherwise.

That outsider perspective has repeatedly invigorated the societies Jews have lived in. But it has also come at a cost. Non-conformity threatens those invested in the status quo—especially people in positions of power. The recurring response has been scapegoating: portraying the non-conformist as subversive, dangerous, corrupting. Jews, over and over again, have been cast in that role.

What strikes me about our current moment—oddly, and perhaps tellingly—is the relative cultural absence of Jews. In postwar America, Jews dominated many of the industries that shaped culture: Hollywood, theater, publishing, television, popular music and even comedy. In 1979, Time magazine estimated that 80 percent of American comedians were Jewish. Until roughly the 1980s, non-conformity wasn’t just tolerated; it was celebrated.

Today, the industries that once nurtured and amplified that spirit are in steep decline. They’ve been replaced—or more accurately, consumed—by tech platforms whose business models reward standardization, safety, and scale. The risk-taking producers, editors, club owners, and impresarios who once brought weirdness into the mainstream have largely vanished.

The ideological irony is striking. The informal godmother of today’s tech elite—Gates, Musk, Thiel, Ellison, Zuckerberg, Bezos—is Ayn Rand, a lapsed Jew whose philosophy fused extreme individualism with moralized selfishness and unrestrained capitalism. Her ideas have shaped a cultural model that is, in practice, profoundly conservative: hostile to deviation, allergic to disorder, and obsessed with optimization.

So perhaps we are living through an antisemitic cultural moment precisely because of hyper-conformity. And it's important to note that it's not a left-right phenomenon. History suggests that periods of intense conformity—Nazi Germany (right), Stalinist Russia (left)—are precisely when Jews are most vulnerable. When societies narrow, harden, and standardize, the outsider becomes intolerable. The non-conformist must be explained, blamed, and eventually expelled.

If that pattern holds, then the rise in antisemitism may tell us less about the actions of Jews (read: Israel) than about the culture itself—and about the price societies pay when creative disorder is traded for algorithmic control.

Thursday, December 18, 2025

The Opening Heart

CLICK HERE TO HEAR AUTHOR READ


starts with a walk

around the block


alone, within,


the in–out breath

rhythm of soles on pavement


scent of flowering trees

cut grass, fallen leaves


and a turn into the park

along the path


black birds circling overhead,

landing like exclamation marks


squirrels with comma tails

scurrying for scraps


a dog walker tugs the leash

a courtesy move to let me by


ricochet of playground laughter,

a cry and consolation


a child lifted feather-light

sips a parabola of water


a frisbee disc

slices the field’s plane


balls being batted back

over tennis court nets


thoughts float through

the heightened mind like wisps—


so much shared under this sky

and not a word.

Tuesday, December 16, 2025

Dangerous Times

Two Montreal police officers spent an hour in my office yesterday. No, they weren’t there to arrest or question me. They were there to collect surveillance footage from our security system. That has never happened before.

I’ve mentioned before that federal cabinet minister Melanie Joly is my tenant. Her riding office sits directly beside our building management office. Since October 7, our building has been the site of several anti‑Israel protests—some of them loud, disruptive, and intimidating. Dozens of protesters have entered the building with bullhorns, plastered her door and the corridor walls with stickers, and even thrown red paint at the lobby entrance. Every incident was captured by our cameras. Until now, Montreal police had never come to retrieve the footage.

Yesterday’s protest was comparatively subdued. I didn’t even know it had occurred until the police arrived asking for video. The cameras show roughly two dozen people entering the building carrying a large box, along with one protester holding a black sign with bright yellow lettering. Inside the box was a papier‑mâché mock‑up of a bomb. The sign read: 'Le Canada doit arrêter d’armer Israël' (“Canada must stop arming Israel”).

I asked the officers why they were being so thorough this time. One replied that they wanted to identify every face possible. Clearly, something has changed.

Perhaps this heightened diligence reflects broader concerns following the horrific attack in Bondi, Australia. If so, the local police being on high alert is reassuring. Still, the coincidence of these events may point to something more troubling.

The Bondi attack occurred during Chanukah, one of the few times each year when Jewish communities gather publicly and visibly to celebrate. I don’t believe the protest in my building was directly connected to Chanukah. But I do believe something is stirring online—an effort to incite action against Jews in the diaspora.

Ordinarily, one might expect a ceasefire in Gaza to ease tensions. Historically, however, it is often precisely when vigilance relaxes that violence occurs. That is when adversaries of Israel and of Jewish communities have struck in the past—targeting relatively defenceless Jewish populations outside Israel. The 1994 bombing of the AMIA Jewish community centre in Buenos Aires, which followed the first intifada, is a grim reminder. That attack did not emerge from a spontaneous local grievance; it was later traced to Iranian planning and Hezbollah execution, carried out far from the Middle East against a soft diaspora target.

History offers multiple examples of this pattern. During the Second Intifada and its aftermath, attacks against Jewish targets surged across Europe: the 2002 bombing of the Ghriba synagogue in Tunisia, the 2012 murders of Jewish schoolchildren in Toulouse, and the 2014 attack on the Jewish Museum of Belgium in Brussels. In 2008, Lashkar‑e‑Taiba operatives targeted the Chabad House in Mumbai—explicitly selecting a Jewish religious centre as part of a broader geopolitical terror operation.

The common thread is not timing alone, but strategy: when direct confrontation with Israel is constrained, violence is displaced outward. Diaspora Jewish institutions—schools, synagogues, community centres, cultural gatherings—become symbolic stand‑ins for the Jewish state, and therefore targets of opportunity.

I have also been watching closely for an Iranian response to recent blows against its regional influence. My expectation has been that any response would be indirect and gradual—through the activation of sympathetic networks, militant proxies, or sleeper cells abroad. Such networks are typically loose and decentralized, which is exactly what makes them difficult to detect and prevent. I expect we will learn soon that Bondi fits this pattern.

Anyone who knows me knows I am not an alarmist—if anything, I’m usually the one cautioning against social‑media‑driven hysteria. But realism matters. And my sober assessment is that we may be entering the most dangerous period for diaspora Jewish communities since October 7.

Monday, December 15, 2025

Talk About Problems

CLICK HERE TO HEAR THE SONG


Let’s talk about problems,

The ones that we've all got.

Cause if you ain’t got problems,

You’re someone that I’m not.

We've got problems. 


Problems making money,

Problems how you spend.

Problems with your family,

Problems with your friends. 


Problems with your woman,

Problems with your man.

Problems with what you do,

Problems with what you can’t.


Problems with your eating,

Problems with your drinking.

Problems with your feelings,

Problems with your thinking.


Problems with too little,

Problems with too much.

Problems motivating,

Problems taking drugs.


Problems being together,

Problems being alone.

Problems socializing,

Problems being at home.


Problems with what you say,

Problems with what you don't.

Problems with what you will,

Problems with what you won't.


Problems with desires,

Problems not intended.

Problems how it started,

Problems how it ended.


Problems with depression,

Problems feeling stress.

Problems with the world -

It's such a flipping mess.


Let’s talk about problems,

The ones that we all got.

Cause if you ain’t got problems,

You’re someone that I’m not.

I've got problems.

Thursday, December 11, 2025

There’s a line in Federico Fellini’s 8½ that stayed with me: “Happiness,” Guido says, “consists of being able to tell the truth without hurting anyone.”

I finally saw the film last night on the Criterion Channel. Long considered one of Fellini’s masterpieces, it stars Marcello Mastroianni as a film director on the verge of a nervous breakdown as he struggles to make his next picture. The story takes place largely in a spa town where Guido is being treated for exhaustion, but the real setting is his subconscious — a shifting, carnivalesque landscape where memory, fantasy, and artistic anxiety become indistinguishable.

I normally have little patience for stories about storytelling; they tend to collapse into self-involved puzzles that keep the audience at a distance. 8½ is different. It manages to be intimate and enthralling, even as it toys with, and often dismantles, the conventions of the art form it explores.

Part of its success is purely visual. The film is rapturously composed: every shot meticulously framed without feeling rigid. Fellini’s use of foreground and background, of bodies drifting in and out of the frame, gives the film a choreographic precision. Yet it never becomes self-conscious. It’s elegant when it needs to be, frenetic when it must be, always expressive of Guido’s inner life.

One brief scene at a train station captures this perfectly. Guido waits for his mistress, torn between the raw desire she evokes and the genuine love and respect he feels for his wife. Fellini places him off to the side, almost hiding behind a gate, while a massive steam-belching train fills the center of the frame — a one-eyed steel animal bearing down on him. When the passengers disembark and she is not among them, Guido looks relieved. Then the train pulls away, and there she is, dramatically overdressed and trailed by a porter lugging five enormous suitcases on the opposite platform. Guido’s face collapses into ambivalence. In a few seconds, Fellini gives us the entire moral geometry of Guido’s predicament.

Guido, and by extension Fellini, is torn between philosophical ambition and the demand to make films that both entertain and matter — pressures embodied by the critic Daumier, who shadows him while quoting great thinkers and analyzing his screenplay.

But the film’s deepest concern is how to find happiness, which requires telling the truth — especially to oneself. In the final scenes, Guido imagines crawling under the table and killing himself at a press conference, only to end up directing the very film he has been avoiding, surrounded by a disordered parade of the people in his life: past, present, real, imagined. They form a circle and begin a kind of ritual dance around an orchestra. The moment suggests that happiness lies not in clarity but in acceptance — of the entire ragtag collection of one’s life, the mistakes made, the pain inflicted, the contradictions that won’t resolve. Happiness, Guido concludes, is directing the circus rather than fleeing from it.

The most important character in this circus is his wife, Luisa. Grounded and intelligent, she is the only one who truly sees him, and the only one unwilling to indulge his evasions. She delivers the film’s sharpest line: “What could you ever teach strangers when you can't even tell the simplest truth to the ones closest to you?”

But is there such a thing as a “simple truth”? 8½ suggests not. Truth is layered, unstable and often obscured — and the hardest ones to admit are the ones we need to tell ourselves. Without that, we can’t tell the truth to anyone else.

And yet, paradoxically, artists — whose tools are artifice, exaggeration, and imagination — use deception to reveal emotional truth. Fellini turns this paradox into a lifelong project: the idea that truth is not a statement but a process of integration. Guido’s final dance is not clarity achieved but self-deception relinquished — the moment when the artist finally accepts the fullness of who he is, contradictions and all. 

He may not be 'happy' but he is now able to engage his life's work by beginning a new project. Every new film is a sort of re-birth - there's a scene at the end where the adult Guido is essentially re-birthed by all the women in his life -  and his half-made 9th movie, can now become his completed 9th. 

It's as close to happiness as he is able to come.  

Sunday, December 7, 2025

The Only Song I Had

CLICK HERE TO HEAR THE SONG


They’re gonna gather round,

Some friends and family.

Piece me back together,

From thoughts and memory.


Won't be a perfect story, 

Cause stories never are.

Hope they'll have some laughs,

Cause living life's bizarre.


I'm not a man of faith,

Never claimed to be.

But I did the best I could,

Or a reasonable facsimile.


I kept the wheels greased,

While resisting the machine.

Life is constant push and pull,

While you're stuck in between.


Gonna sing a song to God,

It may be good, or bad.

When my song is done he'll know,

It’s the only one I had.

 

I tried to show my gratitude,

For everything you gave.

I hope they'll say about me,

"He never was self-made."


I'd find a quiet place,

Inside a forest clearing.

And build a fire to burn remains,   

Of all that I was fearing. 


Gonna sing a song to God,

It may be good, or bad.

When my song is done he'll know,

It’s the only one I had.


I never asked for very much,

Just my basic needs.

Believed that every stranger,   

Deserved some dignity.


When the world spun in my head,

I turned it into dance.

Sometimes I got too dizzy,

To take a solid stance.


Gonna sing a song to God,

It may be good, or bad.

When my song is done he'll know,

It’s the only one I had.


They’re gonna gather round,

Some friends and family.

Piece me back together,

From thoughts and memory.


Won't be a perfect story, 

Cause stories never are.

Hope they'll have some laughs,

Cause living life's bizarre.


I'm not a man of faith,

Never claimed to be.

But I did the best I could...

Friday, December 5, 2025

Naturally to me

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The poetic turn of phrase

doesn't come naturally to me,

nor finding the perfect note,

or the soulful bend

on the guitar.

What comes

naturally is selfishness, 

laziness and denial,

blaming others

for my faults and problems,

jealousy and lust.

Also mistrust

comes naturally to me, and fear,

pessimism and doubt

I do with hardly any effort at all.

Tell me that you love me

and you're safe,

I won't believe you -

because belief doesn’t come 

naturally to me,

nor romance as you know,

but neither does 

being alone.

Wednesday, December 3, 2025

A Life of Self-Rediscovery

The midrash tells of an angel who accompanies the soul in the womb. This angel teaches the unborn child the entire Torah and all the wisdom of the world, only to tap the baby’s lip just before birth, causing it to forget everything.

It’s usually read as a charming explanation for the philtrum—the indentation beneath the nose—but the story intends much more. It speaks to the profound sense of alienation most of us feel from our own innate self. According to the myth, we once possessed a perfect, intuitive knowledge of who we are. Birth is the moment we lose it. The rest of life becomes a long, halting effort to remember.

Birth, in this reading, is a kind of exile. And the trauma of childbirth—leaving the warm, floating cocoon of the mother’s body, being squeezed through the narrow canal, expelled into cold light, poked, prodded, assessed as your lungs strain for their first breaths—is not incidental to the myth. It is its first proof.

Even the recent return to home births, meant to soften the harsh sterility of the hospital environment, can only go so far. But birth is only the first trauma of life.

The next arrive almost immediately, when your nascent sense of self collides with your absolute dependence on the people who keep you alive. As you grow stronger and more cognitively aware, those two impulses—independence and dependence—begin to grind against each other. You develop innate tastes and traits, early intuitions of who you are and how the world touches you. And at the same time, family expectations, household values and rules, and the norms and conventions of your immediate world begin pressing inward.

This is traumatic—not as a singular emotional shock, but as a continuous shaping force that leaves marks. As surely as the body carries scars from repeated blows, the psyche carries scars from repeated collisions with the expectations of others.

The process intensifies once we enter school. It is worth remembering that the modern classroom—rows of desks, the teacher at the front, bells, grading—was designed during the Industrial Revolution. The goal then was explicit: to mass-produce standardized workers with maximum economic efficiency. The system was not designed to cultivate the individual needs of children but to ensure conformity, predictability, and output. Even though educators have spent generations smoothing the rough edges, the basic structure remains.

Under these pressures—family, school, peers—we develop personas, masks in the original sense, to help us function within the rules of the game. But the more skilled we become at wearing masks, the more the question presses: what becomes of the authentic self we began with? The one closest to our emotional essence? The one the midrash says we once knew perfectly?

For some, the discontinuity is manageable. For many, it becomes a lifelong struggle that we tend to label as emotional dysfunction. I think it is more accurately a spiritual struggle—a yearning for reconnection with one's innate nature, the self that was lost at birth.

Viewed through this lens, the angel’s touch is not simply the cause of forgetting but the beginning of alienation. And the re-learning of Torah throughout life becomes a metaphor for personal rediscovery. To learn is to remember who we were.

If we take this seriously, then education should not be a mechanism for further alienation. It should be its antidote—a process that encourages self-rediscovery rather than conformity. Learning would not be defined solely by the acquisition of skills, although those matter. It would be defined by the deepening of one’s connection to one’s own nature: one’s innate feelings, predispositions, curiosities, and gifts.

In that sense, the highest purpose of education is not to prepare us for the world, but to help us find our spiritual path to our authentic place in it - not the place assigned to us by others, but the place remembered from before we were born.

Tuesday, December 2, 2025

The Alternative Future - We're All Artists Now

“Would that all of Israel were prophets.”

That is Moses’ startling response to Joshua, when Joshua frets that Eldad and Medad are prophesying in the camp—“false prophets,” as the anxious deputy frames it. Joshua worries they pose a threat to Moses’ authority. But Moses waves him off. “Are you jealous for my sake?” he asks. Moses doesn’t give the episode a second thought—secure as he is in his own standing with God. "If only," he adds, "all of Israel had the spirit of holiness."

A lot of people today are prophesying catastrophe about AI. They worry it will overshadow so much human activity that we will be left bereft of purpose, wandering in a desert of too much leisure and too little meaning. What will humans do when machines perform most of the tasks we once defined ourselves by? Find novel forms of mischief? As Proverbs reminds us, “Idle hands are the devil’s workshop.” Or, as the rock band Styx sang with theological precision, we’ve got too much time on our hands.

AI will almost certainly take over a large swath of white-collar work—the intellectual and managerial functions we’ve long associated with human distinction: analysis, instruction, diagnosis, computation, counsel. In the near term, though, I’m confident there are jobs AI won’t touch: nursing, plumbing, farming, building, maintenance—all the work we were suddenly reminded was "essential" during the pandemic.

AI will entertain us, but not everywhere. Not in sports. The whole point of sport is watching humans strive. We reject artificially augmented athletes even when they remain human; the idea of machines competing for our amusement leaves us cold.  Robot games, are a real thing, but haven't captured the imagination for a reason. They don’t scratch the itch.

And then there is art. Art is the thing AI will never truly do—not with honesty, credibility, or respect. The reason is simple: art is an act of human expression, and expression requires experience, feeling, and a subjectivity you cannot simulate. AI imitates, generates, computes. It doesn’t express. Without a human behind a work, the essential ingredient is missing. AI output may be consumed, but not 'appreciated'. It will be treated like a Big Mac: maybe tasty, but no one lingers over it. It will gain market share, but not reverence.

So what will humans do with all the time AI gives back to us, once it diagnoses, calculates, and counsels on our behalf? We will still seek purpose, challenges, meaning—because that is what we do. And increasingly, we will pursue those things for their own sake, not because they are necessary for survival or success.

That is what art has always been: the making of something beautiful and meaningful for its own sake.

In fact, we have been drifting toward this future for 150 years. As machines have made more and more of the objects we use, and leisure time expanded, artmaking escaped the academy and became a popular pastime. Never in history have so many people written, painted, sculpted, composed, or photographed. The artist is no longer a rare, romantic figure touched by the muse; today they are everywhere. This is not cultural decline but cultural abundance. Only the professional gatekeepers - the critics, snobs, and agents who profit from it - lament the democratization of creation.

As Moses might have said, had he lived to watch Bob Ross on PBS: “Would that all of Israel were painters.”

Perhaps that is what AI will give back to us—a renewed sense of what is irreducibly human, and a reminder of its own limits. It may accelerate the return to art-making as the quintessential human activity. AI will be able to do almost everything better than we can—the more complex, the better—from calculation to diagnosis to useful design.

But not art—because art is the human spirit made visible. 

Thursday, November 27, 2025

I Am For An Art by Claes Oldenberg

I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.

I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero.

I am for an art that embroils itself with the everyday crap & still comes out on top.

I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.

I am for all art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I am for an artist who vanishes, turning up in a white cap painting signs or hallways.

I am for art that comes out of a chimney like black hair and scatters in the sky.

I am for art that spills out of an old mans purse when he is bounced off a passing fender.

I am for the art out of a doggys mouth, falling five stories from the roof.

I am for the art that a kid licks, after peeling away the wrapper.

_____________________________


The above poem by the artist Claes Oldenburg inspired the song Manifesto (1979) by Roxy Music. Enjoy.


Manifesto

(Ferry/Manzanera)


I am for a life around the corner

That takes you by surprise

That comes, leaves, all you need

And more besides

I am for a life and time by numbers

Blast in fast 'n' low

Add 'em up, account for luck

You never know

I am into friendship and plain sailing

Through frenzied ports o' call

Oh shake the hand to beat the band

With love is all

Or nothing to the man who wants tomorrow

There's one in every town

A crazy guy, he'd rather die

Than be tied down


I am for the man who drives the hammer

To rock you till the grave

His power drill

Shocks a million miles away

I am for the revolution's coming

I don't know where she's been

For those who dare because it's there

I know I've seen


Now and then I've suffered imperfection

Studied marble flaws

And faces drawn pale and worn

By many tears


I am that I am from out of nowhere

To fight without a cause

Roots strain against the grain

With brute force

Oh you'd better

Hold out when you're in doubt

Question what you see

And when you find an answer

Bring it home to me

The Time of Loss

CLICK HERE TO HEAR AUTHOR READ


Goodbye old friend,

it's not just us:

It's the time of loss.


The tree I pruned last spring 

has shed all its leaves,

the lawn underneath dotted 

brown and wet.

The first snow fell

two weeks ago

on Remembrance Day

when we gently dropped 

red poppies

on the tomb

of the unknown soldier 


the snow is melting,

even as the mercury 

plummets;

The night comes sooner,

the day recedes faster.

The slippery politicians lie

and lie


about prices

coming down,

as the bread lines,

the tent cities,

and picket lines grow

like ground frost,


the situation is grave,

very grave,

democracy teeters -


and it's not just here,

they lie 

about peace

on distant shores, 

as bombs reverberate,

buildings crumble,

and helmeted crews 

scour the mounds,

count the dead

lying somewhere inside 

crypts of rubble.

Wednesday, November 26, 2025

The Blessing of Being Leaderless

There are many things that distinguish Judaism from other religious traditions, but the one that stands out to me these days is how profoundly leaderless we are.

Of course we have leaders in the ordinary sense—people elected or appointed to fill necessary roles. But I mean leadership in the grander, spiritual sense. Jews have no representative of the Divine on earth, no equivalent of a Pope. We have no model of divinely-sanctioned human behavior—no Jesus, no Muhammad, no Buddha. And that's been our blessing.

Our biblical leaders—Abraham, Moses, David—were remarkable, inspired figures, but they were also deeply flawed and recognized as such. Their stories are as much about failure as fulfillment. They made serious mistakes even while carrying out their divine assignments, sometimes precisely because of those assignments. Almost none of them wanted the job in the first place.

This has given Jews a healthy skepticism of leadership and a realistic view of human nature. It may also be one of the qualities that has irritated others about us for centuries. Paired with our spiritual self-regard as a “chosen people,” our refusal to bow down—even to ultimate authority—has not always endeared us to the nations.

It’s hard being a leaderless people.

Some modern Jewish movements have tried to soften the disadvantages of this leaderlessness by creating their own leaders. Hasidism is the clearest example. Founded by the Baal Shem Tov in the 18th century, Hasidism responded to the political upheavals, intellectual elitism, and assimilation pressures in Eastern Europe.

The irony is that the Baal Shem Tov himself seems to have had no interest in becoming a leader. His teachings emphasize the holiness of ordinary life and the spiritual capacity of every individual. He believed that divine understanding was accessible not only through sacred texts but through the simple act of living with a full, open heart. If anything, he preached the opposite of perfection: humility, commonness, the sacred everyday.

And yet stories proliferated—of miracles, healing, mysticism. Over time, the pedestal formed. In several Hasidic groups, the elevation of rabbis to quasi-messianic figures took on a life of its own. Lubavitch, for instance, met the challenges of modernity by embracing a vigorous, outward-facing messianism centered on Rabbi Menachem Mendel Shneerson.

Historically, we find messianism in Judaism ascendant in times of political crisis and spiritual upheaval. The original form of messianism in Judaism evolved into Christianity at the time of the Roman conquest of Judea and the destruction of the Second Temple. There were other moments of messianic fervor such as the so-called false messiah Sabbatai Tzvi who developed a personal following in response to the Khmelnytsky Massacres, which reportedly killed tens of thousands of Jews, and devastated the Jewish world. 

When messianism is on the rise, you know we're in deep trouble. 

The core message of Judaism, though, is that no one is coming to save us. Responsibility rests with each of us individually, and all of us collectively. If Judaism has a hero, it isn’t a king or a prophet; it’s the people themselves, the ragged, imperfect multitude that stood at Sinai and has been wrestling with what it all means ever since.

Whenever we place our faith in a single leader—even a charismatic or comforting one—it signals desperation and a retreat from personal responsibility. And whenever a leader tries to convince us that someone else is to blame for our problems, we should remember this: Living life is a profoundly lonely and mysterious individual experience, but we’re all in the same boat. So at the very least, we have each other.

Monday, November 24, 2025

Nostalgia

As we get older, more of life lies behind us than ahead, and what remains to look forward to isn’t always inspiring—unless one counts hemorrhoids, lower-back pain, and menopause as perks. The reality of aging is that loss begins to take center stage. We lean more on memory to make sense of our feelings and the world around us. The sadness of losing family and friends becomes tempered by warmth and comfort; grief softens into recollection. We become nostalgic.

The word "nostalgia" combines the Greek "nostos" (homecoming) and "algos" (pain). It captures the ache for what has passed and the yearning for the comfort, security, and innocence we associate with “home.” Nostalgia plays on fundamental human needs. We all access the past to soothe ourselves, especially when the present feels unstable. It is powerful, and it can be triggered—sometimes manipulated—with Pavlovian precision.

One of my favourite online public intellectuals, Vlad Vexler, recently made a fascinating observation about nostalgia and its political uses. Drawing from his childhood memories of the Soviet Union, he uses ice cream as a symbolic entry point into a broader phenomenon: nostalgia as a political balm. His argument hinges on the idea that political nostalgia sells a past that never was and promises a future that will never be.

Authoritarian regimes have always understood this. Nostalgia is deployed to make older citizens feel good about themselves at moments when conditions are, in reality, quite grim. It pacifies and depoliticizes. We see this plainly in the propaganda machines of Putin’s Russia, Kim’s North Korea, and Xi’s China. But it is also at work in Western democracies drifting toward illiberalism—Orban’s Hungary, Farage’s UK right, Le Pen’s France. In its most extreme form, as in Nazi Germany, nostalgia emerges out of acute social, economic, and political disarray and becomes the foundation of a new/old moral order.

The United States is hardly immune. You could argue that part of the genius of the American political system was its ability to harness nostalgia in constructive, relatively benign ways. The system’s traditional balance depends on a kind of dialectic: a backward-leaning conservatism in the Republican Party, which thrives on one form of nostalgia (a nativist, frontier experience), offset by a forward-looking progressivism in the Democratic Party, which offers a different variety (the refugee immigrant experience).

Viewed this way, today’s political imbalance reflects a failure of Democrats to offer a compelling narrative that counterweights the Republicans’ nostalgia. As Vlad notes, “If you suppress the benign forms of nostalgia, the malign forms will come to get you.” The myth of the American Dream once served as a benign national nostalgia. It is now being displaced by the malignant nostalgia of White Christian Nationalism.

Political nostalgia almost always intensifies during periods of technological upheaval. It is no coincidence that the myth-soaked fantasies of Nazism flourished alongside the revolutionary new medium of radio. Likewise, the rise of social media—and its tendency to isolate and atomize—has coincided with the ascent of MAGA. Nostalgia is, at bottom, a longing for connection in a hyper-individualized world. It is also a search for authenticity, which is why memories of the past become so idealized.

The antidote to this surge in political nostalgia is reality: the reality of what actually was - not the gilded, soothing version we prefer to remember - and the reality of the present, unfiltered and undistorted. Admittedly that is a tall order in a post-truth age, especially when nostalgia itself is now algorithmically amplified and fed to us as content.

The first step is simply recognizing that nostalgia is not always benign. Sometimes it signals that we may not be prepared for tough times, and we need to re-calibrate.

Friday, November 21, 2025

The News

In a few years, G-d willing, I’ll be telling my grandchildren about something called "the news."

“The news,” I’ll say in that rambling, affectionate way grandfathers do, “was once gathered and delivered by skilled professionals called 'journalists'—people trained to separate what mattered from what didn’t.” I’ll compare them to miners extracting gold from the dross, or farmers sifting wheat from the chaff, the way people used to back in the olden days. And I’ll explain what “dross” and “chaff” mean.

“But how could those—what did you call them? Journalists?—how could they know what was important to you?” my granddaughter will ask.

And by you, she’ll mean me personally. Because she will have grown up in a world where “important” is whatever pleases her in the moment, served up by a perfectly calibrated personal feed. The idea that other people once chose what everyone needed to know will strike her as bizarre—as archaic as people tapping out telegrams in Morse Code.

I’ll try to explain that some events were important to everyone, or at least to most of us. She’ll look unconvinced.

And I’ll be thinking about the time when we arranged our evenings around the 6 PM or 10 PM broadcast. A time when the morning paper on the doorstep was more than information, it was a unifying force, curating not only facts but shared priorities. It told us not just what happened, but what mattered. It helped shape our sense of place—our community, our country, and the wider world. It offered a kind of moral framework, because we were all drinking from the same fountain, imagining ourselves as part of the same story.

How do I explain such a thing to a child whose world is a constellation of self-contained narratives, each one tuned to the desires and impulses of a single person?

Maybe I’ll bring it down to something she knows.

I’ll ask her whether someone who only tells you what you want to hear is a real friend. Or whether a true friend is someone who tells you the truth—even when it’s uncomfortable, even when it’s something you’d rather not hear. If someone only ever tells you what pleases you, I’ll say, they don’t really care about you. They care about being liked.

And somewhere in the back of my mind, I’ll realize that this is exactly what our technology has been doing to us. Not empowering us, like other inventions. It's doing the opposite. Disempowering us. Infantilizing us. Turning us into children—which might explain why so much of public discourse sounds like the schoolyard.

I won’t say that part to my granddaughter. But I suspect she’ll understand anyway. After all, we’re all at her level now.

Wednesday, November 19, 2025

In Praise of Laggards

A long time ago, when I was in my late teens and working as a part-time ticket-taker at a repertory movie theatre, I had a co-worker who was unusually enthusiastic. By “enthusiastic,” I mean the sort of person who would line up outside McDonald’s before opening so he could be among the first to taste the McRib.

It was 1981 and I still remember the day he showed up to work carrying a warm McDonald’s paper bag filled with McRibs. The expression on his face as he took that first bite—pure bliss, as though he were communing with something sacred. And I remember thinking: who exactly lives for the privilege of being first to try the latest lab-tested addition to the McDonald’s menu? Who sees a processed meat patty shaped like a pork rib and thinks, finally, my moment?

Apparently the same kind of person who will stand outside Starbucks at 5 a.m. for a limited-edition green-and-red Hello Kitty holiday mug. That would be a colleague I work with today. She arrived at the office this week triumphant, Starbucks bag in hand, and within minutes half the team was gathered around her desk as she unboxed the thing like it was a Fabergé egg.

This one, at least, had a certain logic behind it. The mug had sold out immediately and was already doubling in price online. I looked it up myself. Meanwhile the McRib—discontinued in 1985, resurrected in 1989, cancelled in 2005, and now inexplicably back again in 2025—remains the fast-food equivalent of an unemployed couch-surfing buddy making the rounds.

I don’t understand any of this. I hate crowds. I hate standing in line even more. At bar mitzvahs I remain seated until everyone else has hit the buffet, on the theory that there’s plenty for all. Admittedly, I have eaten more than one piece of brisket that looked like it was carved from the heel of a hiking boot.

It seems there are “adopters” and there are “laggards.” My McRib and Hello Kitty colleagues are adopters. I am, without question, a laggard. Adopters love new things because they’re new. They need to be first. They live in a perpetual state of FOMO (fear of missing out) like someone plagued by migraines.

Laggards prefer the tried and true. We prefer the sweatshirt that has a familiar smell that never comes out in the laundry over the latest fashion, and the refrigerator we got twenty-five years ago that hums in the basement over the shiny model upstairs. Newness doesn't usually mean better, it means more complicated, more expensive to fix, and less reliable.  

Culturally, adopters get all the flattering adjectives: bold, visionary, entrepreneurial. Laggards are told, “You snooze, you lose.” Which is convenient for people trying to sell you something.

But lately I’ve started to wonder if maybe laggards like me are finally having our moment. This early bird does not want to catch the worm, because the worm seems to be infected with a brain-eating parasite. 

I'm talking about the parasite that infects through technology. With information pouring into their heads through their devices, like water from a broken hydrant, the brains of adopters are turning soft and mushy. Meanwhile, we laggards—by virtue of our god-given skepticism and natural reluctance to embrace anything 'latest' or 'improved'—may be in a better position to survive this period of history with our sanity and perspective intact.

Being a laggard, it turns out, is no longer just a personality trait. It's the future. I can live without the newest McRib. My coffee tastes just fine in the stained mug I've been using for the last 20 years. Actually it tastes better.

Monday, November 17, 2025

Seymour Blicker z"l (1940-2025)

One of the great blessings I have had in my life in the last 20 years or so has been getting to know the great Montreal novelist and playwright Seymour Blicker, who passed away at his home this past Friday. 

Seymour made a name for himself in the late 1960s and 70s with the publication of three novels, Blues Chased a Rabbit (1969), Shmucks (1972) and The Last Collection (1976). I wrote about Shmucks in an earlier blog post. In the 1980s and 90s, Seymour went on to write screenplays, television scripts and plays. He is perhaps best known for the play "Never Judge A Book By Its Cover" (1987) which I know was still being performed internationally a few years ago, and the film script of The Kid (1997). 

It was Shmucks that brought Seymour and I together. The novella was mentioned to me by my friend  and co-author Seymour Mayne. He said that he had recently re-read it for consideration to be put on a syllabus for a Jewish Canadian literature class he was teaching at University of Ottawa, and found that it had stood up surprisingly well. I immediately tried to find a copy, locating a used hardcover edition on Abe Books. I loved it. It was funny, poignant and clever. I wondered whatever happened to Blicker. A bit of online searching revealed that he had continued to write plays, taught in the creative writing department at Concordia University, and had moved up north in the Laurentians. I was intrigued by his apparent reclusiveness. And there was something else that caught my interest, his work in television, particularly an episode he had written for the police comedy Barney Miller. When I was growing up I was a fan of that show, and one episode in particular had stuck with me. It's possibly the most famous Barney Miller, when a man comes to the station claiming that he's a werewolf and asks to be incarcerated before midnight when he transforms and wreaks violent havoc. It's a masterfully written story. I remember the anticipation of waiting until the very end of the episode to find out if he actually becomes a werewolf. Unbeknownst to me Blicker had written that memorable episode.

Mayne put us in touch, and the two Seymours and me (they called me an honorary Seymour) met for coffee in Cote-Saint-Luc. By that time Blicker had moved back to the city. I felt giddy (and honored) to meet him. That was the first of many coffees with Seymour. We stayed in touch, regularly exchanging emails and meeting every so often at the local McDonalds. The last time was about a year ago I think. We had planned to get together for coffee last spring and at various points over the summer but something always got in the way. He'd had health difficulties for many years but somehow always mustered the energy to meet. It was apparent now that his health was declining more quickly. By the end of the summer he was messaging that he wasn't feeling well enough for a visit but would let me know when he was up for one. I had a feeling I wasn't going to be seeing him again. 

It's a terrible shame that Seymour has not received the acknowledgement that he deserves. In around 2019 when Seymour was approaching his 80th birthday I contacted some people I knew at the Concordia creative writing department to see if they would be interested in organizing a public literary event to celebrate his birthday. I also brought the idea to the Jewish Public Library where I know there is an archive of clippings on his career. I received polite but unenthusiastic responses. Busy in my own life, I didn't press harder, which I now regret.

Seymour had undoubtedly been a talented and ambitious writer in his prime. In the mid-70s he packed up his family and moved to Los Angeles in the hope of establishing himself as a writer for film and television. It didn't last very long. I asked him what happened. He said, LA was no place to raise a family. I got the impression it was culture shock for him.

By the time I got to know him he had mellowed, maybe even become disillusioned. Like so many writers who felt they deserved more recognition, he now seemed to have become ambivalent about it. In truth, I think Seymour had acknowledged that the culture had moved on. You might say that he was a casualty of the times: Novelists, playwrights and even filmmakers were no longer held in the same esteem as they had been. 

Every time we met I asked if he'd been writing, working on a new play or short story. He'd say he had ideas, but was finding it harder and harder to focus enough bring his ideas to fruition. At one point he travelled to Vienna to see the opening of one of his plays, which he found gratifying. And he was excited when his novels were re-issued by his publisher as e-books. At one point, I suggested to my publisher Vehicule Press, who specializes in publishing classic forgotten Montreal novels, to consider buying the rights to publish a new edition of Shmucks. The literary industry being what it is, it's doubtful that this satirical novel, which has comic elements that are decidedly 'unwoke', will have a new print edition too soon unfortunately. Even the novels of Mordecai Richler have been taught less and less in the years since his death. 

I look forward to the day that Blicker is back on the syllabus alongside other great Montreal literati Richler and Cohen, where he deserves to be. Sad that he won't be here to enjoy the accolades.  

Bonus: My brief online review of The Last Collection, a novel which didn't get close to enough attention when it was released.

Absolutely hysterical and thoroughly enjoyable. Canada is not known for its satirical novels, but in Shmucks and The Last Collection Seymour Blicker proves himself to be equal to the masters of the genre, especially the Jewish sub genre, which has it's own style and flavour. This novel is especially reminiscent of Woody Allen's wackiest. Memorable characters include a particularly neurotic psychiatrist whose office features tropical decor and a remote controlled recliner chair that spins and rises to the ceiling, and a Jewish thug with a soft spot. Blicker does what all the best authors do, he turns the tables on the characters and at the same time on the reader. The cons get conned, and we can't ever really be sure who is the genuine article. And therein lies the deeper resonance of this novel, as in all superior satire, the layers of truth and deceit are revealed. The last collection referred to in the title is not only collection on a debt, or the mental illness of hoarding and greed which afflicts the protagonist and which gets him into debt in the first place. But it also cleverly refers to the collection of moral sins that one party wants to atone for and the collection of guilt that the other party wants to liberate themselves from.

Sunday, November 16, 2025

Love Everywhere

CLICK HERE TO HEAR THE SONG


There is love everywhere,

It's like the air we breathe.

Don't look very far,

It's like the flowers and the trees.


It comes to you in silence,

It comes without fanfare.

It comes to you when life, 

Is more than you can bear.


It comes to you from friends,

It comes to you in song.

It comes to you in memory, 

Of someone who is gone.


It comes to you in whispers, 

It comes in soothing tones.

It comes when you're together,

It comes when you're alone.  


Love is everywhere,

Love is everywhere,

Believe me when I say,

Love is everywhere.


It's not rare as a diamond,

It's not precious as gold.

You don't have to go digging,

In some deep dark hole.


Just open your eyes,

Take a deep breath.

Feel it in your bones,

Feel it in your chest.


Love is everywhere,

Love is everywhere,

Believe me when I say,

Love is everywhere.


Believe me when I say,

It won't hurt a bit.

The secret to finding love: 

It comes if you allow it.


Love is everywhere,

Love is everywhere,

Believe me when I say,

Love is everywhere.

Thursday, November 13, 2025

Save West Mabou Provincial Park: Strike Three?

Update: It's been officially rejected by Premier Houston. Cabot's proposal to build a golf course in the protected provincial park.   

A big sigh of relief. Public outcry works! David can beat Goliath. 

My only question is whether this strike three means they're out for good!


Wednesday, November 12, 2025

An Anniversary and An Uneasy Future

This month marks the twentieth anniversary of the publication of my first novel, The Rent Collector, released in November 2005. I wish I could say I’m excited. I’m not. Not because my publisher hasn’t offered to bring out a twentieth-anniversary edition — the book went out of print a decade ago — but because publishing itself now feels almost like an anachronism. The novel lives on as an e-book, half the price of the original paperback, destined to be sold digitally in perpetuity.

What I feel instead of excitement is a kind of unease. Looking back, I realize the novel seems to have intuited something that was coming, though I couldn’t have known it then. The story follows a property manager in a worn industrial building in Montreal’s garment district — an ultra-Orthodox Jew temperamentally unsuited to his trade. Rent collection, in the book, becomes a metaphor for indebtedness — not only financial but existential.

At the time, I was reading Emmanuel Levinas, whose philosophy of “infinite responsibility” described indebtedness as the very foundation of the ethical self: an obligation not chosen but inherited. We are born, he said, already indebted — to our parents for giving us life, but also for everything else we have,  our language, our culture, our heritage, our traditions, our community, our world. To exist is to owe.

In The Rent Collector, that sense of debt takes both physical and spiritual form. Physically, it’s represented by the building the protagonist manages — a literal inheritance from his father, to whom he owes not just his life but his livelihood. Spiritually, it’s his debt to the soul and to God. The rent collector seeks to repay that spiritual debt by finding meaning in the mundane rhythms of work — in encounters with the tenants, the decaying infrastructure, and the declining industry. “Life is rented,” he muses to himself, which echoes one of my grandfather Sam’s favorite refrains: “The banks own everything.”

I won’t claim the novel foresaw the future. But sometimes writers absorb the undercurrents of the zeitgeist before they break the surface. What I see now is that the world my rent collector inhabited has metastasized into a broader condition — what one commentator I follow, The Functional Melancholic, calls “modern techno-feudalism.”

Today, more people than ever live on borrowed time and borrowed money. They own nothing of enduring value and will likely never be able to. They live by subscription — to housing, to entertainment, even to the means of making a living. The bottom fifty percent rent from the top one. My generation, for the most part, still lives off the remnants of inherited stability; the next faces digital indentured servitude — a kind of techno-sharecropping in the gig economy.

The symbol of this dystopian future came to me this week when Trump floated the idea of a 50-year mortgage — a plan announced not long after he toasted martinis with billionaires at a Great Gatsby-themed party at Mar-a-Lago, while SNAP benefits, which feed an astonishing 42 million Americans, teetered on the edge of cuts.

Twenty years after The Rent Collector, more and more people can barely afford rent, let alone dream of ownership. My protagonist’s struggle to collect back rent from tenants on the cusp of bankruptcy now seems almost quaint beside the moral and economic bankruptcy of our age.

So no — I don’t feel much like celebrating.

Tuesday, November 11, 2025

Keboard Slips

I wonder if keyboard s slips an\re similar to Fru7edians slips if thgey arerveal somethinbg soubconsc cioius of just carelessness in the is world we whwere we are all all multi-=taskikng doing too muchn overwhlemed by tjhe with responsiobiolitierts and tasked outsourchiomng critical information no thinking running everybgting through spell check becaUSE EVEYRHITBNG IS HAPPENING SO FAST AND THE MIOND AND THE HANDS WERE NOT MADE FOR THIS KIND OF SPEED AND THEN FIUNGERS SLKIP ALL OVER THE KEYBOEARD, HITTING BIUTTONS WE VE NEVER YINBTENDED  to got to hiot and we don;t even bother to rereard or reconsoder or deliberate and would rathje rhavre the machines do ith fpor us because we still want perfection or at leats the appearance of perfectiopn and efficiency but lets face it what s done is done theres no going back this klife is one draft and frankly im okay with the mistakes because it m,akes me feel like there is a trace of humanity left  


Friday, November 7, 2025

The Supreme Court

Their arguments over the written word,

Mean one thing today, another tomorrow,

They hold court, high up on their bench, 

Black-robed Inquisitors, 

Hacking away at language with mallet and chisel,

To shape something, intended or not - 

Or like cloaked wizards casting Latinate spells,

Caped stage magicians, now you see it, now you don't,  

Thieving pickpockets who've studied the technique,

Practiced the sleight of hand, 

To lift your wallet and ID without you even feeling it.   

Being Played

I'm a very bad chess player. I stopped playing it when my older brother took it up when we were kids. He picked on me, as older brothers will, and took a certain sadistic pleasure in making me feel stupid. He taught me how to play chess - by which I mean he'd show me how each piece moved. Meanwhile he immersed himself in the game, read the books, learned some tricks, and then would want me to play with me, using me as his guinea pig. He'd mate me in three or four moves. It didn't take long before I decided chess just wasn't for me. There is only so much humiliation a person can take at the hands of his older brother. 

Since then, I've played occasionally, still badly. Chess is undeniably a fascinating and intellectually challenging game. And the advent of computers has made it safer to play ego-wise. You might get humiliated, but at least a computer doesn't take any glee in making you feel bad. 

It was way back in 1997 the chess master, perhaps the greatest player ever, Garry Kasparov, first lost to a computer. That was way before AI as we know it, and when computer processing power was the equivalent to horse-and-buggy compared to today's super-charged technology.

It's often said that great chess players think many moves ahead, and that's true. But another way to think about it, is that not only are they thinking about their next moves, they are also thinking about their opponent's responses to their next moves. You might say that not only are they moving their pieces around the board, but they are also moving their opponent's pieces. Every move the chessmaster makes is designed to make the opponent move in a predictable way. The better the player, the more they can manipulate their opponent, like a puppeteer pulling strings, forcing the opponent into making them do what they want them to do. At very high levels, chess is not just a game of strategy, it's a game of will power. 

It's perhaps the best analogy of what we can expect from advanced AI, and like playing chess against a grandmaster, most people don't stand a chance. AI has an infinite capacity to learn your game. It will know your game so well, that it will be able to play your game without you even realizing that you're not playing your game, you're being played.    

If you want to get the sense of what that feels like, play a game of chess against a computer. When you are a weak player like me, the point at which you lose control of the game becomes pretty obvious. In my case it's not long after the first few opening moves. Slowly the noose starts to tighten as the game spreads out. Until finally there is only submission. Of course the good players, can stave off that point longer. 

My sense is that in the game we are playing with AI we are still in the opening phase. The board hasn't quite taken shape, we still have agency and options. But not for long.    

Thursday, November 6, 2025

Misfits

CLICK HERE TO HEAR THE SONG


We were misfits,

And we made rock n roll.

We knew we couldn't fake it,

We played it from our soul.


Some kids got good grades,

Others won the game. 

The rich kids had nice clothes,

The nerds had all the brains.


We were the kids in the corner.

Didn’t have many friends. 

We watched them from sidelines,

Waiting for the day to end.


We were shy and sensitive,

Outside the social circles.

Ignored and never noticed,

Or teased by pretty girls.


We hung out at the store,

We fingered through the racks.

We memorized the lyrics,

Knew all the album tracks.


We were misfits,

And we made rock n roll.

We knew we couldn't fake it,

We played it from our soul.


We learned to play the songs,

Of all our favourite bands.

It's how we found acceptance,

It’s how we took our stand.


We were angry, we were ugly,

We sang it strong and loud.

We did it for ourselves,

The singing made us proud.


We were misfits,

And we made rock n roll.

We knew we couldn't fake it,

We played it from our soul.


We played it hard and loud,

We played it night and day.

Sometimes we drew a crowd,

Most times they didn’t pay.


These days I couldn't say,

How it went so wrong.

One day the songs had heart,

Suddenly it’s gone.


We were misfits,

And we made rock n roll.

We knew we couldn't fake it,

We played it from our soul.


Misfits...

We played it from our soul...