Features
Nani Vazana, the only known composer of new songs in Ladino, performs in Canada
By IRENA KARSHENBAUM In early November, just prior to arriving in Canada from her home in Amsterdam, the Netherlands, Ladino singer and songwriter, Nani Vazana, evokes images of centuries past when men prayed in the synagogues of their Spanish villages while the women had to make their way in the market. Their Spanish imperfect, a paella of the local language tossed with spoonfuls of Hebrew, evolved into a language of its own, Judeo-Spanish, also known as Ladino. It was this language — Vazana calls “matriarchal” because it was created by women — and used in their daily lives to discuss mother-daughter relationships, share recipes and domestic knowledge, secret desires and unattained loves that, with time, flourished with poetry and songs.
Today, Ladino is considered a dying language because most of its speakers are over 70 years of age. Vazana who, in her 30s, not only speaks the language, but is believed to be the only person in the world who writes new songs in the dying language, which are “reflective of millennial life,” as she explains.
It is a musical path that almost did not happen. Vazana’s father, who was either born in Vazan, Morocco or on a boat to Israel — his exact place of birth is unknown due to the turbulent early years of the modern state of Israel, forbade his daughter to speak Ladino. She only did so in secret, when her father was not around, with her maternal grandmother, “Savta Mami,” from when she was four to the age 12, when her grandmother passed away.
Born in Be’er Sheva, Israel, Vazana’s musical journey did not begin with Ladino music, but had European musical origins. Vazana explains that she always knew she wanted to become a singer and songwriter. “My mother says that I was imitating opera singers in the shower when I was two or three years old and I asked for a piano when I was three.” It was a wish Vazana did not see fulfilled until she was 10, but she never stopped asking for the instrument while starting piano lessons at age five or six and having to use the piano at her conservatory. She took up playing the trombone because, as a child, she had a high-pitched voice and wanted to expand her range, which is now over three octaves. She became principal trombone player for the Ra’anana Symphony Orchestra, then moved to study at the Jerusalem Music Academy, and then moved to Amsterdam to study at the Amsterdam Conservatory. That is where she decided to stay, explaining, “The city is at a crossroads for many international musicians and is great for collaborations.”
While in her new home, Vazana was invited to perform at the Tangier Jazz Festival in Morocco and took the opportunity to visit her grandmother’s home town of Fez. Walking through the ancient streets, she heard a song her late grandmother used to sing to her. The song, called “Kuando El Rey Nimrod,” translated as “When Nimrod Was King,” was sang in Arabic, not in Ladino, but had the same melody, which she recognized. “I had flash backs and it became very special and from this moment I understood what the path was about for me.”
For two years Vazana took Ladino lessons to relearn the language and started to research Ladino music. She admits the music is hard to relate to because Ladino singers do a lot of “ornaments” with their voices, “So I created my own version of the classical songs and I started to perform and record them, but without the ornaments.” The collection of songs became her third album and her first work of traditional Ladino music called, “Andalusian Brew.”
Vazana performed this repertoire for three years, which took her to all continents around the world, except Australia (and Antarctica).
She continues, “I started feeling it wasn’t enough to sing classical Ladino songs, so around 2018, I started writing my own songs in Ladino that are more reflective of modern life.” This work led to the making of her current album entitled, “Ke Haber,” translated as “What’s New.” She explains the title has a double meaning referring to the dying language and that it is also a common Ladino phrase, “It’s meant to preserve the language and make it current.”
In “I don’t want, mother,” with music and lyrics by Vazana, she sings, “I bring good news / A wealthy man / From the high society / Will propose to you,” with the daughter’s response she continues, “No mother, I don’t want that / For he only cares about wealth / And so emotionally detached.” In the notes to the album, Vazana describes the mother-daughter dialogue where the mother suggests a tall man, a jealous man or a rich man and the daughter rejects them all. Exasperated, the mother finally states that her daughter marry a drunk, only to have her daughter reveal that in fact she already is in love with a drunkard.
“El Gacela,” translated as “The Gazelle,” with lyrics by Shmuel Hanagid and Moses ibn Ezra and music by Vazana, touches on the homoerotic. She writes in the notes to the album, “It was hard to find secular materials. I asked a rabbi at the Etz Chaim library and he showed me these 2 homoerotic poems from the 11th century, written by 2 Jewish rabbis who are considered saints. It’s amazing that we feel that we’re very new and modern and advanced, but it seems that we raise the same questions 1000 years later. And maybe society was even more open minded back in the Middle Ages?”
Vazana plays the piano and trombone when performing and considers herself a solo artist employing different musicians in different locations. Being fluent in five languages — English, Hebrew, Dutch, Ladino and German — she explains that “everything” inspires her music and, “Every song is like a short movie that tells its own story.”
She says she cannot pick a favourite song, but specifically mentions “Sin Dingun Hijo Varon,” translated as “Without Any Sons,” which is included in “Ke Haber.” A song based on 11th century text, and one of the earliest examples in history of a song on a transgender subject, it uses sparse language to tell the story of a young girl who declares to her father that she will be a son he never had and her mother accepts her daughter as her son. Vazana explains, “We think that as millennials we invented this, but this has been around for centuries. The feeling of looking for your identity has very strong meaning for us today.”
Vazana’s unique contributions to world music have been recognized by her performing at the Kennedy Centre and, in September of 2023, her concert was recorded by the Library of Congress in Washington, DC.
Vazana had concerts in Vancouver, Canmore, Montreal and Toronto in November before returning to Amsterdam. In January of 2024, she plans to continue her world tour with 67 scheduled performances, at the time of this interview.
This story was originally published in Alberta Jewish News.
Features
CAD Performance in 2025: Key Factors Behind Its Recovery
The CAD is clawing back lost ground. Discover what pushed the loonie down in 2024, what’s lifting it in 2025, and why its future still hangs in the balance.
2024 was a strange year for the loonie. If you are an active currency trader, a quick look at a CAD/USD price chart would have you nodding in agreement. Yes, the year started off strong, but as the months rolled by, it was obvious that something was wrong, especially as we neared the end of Q3. The reason for the downtrend was clear. Most people agreed that it was the tariff threats from Washington, rate cuts at home, and a volatile global economy that were being reflected in the currency markets. And for a while, the CAD was stuck in that losing streak, with some experts even suggesting that there was still more to come.
As the new year rolled around, it didn’t seem like anything had changed. But by mid-2025, quiet shifts had turned into a noticeable recovery, with the loonie gaining back significant ground against the greenback. So, in this piece, we’ll break down what really dragged the Canadian dollar lower in 2024, what’s fueling its recovery this year, and whether this rebound is going to hold steady.
Understanding What Happened in 2024
At the start of the year (2024), one U.S. dollar traded for about 1.35 CAD, which translates to one Canadian dollar being valued at roughly 74 cents U.S. It wasn’t anything special at the time, especially after the levels of inflation and volatility of 2023. Still, economists noted that these were the few key factors that kept the loonie afloat early in the year:
- The price of oil made a comeback. Crude prices firmed up early in the year, supporting Canada’s export earnings and adding a tailwind to the currency.
- Employment figures were solid. Job growth held up, and steady wage gains helped offset the pressure of higher borrowing costs.
- The BoC held a steady interest rate. After an aggressive round of rate hikes in 2023, policymakers looked ready to pause and let the economy cool gradually.
All of these factors were thought to have helped build confidence in the Canadian economy and by mid-2024, the loonie had edged up toward 76-77 cents U.S.
Late-Year Turbulence
Not a lot of people saw it, but as Q2 2024 unfolded, the CAD started to look unattractive to currency market investors. How? Well, it started when the Bank of Canada (BoC) started to signal its intention to cut interest rates. It gave its clearest sign to this on April 10, 2024 when the bank highlighted that inflation was slowing down and it was leaving the door open for rate cuts. This announcement changed market expectations almost overnight.
Eventually, the first cut came on June 5, 2024. The BoC lowered its benchmark rate by 25 basis points from 5% to 4.75%, becoming the first major G7 central bank to start easing.
From there, the pace picked up with rates being reduced four more times. The market’s reactions to these cuts were immediate. And any currency trader with a reliable forex trading app saw each one unfold live. The CAD began to lose altitude as the yield gap with the U.S. widened. With lower returns on Canadian assets, investors favored the greenback. Adding to the pressure, the Trump campaign’s 25% tariff threat in September ignited the fears of a trade war. Which led to traders quickly pricing in potential hits to exports and investment, sending sentiment lower.

The 2025 Comeback
The CAD started 2025 trading at around 67 cents U.S., with some days even seeing it flirt with the 66-cent mark. So, it was a common assumption in the currency traders’ community that 2024 might repeat itself. But something was different this time. Every day, the loonie was quietly clawing back much of the ground it lost during the previous year’s slump.
So, what was different this time? Well, experts believe the panic that gripped both retail and institutional traders through late 2024 began to fade. As positive economic data started to filter in, confidence slowly returned alongside a few key drivers. By midyear, analysts were already talking about a turnaround rather than just a recovery attempt. The CAD was trading in the 72-73-cent U.S. range, up solidly from its January lows, and here’s its current rate.
Major Factors Behind the CAD’s Recovery
So, what helped the CAD? Well, there were a few clear factors that came together to turn sentiment around and put the loonie back on steadier footing.
- U.S. Dollar Weakness
A softer U.S. dollar was one of the clearest tailwinds for the CAD in 2025. The weakening of the USD started occurring when investors started to pull back from U.S. assets as political tension, fiscal worries, and softer economic data piled up.
What drove it?
- Trade and political uncertainty: Tariff moves and Washington infighting rattled investor confidence.
- Fiscal strain: Deficit concerns eroded trust in U.S. financial stability.
- Fed policy shifts: With the Federal Reserve showing interest in cutting rates (and actually doing so on September 16), the yield advantage that once favored the dollar began to fade.
As investors reduced exposure to U.S. assets, capital rotated into other major currencies. The CAD, being liquid and commodity-linked, was one of the key beneficiaries, strengthening almost by default as the greenback lost ground.
- Diverging Monetary Policy
Monetary policy divergence became another major driver. The Bank of Canada held its policy rate steady near 2.75% through Q2 2025 before cutting in September, signaling confidence that inflation was cooling without stalling growth. Meanwhile, the U.S. Federal Reserve began easing monetary policy with its first rate cut in September 2025, responding to slowing growth and softer inflation. This divergence in pace and tone helped support the Canadian dollar’s rebound.
This narrowing interest rate gap mattered. And with Canada offering relatively higher yields, foreign investors found the loonie more attractive, especially compared to the softening U.S. dollar. For traders, the CAD started to look like a better carry trade than it had in over a year.
- Easing Tariff Fears
Another major psychological lift came from the fading of tariff risks. In the first half of 2025, Trump’s proposed 25% tariffs on Canadian goods lost traction as political attention shifted elsewhere. While some concerns still lingered, the immediate threat of a trade shock began to ease. Cross-border trade flows regained a bit of momentum, and markets started to price in a smoother path for Canadian exports. That renewed confidence played a key role in supporting the loonie’s recovery.
Can the Loonie Hold Its Ground?
As 2025 moves forward, the consensus among analysts is cautious but constructive. Most expect the Canadian dollar to trade in the 1.33-1.36 range against the U.S. dollar, a level that points to stability. The worst of 2024’s volatility seems to be behind it, but the loonie’s next moves will still depend on how the global story unfolds.

A Currency That Refused to Stay Down
The past two years have been anything but smooth for the CAD, but this move has proven one thing: resilience runs deep. After weathering policy shifts, tariff scares, and market pessimism, the loonie has managed to rebuild its footing in 2025. Its recovery hasn’t been dramatic. It was grounded in solid fundamentals and steady confidence. For traders, that’s a reminder that sentiment can turn just as fast as it fades.
Features
Statistical Volatility Models in Slot Mechanics: Extended Expert Analysis Informed by Pistolo Casino
Analytical reviews of slot volatility often reference ecosystems similar to those found at Pistolo casino. Within the gambling research community, volatility is understood not as a marketing attribute, but as a technical framework that shapes how digital slot systems distribute outcomes over time. Expanding on earlier overviews, this extended analysis examines the deeper mathematical logic behind volatility classes, as well as their implications for long-term behavioural modelling.
Volatility as a Mathematical Architecture
Slot volatility is commonly divided into high-, medium-, and low-risk models, yet this simplified categorisation hides the structural complexity underneath. Developers configure several layers of probability weighting, which include:
- Event Density Layers – Each slot contains multiple weighted segments representing minor, medium, and rare outcomes.
- Return Frequency Curves – These curves dictate how the distribution of payouts drifts around the long-term equilibrium.
- Reel Weighting Matrices – Symbol appearance probability is shaped not only by frequency but also by conditional dependencies within each reel strip.
Research drawing on examples parallel to Pistolo casino shows that modern slots increasingly use modular probability blocks, making outcome variance more flexible and more precisely adjustable during development.
Behavioural Interpretation of Volatility Signals
From a player analytics perspective, volatility modelling helps identify how different user groups respond to varying risk structures. High-volatility mechanics frequently attract users who seek extended tension cycles and the possibility of occasional strong outcomes, while low-volatility systems are associated with steady-state gameplay and longer average session times.
Analysts also examine “volatility fatigue,” a concept describing the moment when prolonged dry cycles reduce engagement. By tracking these patterns, researchers can map how changes in event spacing affect decision-making, bet sizing, and persistence.
Simulation Methodology for Evaluating Volatility Accuracy
Technical audits rely heavily on large-scale simulations—sometimes exceeding fifty million iterations — to verify that the modelled volatility aligns with theoretical expectations. Key indicators include:
- Hit rate stability across long sequences
- Distribution symmetry, ensuring outcomes do not drift into accidental bias
- Deviation corridors, which define acceptable ranges for short-term anomalies
- Return-to-player convergence, showing whether the model equilibrates over time
When discrepancies appear, developers may adjust symbol weighting, probability intervals, or feature-trigger frequency until the system reaches internal balance consistent with regulatory and mathematical demands.
Volatility’s Role in Market Diversity
Volatility modelling helps explain the substantial variety between slot titles. Instead of relying solely on themes or graphics, modern game design differentiates titles by emotional rhythm and progression speed. This technical approach has led to more deliberate pacing structures where reward cycles, anticipation building, and event clustering are calibrated through mathematical systems rather than subjective intuition.
Conclusion
Volatility remains one of the most precise and data-driven components of slot design. Its study provides insight into outcome diversity, behavioural responses, and long-term predictability. Research frameworks referencing platforms comparable to Pistolo Casino highlight how volatility models shape modern gambling environments through measurable probability engineering and large-scale simulation.
Features
Bias in America’s Colleges Produced Modern Anti-Zionism
By HENRY SREBRNIK Jon A. Shields, Yuval Avnur, and Stephanie Muravchik, professors at the Claremont Colleges in California, have just completed a study, “Closed Classrooms? An Analysis of College Syllabi on Contentious Issues,” published July 10, 2025, that draws on a database of millions of college syllabi to explore how professors teach three of the most contentious topics: racial bias in the criminal justice system, the Israel-Palestine conflict, and the ethics of abortion.
They used a unique database of college syllabi collected by the “Open Syllabus Project” (OSP). The OSP has amassed millions of syllabi from around the world primarily by scraping them from university websites. They date as far back as 2008, though a majority are from the last ten years. Most of the data comes from universities in the United States, Britain, Canada, and Australia.
“Since all these issues sharply divide scholars, we wanted to know whether students were expected to read a wide or narrow range of perspectives on them. We wondered how well professors are introducing students to the moral and political controversies that divide intellectuals and roil our democracy. Not well, as it turns out.”
In the summary of their findings, “Professors Need to Diversify What They Teach,” they report that they found a total lack of ideological diversity. “Across each issue we found that the academic norm is to shield students from some of our most important disagreements.”
Teaching of Israel and Palestine is, perhaps no surprise, totally lopsided, and we’ve seen the consequences since October 7, 2023. Staunchly anti-Zionist texts — those that question the moral legitimacy of the Israeli state — are commonly assigned. Rashid Khalidi, the retired professor of Modern Arab Studies at Columbia, is the most popular author on this topic in the database. A Palestinian American and adviser to the Palestine Liberation Organization delegation in the 1990s, Khalidi places the blame on Israel for failing to resolve the conflict and sees the country’s existence as a consequence of settler-colonialism.
The problem is not the teaching of Khalidi itself, as some on the American right might insist. To the contrary, it is important for students to encounter voices like Khalidi’s. The problem is who he is usually taught with. Generally, Khalidi is taught with other critics of Israel, such as Charles D. Smith, Ilan Pappé, and James Gelvin.
Not only is Khalidi’s work rarely assigned alongside prominent critics, those critics seem to hardly get taught at all. They include Israel: A Concise History of a Nation Reborn by Daniel Gordis, a professor at Shalem College in Israel. Gordis’s book appears only 22 times in the syllabus database. Another example is the work of Efraim Karsh, a prominent historian. His widely cited classic, Fabricating Israeli History, appears just 24 times.
For most students, though, any exposure to the conflict begins and ends with Edward Said’s Orientalism, first published in 1978. Said is the intellectual godfather of so many of today’s scholars of the Middle East, thanks in no small part to this classic book. Said was a Palestinian-American academic, literary critic, and political activist from a prominent Christian family. Educated at Princeton and Harvard Universities, two of America’s most distinguished centres of higher learning, he taught at Columbia University, another Ivy League institution, until his death in 2003.
Said was no crude antisemite. His writings were aimed at academics and intellectuals and he has, in my opinion, done more damage to the Jewish people than anyone else after 1945. Said claimed to be the first scholar to “culturally and politically” identify “wholeheartedly with the Arabs.” But he was also a political activist for the Palestinian movement opposing the existence of Israel.
Said warned PLO leader Yasir Arafat that if the conflict remained local, they’d lose. Join “the universal political struggle against colonialism and imperialism,” with the Palestinians as freedom fighters paralleling “Vietnam, Algeria, Cuba, and black Africa,” he advised.
(In this he was not the first, though. Fayez Sayegh, a Syrian intellectual who departed for the United States and completed his Ph.D. at Georgetown University in 1949, preceded him. Also an academic, his 1965 monograph Zionist Colonialism in Palestine stands as the first intellectual articulation of Zionism as a settler colonial enterprise, arguing that the analytical frameworks applied to Vietnam and Algeria apply equally to Palestine. The treatise situated Zionism within European colonialism while presenting it as uniquely pernicious.)
Israel’s post–Six-Day War territorial expansion helped Said frame Israel as “an occupying power” in a 1979 manifesto titled The Question of Palestine. Alleging racial discrimination as the key motive was a means of transforming the “Zionist settler in Palestine” into an analogue of “white settlers in Africa.” That charge gained traction in a post-Sixties universe of civil rights, anti-imperialism, anti-colonialism, and Western self-abnegation. The work sought to turn the tables on the prevailing American understanding of Israel: It is not, in fact, an outpost of liberal democracy or refuge from antisemitism, but an instrument of white supremacy.
Orientalism popularized a framework through which today’s advocates on behalf of Palestinians understand their struggle against the state of Israel and the West generally. Said casts the Western world as the villains of history and peoples of the East as its noble victims.
The essence of the book, Said concluded, is the “ineradicable distinction between Western superiority and Oriental inferiority.” It falsely affirms “an absolute and systematic difference between the West, which is rational, developed, humane, superior, and the Orient, which is aberrant, undeveloped, inferior.”
So it was impossible to take Zionism seriously as one among the myriad nationalist movements that emerged in the nineteenth century, much less to see Israel itself as a land of refugees or the ancestral homeland of Jews. And, indeed, Said’s Orientalism singles out Israel for special rebuke, suggesting that the state could be justified only if one accepted the xenophobic ideology at the core of Western civilization. Israel’s defenders, particularly those who lament the lack of democracy in the Middle East and fault Arabs for their militancy, represent the “culmination of Orientalism.”
Said is widely acknowledged as the godfather of the emerging field of postcolonial studies, and his views have profoundly shaped the study of the Middle East. Said also inspired – and in some cases directly mentored – a generation of anti-Zionist U.S. scholars whose dominance in the academic study of the area is unquestionable today.
The political left that emerged trained itself to read every conflict as the aftershock of colonialism. The ideological narrative of oppression and resistance allowed even the jihadist to become a post-colonial rebel.
It’s hard to overstate the academic influence of Orientalism. The authors note that “As of this writing, it has been cited nearly 90 thousand times. It is also the 16th most assigned text in the OSP database, appearing in nearly 16 thousand courses.” Orientalism is among the most popular books assigned in the United States, showing up in nearly 4,000 courses in the syllabus database. Said’s work appears in 6,732 courses in U.S. colleges and universities.
But although it was a major source of controversy, both then and now, it is rarely assigned with any of the critics Said sparred with, like Bernard Lewis, Ian Buruma, or Samuel Huntington. Instead, it’s most often taught with books by fellow luminaries of the postmodern left, such as Frantz Fanon and Judith Butler.
All these ideas are now embedded into diversity, equity, and inclusion identity politics, and “humanitarian” outrage over supposed Israeli “settler-colonialism,” “genocide,” and “apartheid.”
The ground for the massive pro-Hamas college and university encampments, and attacks on Jewish students, was prepared decades ago. The long march of progressives through American institutions over the past decades has taken its toll on society.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
