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The hora, the hora! How Jewish wedding music got that way
(JTA) — When my wife and I were planning our wedding, we thought it might be cool to hire a klezmer band. This was during the first wave of the klezmer revival, when groups like The Klezmatics and The Klezmer Conservatory Band were rediscovering the genre of Jewish wedding music popular for centuries in Yiddish-speaking Eastern Europe.
Of course we also wanted to dance to rock ‘n’ roll and needed musicians who could handle Sinatra for our parents’ benefit, so we went with a more typical wedding band. Modernity won out over tradition.
Or did it? Musician and musicologist Uri Schreter argues that the music heard at American Jewish weddings since the 1950s has become a tradition all its own, especially in the way Old World traditions coexist with contemporary pop. In a dissertation he is writing about the politics of Jewish music in the early postwar period, Schreter argues that American Jewish musical traditions — especially among secularized Conservative and Reform Jews — reflect events happening outside the wedding hall, including the Holocaust, the creation of Israel and the rapid assimilation of American Jews.
That will be the subject of a talk he’ll be giving Monday for YIVO, titled “Yiddish to the Core: Wedding Music and Jewish Identity in Postwar New York City.”
Because it’s June — and because I’m busy planning a wedding for one of my kids one year from now — I wanted to speak to Schreter about Jewish weddings and how they got that way. Our Zoom conversation Wednesday touched on the indestructibility of the hora, the role of musicians as “secular clergy” and why my Ashkenazi parents danced the cha-cha-cha.
Born in Tel Aviv, Schreter is pursuing his PhD in historical musicology at Harvard University. He is a composer, pianist and film editor.
Our conversation was edited for length and clarity.
I was struck by your research because we’re helping to plan a child’s wedding now. It’s the first wedding we’ve planned since our own, and we’re still asking the same questions, like, you’ve got to make sure the band can handle the hora and the Motown set and, I don’t know, “Uptown Funk.” Your research explores when that began — when American Jewish weddings began to combine the traditional and secular cultures.
In the period that I’m talking about, post-World War II America, this is already a fact of life for musicians. A lot of my work is based on interviews with musicians from that period, folks now in their 80s and 90s. The oldest one I have started playing professionally in 1947 or ’48. Popular American music was played at Jewish weddings as early as the 1930s, but it’s a question of proportion — how much the wedding would feature foxtrots and swing and Lindy Hop and other popular dance tunes of the day, and how much of it is going to be klezmer music.
In the postwar period, most of the [non-Orthodox] American Jewish weddings would have featured American pop. For musicians who wanted to be in what they called the “club date” business, they needed to be able to do all these things. And some “offices” — a term they used for a business that books wedding bands — would have specialists that they could call on to do a Jewish wedding.
You’re writing about a period when the Conservative movement becomes the dominant American Jewish denomination. They have one foot in tradition, and the other in modernity. What does a wedding look like in 1958 when they’re building the big suburban synagogues?
The difference is not so much denominational but between the wide spectrum of Orthodoxy and the diverse spectrum of what I describe as “secular.”
Meaning non-Orthodox — Reform, Conservative, etc.?
Right. Only in the sense that they are broadly speaking more secular than the Orthodox. And if so they are going to have, for the most part, one, maybe two sets of Jewish dance music — basically a medley of a few Jewish tunes. You might have a wedding where it could be a quarter of the music or even half would be Jewish music, but this would be for families that have a much stronger degree of attachment to traditional Jewish culture, and primarily Yiddish culture.
There’s a few interrelated elements that shape this. Class is an important thing. For lower class communities in some areas, and I am talking primarily about New York, you’d have communities that are a little bit more secluded, probably speaking more Yiddish at home and hanging out more with other Jewish people from similar backgrounds. So these kinds of communities might have as much as a third or half of the music be Jewish, even though they consider themselves secular. It’s actually very similar to an Orthodox wedding, where you might also have half and half [Jewish and “American” music].
Jews in the higher socioeconomic class might, in general, be more Americanized, and want to project a more mainstream American identity. They might have as little as five minutes of Jewish music, just to mark it that they did this. Still, it’s very important for almost all of them to have those five minutes — because it’s one of the things that makes the wedding Jewish. I interviewed couples that were getting married in the ’50s, and a lot of them told me, “You need to have Jewish dance music for this to be a Jewish wedding.”
Composer and pianist Uri Schreter is pursuing his PhD in historical musicology at Harvard University. (Nicole Loeb)
When I was growing up in the 1970s at a suburban Reform synagogue on Long Island, klezmer was never spoken about. I don’t know any parents who owned klezmer albums. Then when I got married a decade later, it was in the middle of the klezmer revival. Am I right about that? Were the ’50s and ’60s fallow periods for klezmer?
You’re definitely right. Up until the mid-1920s, you still have waves of immigration coming from Eastern Europe. So you still have new people feeding this desire for the traditional culture. But as immigration stops and people basically tried to become American, the tides shift away from traditional klezmer.
The other important thing that happens in the period that I’m looking at is both a negative rejection of klezmer and a positive attraction to other new things. Klezmer becomes associated with immigrant culture, so people who are trying to be American don’t want to be associated with it. It also becomes associated with the Holocaust, which is very problematic. Anything sounding Yiddish becomes associated for some people with tragedy.
At the same time, and very much related to this, there’s the rise of Israeli popular culture, and especially Israeli folk songs. A really strong symbol of this is in the summer of 1950, when the Weavers record a song called “Tzena, Tzena,” a Hebrew Israeli song written in the 1940s which becomes a massive hit in America — it’s like number two in the Billboard charts for about 10 weeks. Israeli culture becomes this symbol of hope and the future and a new society that’s inspiring. This is all in very stark contrast to what klezmer represents for people. And a lot of the composers of Israeli folk song of its first decades had this very clearly stated ideology that they’re moving away from Ashkenazi musical traditions and Yiddish.
So the Jewish set at a wedding becomes an Israeli set.
At a typical Conservative wedding in the 1950s and ’60s, you might hear 10 minutes of Jewish music. The first one would be “Hava Nagila,” then they went to “Tzena, Tzena,” then they would do a song called “Artza Alinu,” which is today not very well known, and then “Hevenu Shalom Aleichem.” They are songs that are perceived to be Israeli folk songs, even though if you actually look at their origins, it’s a lot murkier than that. Like two of the songs I just mentioned are actually Hasidic songs that received Hebrew words in pre-state Palestine. Another probably comes from some sort of German, non-Jewish composer in 1900, but is in Hebrew and is perceived to be a representation of Israeli culture.
But even when the repertoire already represents a shift towards what’s easier to digest for American Jewry, the arrangements and the instruments and the musical ornamentation are essentially klezmer. The musicians I spoke to said they did this because they felt that this is the only way that it would actually sound Jewish.
That is to say, to be “Jewish” the music had to gesture towards Ashkenazi and Yiddish, even if it were Israeli and Hebrew. As if Jews wanted to distance themselves from Eastern Europe — but only so far.
Someone like Dave Tarras or the Epstein Brothers, musicians who were really at the forefront of klezmer in New York at the time, were really focused on bringing it closer to Ashkenazi traditions. Ashkenazi Jewish weddings in America are not the totality of Jewish weddings in America, and Israeli music itself is made up of all these different traditions — North African, Middle Eastern, Turkish, Greek — but in effect most of the really popular songs of the time were composed by Ashkenazi composers. Even “Hava Nagila” is based on a melody from the Sadigura Hasidic sect in Eastern Europe.
Of course, if you’re a klezmer musician you’re allergic to “Hava Nagila.”
Then-Vice President Joe Biden dances the hora with his daughter Ashley at her wedding to Howard Krein in Wilmington, Delaware on June 2, 2012. (White House/David Lienemann)
You spoke earlier about Latin music, which seemed to become a Jewish thing in the 1950s and ’60s — I know a few scholars have focused on Jews and Latinos and how Latin musical genres like the mambo and cha-cha-cha became popular in the Catskill Mountain resorts and at Jewish weddings.
Latin music is not exclusively a Jewish thing, but it’s part of American popular culture by the late 40s. But Jews are very eagerly adopting it for sure. In the Catskills, you would often have two separate bands that alternated every evening. One is a Latin band, one is a generic American band playing everything else. And part of that is American Jews wanting to become American. And how do you become American? By doing what Americans do: by appropriating “exotic” cultures, in this case Latin. This is a way of being American.
Jews and Chinese food would be another example.
And by the way, in a similar vein, it also becomes very popular to dance to Israeli folk songs. A lot of people are taking lessons. A lot of people are going to their Jewish Y to learn Israeli folk dance.
I’ve been to Jewish weddings where the “Jewish set” feels very perfunctory — you know, dance a hora or two long enough to lift the couple on chairs and then let’s get to the Motown. Or the Black Eyed Peas because they were smart enough to include the words “Mazel Tov!” in the lyrics to “I Gotta Feeling.”
So that’s why we always hear that song! I will say though, even when the Jewish music appears superficial, it does have this deeper layer of meaning. It’s very interesting how, despite all these changes, and despite the secularization process of American Jewish weddings, the music still connects people to their Jewishness. These pieces of music are so meshed with other religious components. Of course, most people see this as secular. But a lot of people connect to their Jewish identity through elements such as Jewish music, Jewish food, certain Jewish customs that are easier to accommodate in your secular lifestyle, and the music specifically has this kind of flexibility, this fluidity between the sacred and the profane.
That’s beautiful. It sort of makes the musicians secular clergy.
It’s interesting that you say that. In his history of klezmer, Walter Zev Feldman refers to the klezmer — the word itself means “musician” — as a kind of a liminal character, an interstitial character between the secular and the mundane. The music is not liturgical, but when the klezmer or the band is playing, it is an interval woven with all these other religious components and things that have ritual meaning.
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Northeast Philadelphia says goodbye to its last Jewish deli
(JTA) — PHILADELPHIA — After running the family deli for several decades, Steve Stein says his 83-year-old legs were telling him it was time to call it quits. But it wasn’t only that.
The neighborhood has totally changed since his dad, Mike, first took over the business more than 60 years ago. Back then Northeast Philadelphia was an epicenter of Jewish life, packed with synagogues and other Jewish establishments. Most of them are gone. And now — with the close of Steve Stein’s Famous Deli and Restaurant — the area just lost its last Jewish deli.
But only after an outpouring of affection from longtime customers, who flocked to the place once news spread in the last few weeks. “It’s overwhelming,” Stein said. “The amount of people that came in here in the last 10 days, two weeks. Their comments are very touching. I knew I was liked. I didn’t know I was loved.”
To be sure, several customers told the Jewish Telegraphic Agency that they’ll miss Stein, but they also bemoaned the fact there aren’t many Jewish food options left. Certainly none with prices as low as Famous.
“I’ve been going there my whole life, “ said Rebecca Asheuer, who grew up a few miles away from Famous’ current location — its third since the Steins took over the business. “I feel surprise and sadness, because it’s the last one in the Northeast.
“I think the Jewish people are moving out of the city and also the businesses used to be passed down in families. Now with the economy and other stuff, people don’t want to take over the family business anymore,” she said.
Another longtime customer mourned the closing of the deli, but also the disappearance of Jewish life in the area.
“I kind of expected it to go sooner or later,” said Aileen Owens, who remembered going to Famous when the Auspitz family ran over six decades ago. “There’s nobody around. Synagogues and all that stuff, it’s all fading out. They went to the suburbs.”
According to Steve’s account, his father Mike Stein, his brother Arnold and cousin Jack began running the produce concession at the Famous Deli in Philly’s Castor Gardens neighborhood in the late 1950s. Around 1960, they bought the deli from the Auspitz family, which had operated a chain of Philadelphia delis dating to the 1920s.
Steve and his brother Arnie eventually ran the deli together. As Jewish families moved farther into Northeast Philadelphia, the deli moved as well — first to Krewstown Road in the mid-1970s, eventually having two locations there, and then about 14 years ago to its final location at 1619 Grant Ave.
If all goes right, Steve’s 57-year-old son Lee hopes to continue the migration and resurrect the family business in the suburbs. Sort of.
“I’m looking to have a place of my own,” said Lee, who started off as an eight-year-old taking out the trash, but would occasionally try to cut the lox when no one was looking. “I have a lot of experience in this business.
“I call myself multi-talented, not just in the deli business, but in cooking and baking, I would probably downsize and not do fruit and produce like we do here. It’s just not worth, you know, the space for what you’re paying. I would do a similar situation to here. Deli, prepared foods, a little bit of bakery, a small sit down. But what I’ve told the people that come in here, ‘You’ll never, ever see some of this product again. And you’ll probably never, ever see these prices ever again.’”
Still, he wants his new venture to be affordable.
“My father always liked being a people-pleaser,” the younger Stein said. “So he tries to please people with a price. But that price affects you eventually.”
As for Steve, he wishes his son well, but knows it won’t be the same. “Lee wants to try something, but not here,” Stein said.
He added that some remaining establishments in the wider region – “they do 90% restaurant and 10% deli, I do 90% deli and 10% restaurant” – will “benefit from me not being here.”
One former competitor isn’t so sure. “I’m upset another Jewish deli has closed and he’s been in business a long time and certainly has his whole clientele,” said Michael Young, longtime owner of Ben & Irv’s, a deli restaurant in Huntingdon Valley, a suburb about 20 minutes northwest of Famous. “But it’s a different world today; a different area. So I don’t know if it will help us.”
Lee Stein said he actually tried to stay put, but needed a little help.“The real problem is the landlord never took care of the building,” said Lee, who wishes his dad had been more assertive on that front. “I tried to make it work here with them, figuring this would be an easy fix. I asked them for some renovations; to put a new roof on. The roof has several holes in it. When it rains outside, it pours in here. So, I tried to negotiate with them first before I did anything else, but that wasn’t going anywhere.”
JTA’s attempts to reach the landlord for comment were unsuccessful. Regardless, Steve Stein, who was forced to close the deli for a short while last year due to health code issues, says he is ready to turn the page.
The first thing he’ll do once things settle down is get therapy on his aching legs. And he’s excited to have more time to devote to his wife of 61 years, Sheila, along with his children, Lee and Mindy, seven grandchildren and two great-grandchildren. “But I’ll miss my customers. They’re like family.”
Already he’s feeling the difference “It’s devastating,” he said on Aug. 24, the day after the store officially closed, amid a final “blowout sale” to get rid of what little was left. “I’m usually the first one in the store.
“It’s going to be very much missed by me.”
He’s not the only one.
“Nothing lasts forever,” said one customer before heading into Famous one last time. “But it’s very sad.”
This article originally appeared on JTA.org.
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For graphic novelist Joann Sfar, drawing after Oct. 7 was a way to put stones on Jewish graves
For many Jews, the morning of Oct. 7 remains seared into memory. In Joann Sfar’s case, it was also the day of his birthday party, which included “as many Muslims as Jews,” he told me. Amidst tragedy, Sfar felt a profound gratitude for life, which seemed especially precious. It was a day of fear and uncertainty, followed by many more over the following months. For Sfar, drawing was the only way out.
To Life is Sfar’s illustrated journal of his experience after Oct. 7, a reflection of his fierce peace advocacy coupled with a profound connection to Israel. It follows several previous books by Sfar, who is a French Jewish graphic novelist best known for The Rabbi’s Cat. His works touch on his Sephardic heritage, highlighting a history of friendship and brotherhood between Arabs and Jews.
To Life is the English translation of Nous Vivrons, which was published in June 2024 as the first of a three-part series. It was followed by Que Faire Des Juifs? (What To Do with the Jews?), a nearly 600-page graphic novel that chronicles the history of the Jewish people. Sfar concluded the series with Terre de Sang: Le Temps du Désespoir (Land of Blood: The Time of Despair), which shares Palestinian voices and which Sfar describes as the “saddest” volume of the trilogy.
I spoke with Sfar in July after reading To Life, which will be officially released on September 8. At present, the translations of the second and third volumes are not yet scheduled to be published. Our conversation has been edited for length and clarity.
Now that you’re expanding To Life’s audience to English speakers, what do you expect non-French audiences to learn? What do you hope that they take from your piece?
What I would really love is a new vision on the Middle East. I’m really surprised how New York has made the Middle East American, using it in the Trump and Mamdani debate, which I have to say has very little interest from Europe. What I would love is for people to see real lives from the Middle East to see how similar people are. I come from a part Ukrainian and part Algerian Jewish family. When I went to Palestinian cities, I was surprised how many Palestinian seniors look like my father, and how many Moroccan Jews from Israel look Palestinian.
These are people who are very similar and who are trapped in a conflict which is older than them. I really would love readers to dig into personal experience, rather than abstractions. I think embracing this region is really putting hope into individuals, because if you start to put faith into narrative, you’re lost.
In your work, you make an interesting distinction between individuals denying each other’s peoplehood on both sides — Israelis saying there was never a Palestine, anti-Zionists saying Israel never existed — and your emphasis on interviews in your piece. Why was it important for you to have such a connection to real humans throughout the process?
It’s a very strange thing to say because there was real tragedy, but it made me happy because I love these people. I’ve been lucky enough to spend a lot of time in Palestinian and Israeli cities. If you take it from an individual level, I believe in them and I have a hope for them. Something beautiful is that even if they don’t want it, they are interconnected. Their economies are interconnected; no one is going to exterminate anyone. They’ll be there still.
In this region, no one ever talks to me about Zionism. People deal with their everyday issues; they have no idea what’s going to occur in two months. I know people who are smarter than me have a big political essay about this region, but that’s not my job. My job is to do what I love, like an adventure novel, where you go to the place, you meet the people, and you bring back a story.
Were there any illustrations in the book that you found particularly interesting or meaningful?
There are some photographs that are so shocking you cannot see them in the news, and making a drawing makes it more acceptable. One picture that blew me away is the burial of a father who was killed during October 7. His kid is crying on the grave, and there are the small stones you put on Jewish Ashkenazi tombs. This kid is a Jew, but he could be an Arab, and he mourns his father with a stone. I did a very simple drawing, and somehow that’s what war is about. War is not about heroism, it’s not about glory, it’s not about victory, it’s about kids who are going to mourn their fathers or mothers or family.
This reminds me of a quote from the book where you say that your writing “is like putting little rocks on top of Jewish graves.” Are there any moments in the book that you feel are the most important to hear and remember?
In some fields of France today, and especially among artists, it’s almost forbidden to recall October 7 because of the mass murder of Gaza. But my feeling is you need to be able to cry for both. October 7 was the worst murdering of Jews after WWII, and the mass massacre in Gaza is something we shall remember in 100 years. We should be able not only to cry for both, but also to consider the situation as a whole and to say, okay, what’s next? Are we waiting for the next slaughter or can we do better than this?
As an American, I know about the Jewish experience in the U.S. over the past few years, but I didn’t know exactly what was going on in France and the antisemitism there that you described in your book. Can you tell me more about your experience?
I’m more worried about America because for French Jews, we never let people harass us without responding. We still have a very strong connection to the Arab world, so when people try to oppose Jews and Arabs in France, it somehow doesn’t work. I would love to say that in an optimistic way, but there’s also a lot of violence and harassment. The minute a Jewish artist starts to work, there’s a threat of boycott and everyone starts to treat him like a ‘genocidal Zionist.’
I’ve been talking of Palestine for 30 years, doing reporting in Palestinian towns for two years, but somehow it’s not enough. But we really fight back, because violence here is very often. I had a performance in Marseille, and people gathered at the front to prevent me from drawing on stage. Luckily, many people showed up to defend me, because they knew my show was humane, about peace. At some point, it’s because I’m a Jew that pisses them off. But we know it’s a fight, and we’re ready for it.
What were people’s reactions to your book when it first came out in France? I’m especially curious about the non-Jewish and anti-Zionist population, and whether they read your work.
Everything online is hell. In bookstores, it’s heaven. For To Life, it’s been two years of performing in huge bookstores. I also went to all the universities in France which were blocked by the pro-Gaza crowd, like Columbia, but in France I went to talk in front of them and they were very nice talks. The book sold more than 60,000 copies in France, which is huge. It has a very mainstream audience, not just a Jewish audience. When you go to bookstores, people are very okay to talk, and especially when you go to my meetings, it’s okay to disagree. At my meetings, you can be pro-Palestine — you’re welcome. You can be pro-Israel — you’re welcome, and you can know nothing and you’re welcome also.
I’ve been dealing with Arab and Jewish topics for more than 30 years, and I have a huge amount of readers in France. The Arabs and Jews of my age know what they lost, in the real brotherhood and friendship we had fighting against the extreme right party. We have political history together, and many people remember that. I have a lot of hope, but we need to stay vocal.
Since the book was written in 2023, are there any moments that feel surprising or strange for you to read today?
One thing which is really surprising is that October 7 is less than three years ago, and it’s almost as if everyone forgot. Somehow, people have made political use of this slaughter by any means. The historical moment is almost forgotten. If my book is worth something, it is as an immediate report on the immediate aftermath of October 7 on site. I was in the south of Israel, I was with kibbutzniks, I was with the military, I was with Arab people. One thing we risk is to forget what occurred on October 7, and then forget what occurred during the Shoah, because in France today all the memory sites for WWII are being attacked as pro-Israel. So, we need to keep our memory. Without memory, there’ll be no peace.
One moment in your book that I found very powerful was when you parallel a famous image of Jews being shot in the Holocaust to one of two teenagers being killed on October 7. I’d love to hear more about your thoughts connecting October 7 to previous tragedies, especially with how you refer to the events as a pogrom.
In France, most of the people don’t know about the Jewish oppression in the Arab world, how many of us had to leave the Arab countries after the fall of the Ottoman Empire. When October 7 occurred, in many Sephardic families and Jewish families from Israel, it recalled what occurred in many oriental countries. There’s a history of killing Jews in the Arab world, and it’s as if people awake to that. We have memories — nothing is the same — but we have a history. Amongst the things that really terrify me today is the dislocation of the link between Israeli Jews, American Jews, and European Jews. I was sad to see how many young American Jewish readers have no connection at all to Israel. You can criticize Israel, it’s okay, but pretending you have no connection to Israel is a lie to the face of your family.
In your opinion, why do you feel like this is the case for so many American Jews? Is there a way that you feel like this changes?
I would say Israel is also to blame because Israel has taught the diaspora Jews that it should be a constant exchange. You cannot raise a child making him guilty about not being pro-Israel enough. I’m not asking anyone to be pro-Israel — it’s a very dysfunctional country with an extreme right government. But the connection exists through your parents, your grandparents, their history. Pretending there is no connection is a lie. In the Jewish story, every moment a Jew tries to pretend he’s not part of the Jewry is going to be the first to be slaughtered. I’m not an Israeli, but I’m part of this history and I’m really proud to be part of this history.
Throughout the book, you imagine many conversations with your late grandfather, and I was interested in why this was something that felt so connected to you at this time. Why did you want to include this dialogue in your book?
He really raised me, and everything I do or say is considering what my grandfather would have said. He did not believe in any narrative. He was not a nationalist; he would not believe in all the right wing crap about pride, country, anything. It was only about survival. Regarding Europe, he was very pessimistic. He was saying that we’ll have some decades of peace after Auschwitz, and then it’s going to go back to normal Jew hatred. I’m afraid to say he was right.
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Christian lawmakers want Trump to fast-track Jewish Canadians to the U.S. Tulsa says it’s ready.
Eitan Israelov, 34, was noshing on bagels and coffee at a co-working space in downtown Tulsa, when he met the city’s mayor, Monroe Nichols.
Israelov and his family — wife, Nicole, 31, and their two children, Liam, 10, and Melody, 8 — were among nearly 50 Canadian Jews who traveled to Oklahoma in February, part of an audacious recruitment trip to lure Jews worried about rising and often violent antisemitism north of the border, to leave Canada and move to the U.S.
Nichols greeted the group like a host welcoming guests into his home. “As a Black man in America,” Nichols said, “I can identify with some of the hate that you all have felt.” Then he used a word that landed differently in a room full of people who’d begun to wonder whether they still belonged where they came from.
“Tulsa,” he said, “is a refuge.”
For Israelov, the words spoke volumes. “For us,” he said, “it’s a piece of heaven.”
Six months later, it sounds prescient.
Oklahoma Gov. Kevin Stitt sent a letter to Trump in July, pledging that “Oklahoma would proudly welcome” any Jewish families who “lawfully come to the United States in search of safety and opportunity.”
Now a group of Christian lawmakers are appealing to President Donald Trump to fast-track immigration for Jewish Canadians, touting Tulsa as a destination of choice. “These individuals and families should not be viewed merely as people fleeing hatred,” the lawmakers wrote in a letter last week. “They are prospective neighbors.”
Trump shared the letter in a social media post on Sunday, signaling his support, but did not commit his administration to anything specific — no order, no directive, no timeline. But for Canadian Jewish communities that have spent three years watching antisemitism intensify with little response from Ottawa, the presidential spotlight was still notable.
Since the Hamas attacks of Oct. 7, 2023, Jewish schools, synagogues and businesses across Canada have faced harassment, vandalism, bomb threats and violence. B’nai Brith Canada counted 27 violent antisemitic incidents in just the first six months of 2026, nearly triple all of 2025.
In early August, an arsonist gutted Nöam, a kosher restaurant in Montreal. Even Canadian Prime Minister Mark Carney has acknowledged the scale. Jews, he’s noted, are roughly 1% of Canada’s population but the target of two-thirds of its religiously motivated hate crimes.
“Canada’s civic compact,” he said, “is failing Jewish Canadians.”
The letter Trump shared was drafted by Jason Rapert, founder of the National Association of Christian Lawmakers, asking Trump to “establish an appropriate lawful immigration and humanitarian pathway for Jewish Canadians who are experiencing persecution.”
Fifty-four people signed it including sitting state legislators from across the country, as well as Sam Brownback, the former U.S. ambassador for international religious freedom.
The letter cited Tulsa as an example of where a “willingness already exists,” and which has spent the better part of a decade building exactly the kind of pipeline that letter is describing.
Tulsa Tomorrow is a Jewish community-run recruitment program that started in 2017. It flies prospective transplants in for a weekend of house tours, meet-and-greets and a pitch for why they should relocate. So far, 144 people have come through, and 113 have stayed.
Lately, more of them have been Canadian. Of 52 people on a trip in February, 41 came from Canada, and organizers expect the roughly 50 people signed up for another trip in October to skew just as heavily north of the border.
Two people helping with that pitch are Canadian transplants themselves. Joe Roberts, who leads Jewish Tulsa — the umbrella organization overseeing the city’s federation, JCC and Jewish museum — moved there in 2024 from Ontario. Michael Sachs, senior director of the Jewish Federation of Tulsa, moved from Vancouver last year.
“Oklahoma is a state where these people can feel openly Jewish, and feel that as a Jew they’re valued,” Sachs said.
The families waiting
Getting there is another story. Israelov works in IT for a mining company headquartered in Canada, and he said the company won’t let him work remotely from the U.S. — closing off the route that would let an employer sponsor his visa. Another route, a visa that would require Israelov to invest $800,000 in a U.S. business, is out of reach financially.
Fear compounds the financial obstacles. In January 2024, someone was caught on the Israelovs’ home security camera cutting an Israeli flag off their front porch and fleeing into the night.
Later, a neighbor told Israelov, “I heard you’re Jewish,” and that “your kind is in the wrong place.” He belonged in Israel, the neighbor said, “but not here.”
Not everyone watching this unfold from inside the Canadian Jewish community is rooting for the exodus. Jesse Brown, a Canadian Jewish journalist who has spent years documenting the country’s rising antisemitism, says he fears “the next Bondi Beach massacre,” the December 2025 Hanukkah attack in Australia that killed 15 people, “is going to take place in Canada.”
But watching fellow Jews plan their departure unsettles him in a different way. “There’s a sadness,” he said. “I’m not enthused or compelled by what I see as a re-shtetling.”
A murkier picture
It’s hard not to notice the echo of last year’s program resettling white South Africans as refugees, which critics called selective and its architects called a response to persecution. Roberts sees Canadian Jews less as refugees than as candidates for what he calls “a legal humanitarian pathway that’s expedited.”
The timing also invites skepticism. The NACL letter and Trump’s post came in the middle of a trade war between the U.S. and Canada. Fifty percent tariffs on roughly $20 billion of Canadian goods took effect Aug. 22. Canada has announced a matching retaliation.
Rabbi Yehuda Kaploun, the U.S. special envoy to monitor and combat antisemitism, visited Ottawa in early August and said: “You need to do better,” citing 788 antisemitic hate crimes reported to Canadian police in 2025, up from 492 in 2021.
Carney’s office said new laws and funding show the government is responding. A spokeswoman said officials want “a country where our differences are honored and where Jewish Canadians can live visibly, fully, and joyfully in public life.”
But Rapert, who is based in Arkansas, sees things differently. When Trump shared the letter on Sunday, Rapert was leading a delegation of U.S. elected officials on a tour of Israel. They had just visited the Ghetto Fighters’ House Holocaust museum, which has on display the glass booth used in the trial of Adolf Eichmann for his role in the Holocaust.
Canada’s climate, he said, is “not unlike what you were beginning to hear in the early days of Germany, that led to government decisions that brought forward what we now all know is the Holocaust.”
Rapert’s letter is far from his final push. He hopes to persuade U.S. Sen. Ted Cruz of Texas and U.S. Rep. Marlin Stutzman of Indiana to hold congressional hearings on the issue. And he’s working on setting up a meeting with Trump.
“My prayer is that Donald Trump paves the way for the people that want to come, to come,” he said. “But what would be even better is if Prime Minister Carney apologized and repented.”
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