Although antisemitism has been an ever-present scourge for centuries, it has seen a sinister and widespread modern resurgence during the last few years.

One of the most sickening and obvious examples in recent memory took place on the morning of October 27, 2018 — the Holy Day of Sabbath for the Jewish people. Robert Bowers screamed “All Jews must die,” as he began shooting at the gathered congregation praying at the Tree of Life Synagogue in Pittsburgh, Pennsylvania.

He killed eleven people, wounding six others, with an assault rifle and multiple handguns. The names of who were killed are: Irving Younger, Sylvan Simon, Jerry Rabinowitz, Joyce Fienberg, Daniel Stein, Melvin Wax, Rose Mallinger, Bernice Simon, Richard Gottfried, Cecil Rosenthal and David Rosenthal. It was the deadliest attack ever on the Jewish community in the U.S.

So what has brought about this fresh wave of hatred? Deeper still, what has given these malevolent beliefs the encouragement to become murderous action?


The US Department of State defines antisemitism as “a certain perception of Jews, which may be expressed as hatred toward Jews. Rhetorical and physical manifestations of antisemitism are directed toward Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.” adding that in modern times it has been used by “making mendacious, dehumanizing, demonizing, or stereotypical allegations about Jews as such or the power of Jews as collective — such as, especially but not exclusively, the myth about a world Jewish conspiracy or of Jews controlling the media, economy, government or other societal institutions.”

The old anti-Semitic trope of Jews running the media is one small example of what has been absorbed by the culture and turned into an easy punchline, however, these reprehensible but seemingly benign elements have become part of a larger undercurrent of dangerously misguided common belief in the United States and beyond.

Even during the most recent Senate election in Georgia, Republican David Perdue released an attack ad on Jon Ossoff, who is Jewish, that purposefully made his nose larger and more pronounced. This is an obvious reference to an ancient anti-semitic trope.

These are specific instances, but there is a deep ocean of accepted hatred that runs underneath the everyday.

Looking to the cult of mass-delusion that is Q-Anon, we can clearly see parallels between the beliefs its followers cling to, and an anti-Semitic hoax that began in Russia during 1903.

“The Protocols of the Meetings of the Learned Elders of Zion” is a fabricated antisemitic text claiming to reveal a Jewish plan for global supremacy.

It alleges that a shadowy cabal is plotting to take over the world. Alongside global domination, they seek out and kidnap children in order to torture, kill and eat them. By doing this, they gain power from the contents of the children’s blood. They also control influential seats in government, the media, international finance and religious institutions. They promote homosexuality, pedophilia and a degradation of traditional values — all while crippling the white race through interracial breeding in order to weaken their power in the nation.

That description could easily have been a “drop” from the elusive figure known only as “Q”. As such, Q-Anon is simply a grotesque rebrand of “The Protocols of the Meetings of the Learned Elders of Zion” for the 21st century.

Long after its publication, the text was used by anti-semites globally to reinforce their prejudices and to darken the hearts of their followers. Henry Ford himself paid for 500,000 copies to be printed in the United States during the 1920’s, and the text was distributed widely throughout Europe — being especially popular in 1930’s Germany leading to a population that believed all Jews were involved in a plot to take control of their nation.

Now in 2020, Q’s followers in the United States are legion, and their radicalization primarily takes place not in a foreign desert, but on Facebook.

An entirely separate article would be required to properly outline the sheer amount of damage that Mark Zuckerberg and his morally bankrupt company have wrought on the psyche of the American people, but for now it is enough to say that, despite a deluge of evidence that Q-Anon and other hate groups were organizing on their platform, the social media giant was not only slow to action, but actively encouraged these members activities in order to increase user engagement.

We have only just begun to see the consequences of a future where hatred and technology are bedfellows for profit.

Q-Anon’s growth on Facebook is not an aberration, as the platform has sheltered and provided covering fire for multiple other groups.

Leading up to the 2016 election these groups were gaining confidence and after the election of Donald Trump their movements became unbridled. Following the 2016 result, the ADL released its annual 2017 Audit of Antisemitic Incidents. The report found that “the number of reported antisemitic incidents in the U.S. rose 57% in 2017, the largest single-year increase on record and the second highest number reported since ADL started tracking such data in 1979. There was a total of 1,986 incidents, which fall into three major categories: harassment, vandalism and assault.”

One of the primary groups to rear its ugly head was another uniquely Trumpian collective – The Proud Boys. The Proud boys, the far-right group that President Donald Trump told to “stand back and stand by” during a presidential debate, share many of the views outlined in The Protocols of the Meetings of the Learned Elders of Zion” and Q-Anon.

Founded in 2016 by Gavin McInnes, a far-right personality and co-founder of Vice media, the group originated as a “chauvinist” organization that believed “Western” values were being degraded by multiculturalism. Despite their overtly xenophobic and mysoginistic views, the group maintained that although it was advocating for western ideals, it was not against Jews. This claim was dubious at the time, and has only become more absurd as the group has moved more prominently into the national conversation.

The founder of a “tactical defense arm” of the Proud Boys, Kyle Chapman, said in a message on the encrypted app Telegram that he has staged a “coup” against Enrique Tarrio, the current leader of the Proud Boys.

“We will confront the Zionist criminals who wish to destroy our civilization,” Chapman wrote, “We recognize that the West was built by the White Race alone and we owe nothing to any other race.”

This all took place as The Proud Boys were preparing to flood the streets in order to protest Donald Trumps claims that the 2020 election is not legitimate.

As anti-semitism invades online discourse and bleeds into the streets, the larger danger is that it is now part of a political parties belief system.

The outgoing president has pathologically let loose racist dog-whistles targeting the black community, but he has also repeatedly found opportunities to incorporate antisemitic tropes into his rallies and oration.

Trump suggested that George Soros paid for protests against the confirmation of Supreme Court Justice Brett Kavanaugh.

He also said that Soros was responsible for the arrival of a caravan of Central American migrants at the US border.

After the rally in Charlottesville, Virginia where groups marched through the streets screaming “Jews will not replace us”, Trump said there were “very fine people on both sides”.

He claimed that American Jews who vote Democratic were guilty of “disloyalty” to the country. For reference, Trump has constantly referred to Israel as “your country” when speaking with American Jews – an obvious accusation of dual loyalty, a recurring anti-semitic trope.

While it remains to be seen what will happen to these hate groups that have been spurred on by the highest office in the land, there s no doubt that anti-semitism is not an evil relegated to the pages of distant history.

It is here, now, and has been emboldened by a criminal, racist, xenophobic, sexist, incompetent authoritarian who only has one goal – to incite national division while he finishes the ultimate grift.

  • During one of Peter Gabriel’s final Genesis shows, a roadie got naked for one amazing prank
    Photo credit: Unknown photographer via Wikimedia Commons, Creative Commons Zero, Public Domain Dedication, cropped (left) / Canva (Africa images), cropped (right)A roadie got naked for a hilarious prank during one of Peter Gabriel's final shows with Genesis.

    The 1974 Genesis double-LP, The Lamb Lies Down on Broadway, is one of the most ambitious (and, to some, inscrutable) concept albums in rock history, following a character named Rael along a cosmic journey through the shadowy New York City streets, elaborate chambers of 32 doors, surreal cages filled with stalactites and stalagmites, underground rivers, and caves with spooky creatures. It was like a proggy Pilgrim’s Progress as envisioned by Alejandro Jodorowsky.

    When it came time to translate that vision to the concert stage, Genesis made a risky choice: debuting the entire 94-minute saga, front to back, with large chunks of the audience likely unfamiliar with the songs. (The first date of the tour, November 20, 1974 in Chicago, occurred two days before The Lamb hit stores.) The visual side of the project was as trippy as the lyrics, including scene-setting projections and a number of bizarre costumes for front man Peter Gabriel—like one particularly grotesque monstrosity, The Slipperman, that drummer Phil Collins later called an “inflatable dick.” (“It was all very Spinal Tap,” he said in an interview for the album’s 2007 reissue.) 

    If you ever wanted to appear naked onstage, this was probably the perfect time to do it—and one of the band’s roadies pulled off that hilarious prank as the tour neared its end. The silliness was especially notable, given the brooding atmosphere within Genesis—Gabriel, feeling constrained by the band’s schedule and eager to stretch his wings, had already informed his bandmates that he planned to leave following the Lamb tour. Perhaps the roadie, whom the band recalls being Geoff Banks, was attempting to add some levity. What we do know is that he made his nude cameo during one of the final shows, building on the suspense from a visual trick.

    “There was a point in The Lamb where Rael sort of splits, and we did that on stage,” Gabriel told filmmaker John Edginton in a full-band documentary interview. “I would be in the Rael outfit, and there was a dummy on the other side in exactly the same outfit. There wasn’t a lot of lighting, so it would explode, and you wouldn’t know [which was which]…Of course, for the crew, as we approached for the end of things—first of all, [Rael’s] jeans would have their flies undone with a banana hanging out. Gradually, they’d have more and more fun…”

    Keyboardist Tony Banks also talked about this infamous moment in a passage from the 2007 book Genesis: Chapter and Verse. “No one apart from the group, and the immediate circle of the group, knew that Pete was leaving and that this could well be our last tour ever,” he said. “And the roadies always had to have some fun. There was this moment in the show where Pete would be on one side of the stage with a dummy on the other side, and the strobe lights would flash on them so you couldn’t tell which was which. And, of course, for one of the last shows, one of the roadies got up there naked on the other side and took up the pose in place of the dummy…There were people watching this, my wife, for instance, practically in tears because they thought that it might be all over for Genesis, and we had a naked roadie on stage[—]was this how it was all going to end?”

    But all’s well that ends well, and Genesis managed to carry on after Gabriel’s departure by upgrading Collins to the dual role of drummer-singer. In a testament to their continued friendship, Genesis even reunited with their old singer in 1982 to help him escape mounting debts. 

    This article originally appeared last year. It has been updated.

  • 41 years ago Bono’s Live Aid stage antics ended up saving a female fan from being crushed
    Photo credit: Screenshot from YouTube / @LiveAidU2 singer Bono embraces a fan pulled out of the crowd during the band's 1985 performance at Live Aid.

    By July 13, 1985, U2 was a massively popular rock band: riding the wave of two successive chart-topping U.K. albums (War and The Unforgettable Fire), even being anointed the “Band of the ’80s” in a Rolling Stone cover story. But their definitive moment of that year was a performance at Live Aid, a benefit for Ethiopian famine relief staged before 72,000 at London’s Wembley Stadium and broadcast to well over 1 billion TV viewers. They were already larger than life, but now they had the perfect venue and grandiose crowd interaction to showcase it.

    Their short set featured a 12-minute version of their atmospheric 1984 song “Bad,” which they stretched out to include some quotes from The Rolling Stones’ “Ruby Tuesday” and, more famously, to accommodate the stage maneuvering of front man Bono. Halfway through the track, the singer gestured to the audience with a “come on”-type motion, eventually requesting a few female audience members be lifted out of the crowd by security.

    According to some accounts, including viral social media posts, this was some kind of “rescue” attempt, and while it’s unclear precisely why Bono took action, the story has become a staple of the U2 canon.

    In the above clip, you’ll see two fans guided to the apron area in front of the stage, where Bono briefly embraces them. But the most notable moment is when he jumps into the muddy area by the barricade, asking security to hoist over a teenager, with whom he slow-dances and offers a kiss on the cheek. Cameras, of course, caught the whole thing. Bono was a showman from day one, after all.

    Over the years, there’s been a lot of debate and discussion about this Bono-meets-fan moment. In a detailed breakdown of the performance, Rolling Stone reports that the third fan was 15-year-old Kal Khalique. Someone by that name shared their Live Aid memories with the BBC, writing that they weren’t even at the show to see U2: “My sister and I were desperate to see Wham!, so we had made it down to the front of the stage. Half way through the day U2 came on suddenly Bono was pointing to me in the crowd and after a [number] of other girls were pulled out, he finally jumped down and got the security guys to pull me out and danced and hugged me, and I even got a kiss. I’ve been a huge U2 fan ever since.”

    In 2011, The Guardian cited an article by The Sun, who apparently tracked down Khalique. “The crowd surged,” she reportedly claimed, “and I was suffocating—then I saw Bono.” But The Guardian also notes that Bono “had long made a habit of pulling girls out of the audience and dancing with them.” Was this just another example, only amplified by the drama of a hungry rock band playing the biggest stage imaginable? 

    Reasoning aside, it’s the kind of larger-than-life moment that came to define U2. It also happened at an ideal time, just ahead of their next album, 1987’s The Joshua Tree, a critically acclaimed and multi-platinum blockbuster that topped the Billboard 200 and spawned some of the bands most enduring singles, including “When the Streets Have No Name,” “With or Without You,” and “I Still Haven’t Found What I’m Looking For.”

    Live Aid also spawned one of rock’s most celebrated performances ever: Queen’s triumphant eight-track set featuring anthems like “We Are the Champions,” “Radio Ga Ga,” and “Crazy Little Thing Called Love.” That show was even etched into film history with an exacting recreation in the 2018 Freddie Mercury biopic Bohemian Rhapsody

    This article originally appeared last year. It has been updated.

  • Catherine O’Hara’s tear-jerking eulogy for John Candy was a master class in memorializing a true friend
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    Catherine O’Hara’s tear-jerking eulogy for John Candy was a master class in memorializing a true friend

    Now that O’Hara has also passed, the beautiful words she spoke for Candy resonate in a new and painful way.

    The comedy world lost two of its great lights decades apart. John Candy in 1994, and Catherine O’Hara on January 30, 2026. But O’Hara left something behind from that first loss: a nine-minute eulogy that remains one of the most moving tributes one friend has ever paid another.

    Candy was the big-hearted comic-actor best known for his string of charismatic film roles in the 1980s and early 1990s, from Stripes to Planes, Trains, and Automobiles to Uncle Buck. He died at just 43 in 1994, following a heart attack. O’Hara, his close friend and collaborator from SCTV, Second City Toronto, and Home Alone, delivered the eulogy at his memorial service in Toronto, and in nine minutes she managed to capture everything that made him irreplaceable.

    She opened the beautiful eulogy by summarizing all of the ways he “enriched” other people’s worlds, including so many small acts of kindness.

    “I know you all have a story,” she says in the clip. “You asked him for his autograph, and he stopped to ask you about you. You auditioned for Second City, and John watched you smiling, laughing. And though you didn’t get the job, you did get to walk away thinking, ‘What do they know? John Candy thinks I’m funny.’ You walked behind John to communion. You carried his bags up to his hotel room, and he said, ‘Hey, that’s too heavy. Let me get that for you.’ And then he tipped you. Or was that a day’s pay?…you caught a John Candy scene on TV one night, right when you needed to laugh more than anything in the world.” 

    Meeting John Candy

    O’Hara also shares her own story of meeting Candy in 1974, when he was director of the Second City touring company.

    “When I joined him in the main cast, he drove us all the way to Chicago to play their Second City stage,” O’Hara recalls. “And I had a crush on him, of course, but he was deeply in love with [his wife, Rosemary]. So I got to be his friend, and I closed the Chicago bars with him, just to be with him. We did SCTV together. When we all tried to come up with opening credits that would somehow tell the audience exactly what we were trying with the show to say about TV, it was John who said, ‘Why don’t we just throw a bunch of TVs off a building?’”

    The whole eulogy is filled with lovely details, as O’Hara reflects on Candy’s graciousness, his collaborative spirit, and the overall sparkle of his comedy.

    “His movies are a safe haven for those of us who get overwhelmed by the sadness and troubles of this world,” she says. “As if he knew he’d be leaving us soon, John left us a library of fun to remember him by.”

    And she ends with a moving note to illustrate their closeness: “God bless, dear John, our patron saint of laughter. God bless and keep his soul. I will miss him. But I hope and pray to leave this world too some day and to have a place near God—as near as any other soul, with the exception of John Candy.” 

    The Candy legacy

    After the eulogy video resurfaced on Reddit, dozens of fans shared their emotions.

    “I was eight years old when he passed, and to this day no celebrity death has ever hit me harder,” one user wrote. “How could such a bright light be gone so early? She’s right, his films are a safe haven for the soft-hearted. RIP.” Another added, “John Candy died over 30 years ago, but it still stings like it was yesterday. He left such an incredible and rare cultural mark.”

    Candy was also the subject of the 2025 Amazon Prime documentary John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, in which O’Hara herself appears alongside other friends and collaborators. Conan O’Brien has talked frequently about how much he loved the SCTV star; he once talked to Howard Stern about his impactful meeting with Candy back in 1984, when O’Brien was a 21-year-old student at Harvard University (and president of the Harvard Lampoon).

    “We ended up hanging out,” O’Brien recalled, “and what I remember most clearly is that he was everything I wanted him to be. He was John Candy.” 

    This article originally appeared last year. It has been updated.

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