Gilad Atzmon: The Open Society and its Enemy Within

Gilad Atzmon: The Open Society and its Enemy Within

This film is dedicated to the so-called Jewish ‘anti’ Zionists who were harassing and detracting us ahead of the Freiburg Conference (‘Palestine, Israel and Germany – Boundaries of Open Discussion).

Ideally, we would like to see many Jews contributing to the discourse rather than attempting to dismantle it. However, we will prevail!!!
Gilad Atzmon’s New Book is available on or

William Cook : A Review of The Wandering Who

Book review: The Wandering WHO?

William T. Hathaway: The Last Jewish Prophet


3 responses to “Gilad Atzmon: The Open Society and its Enemy Within


    About Gilad…

    November 28, 2006

    Gilad Atzmon a.k.a. Artie Fishel: Jazz as a Metaphor for Zionism

    By Gary D. Keenan (1)

    Gilad Atzmon is a truly remarkable and unique individual. As well as being a gifted and multi-award winning jazz saxophonist/clarinetist, composer and arranger, he is also a fearless, relentless and very effective opponent of Zionism and Israel, his country of birth.

    Those with an avid interest in Middle East affairs will be familiar with Gilad’s many thoughtful articles in various publications and on the Internet in which he eloquently and forthrightly expresses his unequivocal support for Palestinians in their near sixty year struggle against ethnic-cleansing, dispossession, oppression, occupation and humiliation. He has also written two novels, A Guide to the Perplexed and My One and Only Love .

    Born in Jerusalem a few years before Israel launched the pivotal 1967 war and raised as a secular Jew, Gilad studied jazz and composition at the Rubin Academy of Music, performed extensively and served his obligatory time in the military.

    Enraged and deeply depressed by the horrors he witnessed Israeli occupation forces perpetrate against Palestinians and Lebanese, Gilad could no longer bear living in Israel and decided to go into exile. He immigrated to Britain to study philosophy and continue his career in music.

    Not surprisingly, Gilad has enjoyed great success as a musician in Britain. He also had the good fortune to meet Asaf Sirkis, a fellow Israeli exile and a brilliant drummer/ percussionist. Inspired by Asaf, Gilad’s music took a new turn. Expanding upon his love of American bebop, he fulfilled a long held desire and incorporated into his playing the music of the Middle East, North Africa and Eastern Europe.

    Ever mindful of why he had left Israel and constantly aware of the ongoing suffering it was inflicting on Palestinians and other Arabs, Gilad felt compelled to do something meaningful in protest. Accordingly, he chose to devote a great portion of his life as a musician to the struggle against Zionism.

    Gilad went on to found the Orient House Ensemble (named after the Palestinian Authority headquarters in occupied East Jerusalem/the Old City ransacked by Israel) in London and recorded a number of critically claimed albums that testify to the group’s solidarity with Palestinians. As a result, Gilad has established himself not only as one of the world’s most adventurous and creative jazz musicians but also an uncompromising and heralded champion of human rights.

    For Gilad, jazz is a voice of resistance and a force for liberation: “As a bop player, I refuse to view jazz as a technical adventure. It isn’t about the speed with which I move my fingers or the complexity of my rhythmic figures. I insist that jazz is a form not of knowledge but of spirit. Jazz is a world view, an innovative form of resistance. For me, to play jazz is to fight the BBS (Bush, Blair and Sharon) world order, to aim towards liberation while knowing you may never get there, to fight the new American colonialism. To say what I believe in, to campaign for the liberation of my Palestinian and Iraqi brothers. To play jazz is to suggest an alternative reality, to reinvent myself, to be ready to do it till the bitter end.” (

    As one would expect, Gilad has been condemned and defamed by Britain’s well entrenched Zionist establishment for his enthusiastic pro-Palestinian advocacy. Rather than deterring him, however, these attacks have only increased his resolve. This is well demonstrated by the fact that he considers his lifetime achievement to be “winning the ‘Self Hating Jew Weekly Award’ [granted by] The London Jewish Chronicle (24 June, 2005.)” ( )

    Gilad’s latest project as a political artist/musician is his recently released and superbly produced CD (which includes extensive and hilarious liner notes) of modern jazz fused with traditional klezmer music (2) interlaced with commentary and interactive dialogue entitled “Artie Fishel and the Promised Band.” (3)

    Apart from Gilad, the CD also features the outstanding rhythm section of John Turville on keyboards and electronics, Yaron Stavi on bass, Eyal Maoz on guitar, and of course, Asaf Sirkis on drums. Other artists include vocalist Guillermo Rozenthuler, Koby Israelite on vocals and accordion, and Ovidiu Fratila on violin. As well as writing much of the dialogue, Tom Clark Hill plays the roles of Big Bobby Johnson, a disc jockey on an imaginary Palestinian FM jazz radio station and U.S. President G.W. Push. We also hear the voices of an unknown Israeli lieutenant colonel and Mr. Anonymous as Harry Palmer of BBC Radio.

    The result is much more than great music and cutting humour (reminiscent at times of the Marx Brothers and BBC Radio’s “Goon Show.”) Ingeniously, by employing jazz as a metaphor, Gilad delivers a completely original and scathing indictment of Zionism and its creation, Israel. He accomplishes this by assuming the identity of Artie Fishel, a fictitious confused and out-spoken Jew who is also a very accomplished jazz and klezmer saxophonist/clarinetist and leader of the Promised Band.

    Gilad sums up Artie as follows: “Artie is indeed a funny bloke – he is far from being violent; in fact he loves peace, he loves his people, his people love him, but more than anything, he really loves himself. Artie is predominantly an entertainer. A Zionist Jew may see a reflection in Artie, others may see him as a glimpse into the Israeli and Zionist mindset, others may just laugh.” (

    At every opportunity, Artie forcefully asserts that jazz was invented by Ashkenazi Jews in the ghettos of Eastern Europe (also the home of the first generation of Zionist zealots), not as history attests, by Afro-Americans who passed it on first to eager white American musicians and then the world. True to Gilad’s metaphor, Artie accuses those who insist that jazz originated in America of being “anti-Semites.”

    Through Artie’s ignorance, self-righteousness and belligerence, Gilad ridicules the absurd and racist contention on the part of Zionists that regardless of their country of origin, all of historic Palestine and much of certain neighbouring Arab countries belong exclusively to Jews because according to the Old Testament, it is their “Promised Land,” bequeathed to them, “the Chosen,” by God. He also underscores the outrageous Zionist allegation that the native Palestinians (whose ancestry goes back to the Canaanites) have no legitimate claim to the land of their birth.

    In short, as Gilad makes clear, defying logic, international humanitarian law and morality, Zionists have convinced themselves and their supporters that contrary to renowned Palestinian spokesperson Hanan Ashrawi’s apt observation, God is a “real-estate agent.” Bearing in mind their ludicrous and offensive belief that they have divine permission to carry out their well documented brutal and bloody ethnic-cleansing of well over one million Palestinians since 1948, Zionists must also consider God to be a racist, indeed, a fascist.

    Now, to the music:

    The songs performed by the “Promised Band” consist of twisted versions of American jazz standards, Artie’s interpretation of a Dvorak composition, and originals played and sung a la klezmer or as straight ahead jazz together with comments by and verbal exchanges between various characters. Artie’s solos range from klezmer to hauntingly beautiful and from searing contemporary bebop to hard driving funk and acid jazz.

    Gilad had the good sense to include numbers that are pure fun such as “What a Mellow Goy” (Herbie Hancock’s “Watermelon Man”) played in a rock groove with vocals and a great organ solo; “Hoy, Hoy, Hoy, Hoy Blackbird” (“Bye Bye Blackbird) played as a klezmer polka by Artie on clarinet with nonsensical banter in the background. There are also the Promised Band’s versions of “Artie in the Sky with Bagels” (“Lucy in the Sky with Diamonds”); “Hoy Vey, the Way You Look Tonight” (“Just the Way You Look Tonight”); “You and the Knife and the Moishik“ (“You and the Night and the Music”) and “My Favourite Things.” (4)

    The Promised Band’s version of “A Knight into Nietzsche” (Dizzy Gillespie’s Afro-Latin bebop classic, “A Night in Tunisia”) is very clever and really cooks.

    Artie sets the scene by informing us in fractured Israeli accented English that “once upon a time in the wilderness of Siberia there was a knight very enthusiastic about literature” who loved to read “until dawn,” especially books written by Friedrich Nietzche, the nineteenth century German philosopher whose views were misrepresented by the Nazis. Artie then proclaims that “once you start listening to Nietzche, doesn’t take long before you start listening to Wagner.”

    Artie is forewarning his fellow Jews that should they succumb to curiosity and read Nietzche, they will be inspired to listen to the music of Wagner, and heaven forbid, even come to love it and appreciate his genius. (Richard Wagner, the innovative and famous German composer accused of being an anti-Semite, was an acquaintance of Nietzche. Praised by Hitler, his music became a powerful symbol during the Nazi era. While performances of Wagner’s compositions were banned in Israel when it was established, during the past 25 years a few concerts have been grudgingly permitted. One example is the Berlin Staatskapelle’s rendition of his “Tristan und Isolde” overture at the 2001 Israel Festival under the baton of Daniel Barenboim, an avid Jewish human rights advocate and close friend of the late revered Palestinian scholar and defender of his people, Edward Said.)

    Artie starts playing the melody rubato a la klezmer on clarinet. Then, as he switches to alto saxophone, the bass and drums gradually lay down a hard driving groove and the rest of the rhythm section jumps on board. Artie pulls off a brilliant up tempo post-bebop solo with a nod to Coltrane guaranteed to leave any jazz fan screaming for more. (Humorously, Artie is interrupted a few times by the rhythm section quoting part of the bridge from “A Night in Tunisia” as well as listeners, apparently not happy with his jazz solo, telling him to shut up and threatening to call the police.)

    The following tracks communicate the core of what Gilad wants us to comprehend:

    “Mr. President” – Interrupted while singing an inane little ditty about “hummers” and “bullets” in the Oval Office, President Push is informed that Mr. Artie Fishel has arrived and seeks an audience. Reluctantly, the president agrees to see him.

    “Themes from West Side Story (West Bank Story)” – With some great brush work by Asaf, the Promised Band plays and sings “Maria” and “America” from Leonard Bernstein’s West Side Story and quotes a phrase from the American anthem.

    Next is the Promised Band performing a klezmer version of the theme from Dvorak’s New World Symphony (Coming Zu Hause) with Artie playing a bluesy clarinet solo.

    With these three cuts Gilad is reminding us of the frequent visits made by Israeli leaders to the White House over the years that have resulted in Israel gaining ever increasing financial and military aid as well as presidential approval for the construction of illegal Jewish settlements and the apartheid/annexation wall in the occupied West Bank/ East Jerusalem/the Old City as well as settlements in other occupied Palestinian/Arab lands, i.e., Jewish settlers are “coming home,” returning to their “God given land.”

    “Jungle Jazz” – Continuing with the theme of Washington’s complicity in the dispossession of Palestinians, President Push succumbs to pressure from Artie and agrees that what he refers to as “that stupid jungle jazz” comes from Israel, i.e., historic Palestine is the Jewish homeland, end of story.

    “Ladies and Gentlemen” – Accompanied by a bass groove a la Klezmer with violin, accordion, and organ, Artie and a crowd of his adoring fans express their gratitude to President Push for acknowledging that Israel is the home of jazz, i.e., expressing his support for illegal Jewish colonization of Palestinian land.

    “Radio 7” – While appearing on BBC Radio’s “Arts Review,” Harry Palmer, the show’s host, asks Artie to back up his claim that “jazz has nothing to do with America.” Indignant and angry, Artie responds as a Zionist invariably does when confronted with criticism of Israel: “I can only say that you are a typical, classic anti-Semite; you are full with hatred towards me and towards my people and I don’t like it already.”

    “Lipstick” – With the Promised Band featuring violinist Ovidiu Fratila playing in the background, Artie issues his manifesto, his final answer to those who deny that jazz was invented by Jews (i.e., that Jews have a divine and exclusive right to Palestine): “Read my lipstick. The fact that you Americans claim the copyright for the creation of jazz is just another example of your crude anti-Semitic behaviour. This is a robbery in the daylight. We are now claiming the jazz music, we are claiming it back and we’ll take it back and we’ll not let anyone in and this is our music and this is exclusive music and everyone that got into the swing will have to ask permission for us because this is our music, it is always our music and it will always be our music because jazz is the music of the Jewish people, jazz is the music of the Jewish people, jazz is the music of the Jewish people, jazz is the music of the Jewish people, [etc].”

    “Radical Goose” – While its title is a well deserved dig at American “avant-garde” saxophonist John Zorn’s “Radical Jews” (essentially an umbrella group for an exclusive Judeo-centric music label), this track warns us of the horrors of war.

    With static in the background and an echo typical of military radio communications, we hear a muffled distorted unintelligible voice (presumably, the unknown Israeli lieutenant colonel) while the Promised Band plays music and utilizes electronic effects that evoke a feeling of chaos and impending doom. At the same time, in complete contrast, Artie is playing a beautiful melody on soprano saxophone that to my ears pleads for an end to the endless cycle of war, death and destruction between Arabs and Jews. The message is clear: As the situation now exists with Palestinians dispossessed and under the brutal boot of Israeli occupation forces and Jewish settlers, there can be no peace, only ongoing and increasingly deadly conflict.

    “J FM” – For me, this is the most important track on the CD.

    It opens with Big Bobby Johnson, a disc jockey with an Afro-American accent on 1067 FM “Smooth Jazz” radio introducing “Palestine’s finest,” Jihad Axman and his group (the Palestinian Funkateers) who will be appearing at the “PLO Club this week.” In the background Jihad/Gilad is playing a definitive but very hip smooth jazz solo on alto saxophone backed by a rhythm section laying down lush chords and a delicious funky groove.

    All of a sudden, the radio station’s broadcast is drowned out by interference that sounds like klezmer music played in the style of Artie Fishel and the Promised Band. As the interference continues, Big Bobby accuses someone of trying to hijack the station’s signal. He then asks a technician to check on the station’s aerial to see if it’s broken. To the sounds of the intruders’ “Hava Nagila,” the technician gets right on it and yells at Big Bobby telling him that there’s “a guy up on the aerial, a guy wearing a yarmulke.” Big Bobby then declares that they are probably being jammed by Gefilte FM, a Jewish radio station “down the street.”

    Slowly, however, something remarkable happens. The musical styles of Jihad and Artie start merging and complementing each other. An intoxicating hybrid sound is being created, a synthesis of Palestinian and Jewish music. Astounded, Big Bobby exclaims that the music is “gettin’ good…. Watch out, them cats is blendin’ in with you Jihad…. You know what they say baby, you can’t lick em join em.”

    As Jihad’s solo intensifies (with a further salute to Coltrane), Big Bobby says “you know Jihad, that wasn’t that bad. Maybe you cats just need to groove together. Maybe you just need to blend. When you blend, the violence will end. You know what I’m sayin’?”

    And there we have it. Gilad is telling us in no uncertain terms that the so-called “two state” solution is a mirage, that the only true and lasting resolution to the conflict between Jews and Arabs (to be preceded by Israel’s total withdrawal from Syria’s Golan Heights and Lebanon’s Shebba farms) is the creation of one democratic secular sovereign state for Jews and Palestinians in all of former mandated Palestine (i.e., from the Jordan River to the Mediterranean Sea) and implementation of UN Resolution 194.

    Gilad is certainly not alone. For a multitude of reasons, too numerous to discuss here, an increasing number of eminent Jewish, Arab and other peace activists are concluding that Israel, Zionism’s racist expansionist enterprise in Palestine, must be recognized as the utter failure and perpetual cause of war it is and reconstituted as a bi-national state.

    Gilad also believes that the emergence of one state is inevitable. In a recent article he wrote for Al Jazeera (5) entitled “If He Is Israeli Left, Who Needs Right?,” Gilad wrote the following in response to Israeli author and Peace Now official David Grossman’s speech (4 Nov. 2006) at the Yitzchak Rabin memorial in Tel Aviv (6) in which apart from whitewashing Israel’s early history, he argued (without any reference to UN Security Council Resolution 242) for an undefined “two state” solution:

    “Grossman is deceiving himself and his listeners by saying that ‘the land will be divided, that there will be a Palestinian state’. You are partially wrong, Mr. Grossman. This land will never be divided. I will make it very simple so you and your very few Zio leftists may realise once and for all. Palestine is a land, Israel is a state. Palestine will always be Palestine; i.e., a land. Israel, on the other hand, is a racist nationalist state and will disappear. The land won’t be divided. It will re-unite into One Palestine. Rather than maintaining a racist nationalist state. I call Grossman and his friends to join the one Palestine movement. A movement that endorses equality in the land of Palestine. Palestine where values are universal.”

    Sadly and predictably, the Board of Deputies of British Jews (BOD, which has the audacity to claim it represents the great majority of British Jews) attempted to shut down public performances of Gilad’s project (“Gilad Atzmon Presents: Artie Fishel and The Promised Band) before it got off the ground.

    To quote Gilad from the article he subsequently wrote for CounterPunch (October 23, 2006): “A week prior to our launch concerts [October 19-22/06] at the prestigious London’s Pizza On The Park I learnt that Pizza Express’s Head Office had been subject to some heavy pressure. They were blitzed by ‘alleged customers’ who expressed outrage that Pizza Express ‘could give a stage to Gilad Atzmon, a ‘racist’, an ‘anti-Semite’ and a ‘Holocaust Denier’. The orchestrated campaigners, as I learned, spoke as a single voice. Though I have written hundreds of pages of articles about Israel, Palestine and Jewish identity, the ‘alleged customers’ all seemed to be quoting from the same four quotes. Passages that were either re-worded or taken out of context, and they even put the words of others into in my mouth.”

    The efforts of the BOD to silence Gilad and Artie failed miserably thanks to massive support from Britons who support freedom of speech and know there is nothing at all racist or anti-Semitic in the production. They included the staff and management of Pizza on the Park, the Guardian Guide and Independent Information along with BBC Radio 3 and London Metro. As Gilad happily observes, “…I have never received so much support in such a short time for any of my previous albums or acts.”

    Unable to accept defeat, the BOD called for reinforcements from the Zionist Federation. Both organizations then launched a campaign of increasingly abusive telephone calls to Pizza on the Park and gave notice that customers would confront a picket on opening night. In response, the club’s owners decided to hire bouncers to protect their clientele.

    Not surprisingly, at this stage Gilad felt very bad for Pizza on the Park and its staff, especially the young woman in charge of venue reservations, who were being constantly bad-mouthed and harassed over the phone by Zionist crazies even though they had nothing to do with the Israel-Palestinian conflict. Once again, however, the people rose to support Gilad and his band mates. “When I entered the venue on Wednesday I felt pretty apologetic, but to my great surprise, the entire staff were on my side. In fact neither the band nor I can recall any warmer welcome at a music venue. The staff went out of its way to look after us and to make us feel at home.”

    In the end, the four nights at Pizza on the Park were a sold-out unqualified success with many appreciative Jews in the audience and the October 21 st show was attended by a senior member of the Labour Government.

    Last words to Gilad regarding the Pizza on the Park adventure: “Artie Fishel was there to launch a debate, to let people look into Zionism and culture from a different perspective. He’s there to let Jews look at themselves with no fear and to let others look into Zionism and cultural colonialism without losing their dignity. The BOD insisted upon silencing Artie, his creator and the message: at least momentarily, their campaign hasn’t been very successful.” (

    Gilad, however, has been very successful. His creation, Artie Fishel and the Promised Band, is currently on an extensive hugely popular and undoubtedly, controversial tour of Britain.

    For his immense and courageous efforts on behalf of hard won inalienable human rights, Gilad Atzmon is to be commended and actively supported by all who sincerely desire an end to the horrors that have engulfed that historic and precious land along the south eastern coast of the Mediterranean Sea much too long.



    (1) I confess that I took great pleasure in writing this article and not just due to a great interest in the Middle East. Coincidentally, I am also a professional jazz musician and a saxophonist as well. (I look forward to exchanging e-mails with Gilad regarding reeds, mouthpieces and ligatures.)

    (2) By having Artie play klezmer music as well as jazz, Gilad is not only giving him solid Ashkenazi cultural roots but also paying homage to the rich and very influential Yiddish culture. Although not common knowledge, one of the first steps David Ben-Gurion et al. took after expelling at least 750,000 Palestinian natives and establishing Israel, was to set about molding it into an artificial homogeneous Hebrew speaking Jewish state by suppressing the Yiddish language and culture of a great number of Ashkenazi immigrants as well as the Arabic language and Middle Eastern culture of Arab Jewish immigrants.

    (3) Those who visit Gilad’s web-site ( ) will find it very interesting, entertaining and informative, including where to purchase Artie’s CD.

    (4) Check out Artie’s video game at




    Gary D. Keenan – Inheriting a passion for music from his mother (also a professional musician) and an avid interest in international affairs from his father, Gary obtained a degree in history from the University of British Columbia and subsequently lived and performed in the Middle East (primarily Cairo and Alexandria) for over four years. His experiences there together with a vast amount of study and research caused him to identify with and become an advocate for the Palestinians and other Arabs in their struggle against Zionism and expansionist, racist Israel. Those interested in reading more articles Gary has written regarding the Israel-Palestinian/Arab conflict can go to and click on “Links and Resources.”

  2. Comrade Brownski…WEARING JEW HEAD GEAR…

    THEY WORK FOR WHO??????????????

    Bowing to Jewish Pressure by Gilad Atzmon
    Thursday, March 4, 2010 at 9:11AM Gilad Atzmon

    Prime Minister Gordon Brown has announced plans today to stop the issue of arrest warrants for foreign officials such as Tzipi Livni, Ehud Barak and other Israeli war criminals who were forced to cancel planned trips to London after arrest warrants were issued against them. Under Brown’s proposals, the Crown Prosecution Service will take over responsibility for prosecuting war crimes and other violations of international law. Currently magistrates have to consider the case for an arrest warrant to be issued.

    A warrant for the arrest of Ms Livni was issued by a UK court in December last year following Israel’s massacre in Gaza over a year ago. She consequently cancelled a planned visit.

    Mr Brown wrote in the Daily Telegraph: ‘As we have seen, there is now significant danger of such a provision being exploited by politically-motivated organisations or individuals who set out only to grab headlines knowing their case has no realistic chance of a successful prosecution’.

    PM Brown better explain to the nation why arresting a genocidal war criminal like Livni, Olmert or Barak is a ‘politically motivated’ act. He should also explain to us all why is he convinced that a case against Livni wouldn’t stand a chance in court. As far as Justice Goldstone is concerned, the case against Israel and its leadership is actually watertight.

    According to the Daily Mail, Colin Powell, the former US secretary of state and a leading player in the Iraq War, has also reportedly expressed alarm about the prospect of arrest in Britain. Yet, no one in Britain politics rushed to appease the American politician or to amend British universal jurisdiction laws just for him. Clearly, Israeli lobby has much more influence within the British cabinet than the USA. This shouldn’t take us by a big surprise considering our Foreign Secretary David Miliband is a listed ‘Israeli Hasbara (Propaganda) Author’.

    Brown admitted that ‘There is already growing reason to believe that some people are not prepared to travel to this country for fear that such a private arrest warrant – motivated purely by political gesture – might be sought against them.’ Surely this is good news. Criminals such as Livni or Barak should never dare to step on a plane. Instead they should stay in their Jewish Ghetto and stare at the separation walls they erected around themselves.

    The PM said he wanted legislation putting jurisdiction for war crimes and similar offences under the CPS to be brought in ‘as soon as possible’. This is indeed what you would expect from a government that is so heavily funded by the Jewish Lobby. Such a move would allow attorneys such as Lord ‘green light’ Goldsmith to open Britain’s gate to Israeli genocidal murderers. Yet Brown failed to tell the Brits what it is that stops magistrates from taking the right decisions regarding war criminals. Let us face it. If Brown doesn’t trust Britain’s magistrates he better let them go. He can always hire some Rabbis to look after Britain legal system. If Britain is about to give up on its universal jurisdiction laws, it better be prepared to let some tribal experts to look after its ethical stand.

    Brown also said, “I am confident that an amendment on better enforcement of existing legislation will serve to enhance Britain’s status in the eyes of international law, world opinion and history”.

    I do not know much about the ‘eyes’ of the international law’ or ‘world opinion’, but I can assure Brown that his move is more than welcome by the Jewish Chronicle and his Jewish fundraisers. Don’t forget, it is election time after all.


    David Miliband is listed on an Israeli propaganda site as an “Israeli Hasbara Author”. Miliband is also an interventionist. Bearing this in mind, should we believe him? Was he outraged for real?


    To Believe or not to Believe
    Sunday, February 21, 2010 at 11:03AM Gilad Atzmon

    Daily Telegraph’s Andrew Gilligan doesn’t believe the British Foreign Office:

    “The (British) Foreign Office denied claims that it had been tipped off about the use of British passports before the hit, insisting: “We only received details of the British passports a few hours before the [February 15] press conference held by the police in Dubai.”

    But the Irish foreign ministry has confirmed that it knew Irish passports had been used by the hit squad as early as February 4 – and it would seem surprising if Britain did not know at least that soon too. The use of “European” passports in the hit was being claimed by the Dubai authorities as early as January 29. Not for the first time, the British government may not be being wholly frank about what it knew and when it knew it.

    The fact that Britain may have waited to get angry until the story got on TV tends to support the view of one Israeli government source that the UK is merely “going through the motions of outrage to mollify the media”. According to one former intelligence source, MI6 has been reassuring Mossad that everything ‘would blow over’”.

    The angriest Brit this week was our Foreign Secretary David Miliband. Any abuse by Israel would be an “outrage”, he said. I see the the duty to remind you all. David Miliband is listed on an Israeli propaganda site as an “Israeli Hasbara Author”. Miliband is also an interventionist. Bearing this in mind, should we believe him? Was he outraged for real?

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s