larkstreet@gmail.com
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Larkstreet Music
479 Cedar Lane, Teaneck, NJ 07666
web: http://larkstreetmusic.com
email: larkstreet@gmail.com
Tel: 201-287-1959
Regular Hours:
Monday- Wednesday 10-6:00
Thursdays 10-7:00
Fridays 10-3
OPEN SUNDAY Noon-5
/CLOSED SATURDAYS\
*Trinity College Octave Mandolin, NEW, natural, 20" scale
*Trinity College Bouzouki, New, Black top, 26 1/4" scale
*FENDER Telecaster, 1968, Blonde, has had some mods- we had this about a year ago when it looked exactly like Steve Howe's Tele, has a humbucker route at the neck pickup and a Gibson toggle route now covered by the enlarged pick guard, Maple neck has a very good refret,
*LAPLANTE 000-28, 2019, 12 fret slotted peghead with a 25.4" scale, 1 7/8" at the nut, old Martin Brazilian Rosewood back and sides, Torrified Red Spruce top from Martin, the neck blank was for a D-28 1931 Authentic so it has an Ebony rod, Short pattern diamonds and squares fingerboard inlays, French Polish finish, near mint, ohsc...$5500
*FENDER '57 Tweed Twin re-issue, 2004, hand-wired, Low-powered Twin with dual tube rectifier, 2x12" Fender Special Design by Weber/Eminence speakers, 4 inputs, 2 channels, lacquered Tweed, exc........$1395
*VINTIQUE Esquire, by Jay Monterose, Black, Maple neck, vintage tall frets, Vintique positive neck attach system, vgc+, gigbag......$2750
*GIBSON L-00 Original, 2024, nice '30s re-issue, Black, Script logo, internal LR Baggs pickup, it's loud, original brown case, exc.......$2250
*GIBSON ES-335 DOT, 1983, Blonde finish, all original, 8.74 lbs, exc, hsc....$3950
*ENDER American Pro II Strat, honey natural ash body, Maple neck, 7.1 lbs, exc+, ohsc..$1095
*FENDER Parallel Universe American Elite HSS Cherry Sunburst "Telecaster", 2017, humbucker at bridge, Tele neck pickup and middle pickup too, Maple neck, near mint, ohsc..$1250 FISHMAN Loudbox Artist, used, exc...$450
*HEADSTRONG Lil King Amp, 2019, White, wheat grill cloth exc.......$2150
*RICKENBACKER 4001 bass, 1981, Black, small chip and crack in the pickguard, nice straight neck with low action, vgc, ohsc...$2250
*REGAL Model 5, ca 1933, 00 size, Brazilian Rosewood back and sides, 'baseball bat' neck, 1 7/8 ' nut, neck thickness measures 9.46" at 1st fret, 1.204" at the 10th fret, made by Washburn, exc....
*GIBSON '60s J-45 with Adj. bridge, Wine Red, white pickguard w/boomerang logo, exc, ohsc
*MARTIN 000-28 Modern Deluxe, 2023, light two-way titanium truss rod (64 percent lighter than steel), bridge pins made from Liquid metal Technologies a unique alloy that increases volume about 3db, a composite carbon-fiber bridge plate made of a layer of Adirondack spruce between two layers of carbon fiber—designed to increase volume, Vintage Tone System (VTS) Sitka spruce top, Rosewood back & sides, Adirondack spruce scalloped X-bracing, protein glue, with the Fishman Aura VT pickup system hidden inside, near mint, ohsc...$3500
*MARTIN Vintage Series HD-28V, 2002, nicely aged Spruce top, saddle-thru Bridge, cut squares and diamonds fingerboard inlays, squared off peghead, butterbean open back tuners, scalloped bracing, exc, ohsc...$3350
*MARTIN Custom Shop D-28, 2023, Adirondack Spruce top, East Indian Rosewood back & sides, modified V neck profile, Forward shifted x brace, scalloped bracing, 1 3/4" at the nut, their best case, mint......$3500
*TAYLOR 714CE Builders Edition, Cutaway GB
*GIBSON ES-Dot 335, 2019, Cherry, satin finish, vgc+, ohsc....$1995
*RIGEL A+ Deluxe Mandolin, ca 2005, made in Cambridge Vermont, sunburst finish, "A" style with oval hole, Spruce top, flamed Maple back and neck, radiused Ebony board, internal pickup, gold tuners with pearloid buttons, Ebony pickguard, exc, ohsc...$1495
*EASTMAN MD814, ca 2016, F-Style with oval sound hole, sunburst finish, Solid Adirondack Spruce top, solid figured Maple back and sides internal pickup, Fingerboard 12" fretboard radius, 1 3/32" at the bone nut, 13 7/8"scale, Top, Back, Fingerboard, and Headstock all bound, exc, ohsc....$1450
*W.A. Cole COLES Imperial Mandolin, Boston, ca 1900, 25 stave Bowl Back with Brazilian Rosewood bowl, fine grained Spruce top, pearl inlaid pickguard, alternating rope purfling of pearl and tortoise, ebony board with fancy pearl inlays, small top crack, exc, hsc..$1295
*STELLA Bowl Back Mandolin, ca 1915, 21 stave Rosewood bowl, Spruce top, fancy wood marquetry purfling, double arrowhead fingerboard inlays, vgc...$350
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*RIGEL A+ Deluxe Mandolin, 2004-06, made in Cambridge Vermont, dark blue translucent finish, "A" style with oval hole, Spruce top, flamed Maple back and neck, radiused Ebony board, internal pickup, gold hardware, Ebony pickguard, vgc++, ohsc......$1795
*GIBSON Les Paul ES, 2011, semi-hollow with ƒ hole, cherry sunburst, repaired peghead crack, finish glitch in lower bout, plays excellently, 5.73 lbs, vgc+, ohsc....$2100
*COLLINGS 290, 2007, TV Yellow with Pearloid guard and peghead overlay, Rosewood fingerboard with dot inlays, Mahogany neck and body,single cutaway, 24.9" scale, TuneOmatic bridge, 2 single coil P-90 type pickups with black covers, exc, ohsc......$3500
*IBANEZ John Scofield 335, 1979, made in Japan, nice blonde refin, neck is looose so a good project for a budding repairman, as-is.......$595
*FENDER Thinline Telecaster, black, 2 single coil pickups, '78 Maple neck with original 'F' tuners but a mismatch with a ca 1973 bod, brass knobs and 6-way bridge, much body and use wear, brown vintage re-issue case....$2950
*Kanile'a Willie K Super Tenor 5 string Ukulele, made in Hawaii, beautiful Koa wood body, beveled cutaway, Mahogany neck, Ebony board, 19" long scale, the "bass" string is doubled and octaved, trestled bracing, beveled arm comfort, about $4700 new, mint,ossc..$2950
*ZITHER, made in Germany, ca 1920, 33 'harp' strings and 5 over a fretted fingerboard, large soundhole, vgc, original papers....$250
*BOX SRB-640 Tapping Instrument, 12 strings, blue, 2 single coil pickups under each set of 6 strings, similar to a Stick but shorter ~25" scales, exc, no case....$695
*BOX TB-640 Tapping Instrument, 12 strings, blue, 2 single coil pickups under each set of 6 strings, similar to a Stick but shorter ~25" scales, exc, no case....$695
*FENDER VibroChamp, silver panel from ca 1979, newer speaker, vgc...$995
*FENDER Blues Junior, dark green tolex, exc...$495
*PEAVEY KA/100 Bass/Keyboard combo Amp, ca 1990, Black, solid-state 3-channel (!) 60 Watt amp with a 15" speaker, with EQ and Reverb, exc.....$165
*DeArmond Stereo Volume Pedal model 1622, exc.....$35
*DeArmond Volume Pedal model 1600, 1974, exc.....$29
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*COLLINGS 290, 2014, Black dog-hair finish, single cutaway, 2 Lollar goldfoil pickups, pearloid peghead overlay and pick guard , near mint, ohsc...$4750
*MARTIN D-12-28, 1975, 12-string Martin with 14 fret neck, Rosewood back and sides, Spruce top, the curled up black pickguard has been replaced with a new one, otherwise all original in excellent condition, original blue hard case....$1650
*ES-335 STUDIO, 1991, Burgundy, 2 humbuckers with 'Gibson' embossed on underside, no ƒ holes, vgc+, hsc...$1695
*GOLDTONE GT-750 6-String Banjo, NEW, w/ Maple resonator, pickup, hsc...$1295 gb
*MARTIN D-28 Rich Robinson,2022, limited edition of 196, it has the most realistic finish color for a '50s D-28 that we've ever seen, quite rightly, exc, ohsc.......$5500
*FENDER Super Reverb SR4050, Solid State Super Reverb from 1968-69, 4x10" speakers, Trem and Reverb, this is the time period when Fender saw Solid State as the next big thing and they spared no expense in designing this New Look, exc.....$750
*LOBUE Doubleneck, This electric double neck guitar was created for jazz great STEVE KHAN, built by master luthier Charles LoBue in his Thompson Street, NYC workshop. A beautiful, one-of-a-kind masterpiece from early 1970’s. LoBue was the go-to builder of unique electric guitars and was frequented by many notable guitarists of the era. LoBue was assisted by several apprentices while building this guitar who later became quite notable including Woody Pfifer and Larry DiMarzio.
The body is carved from a single piece of birch and has two mahogany necks both with ebony fingerboards, mother of pearl fret markers and double mother of pearl fret markers at 12th and 21st frets. Pickups were hand wound by Larry DiMarzio and complete a rich and broad tonal palette, 1.75” at the 12 string nut, 1.625” at the 6 string nut, 4 one-of-a-kind hand wound pickups by Larry DiMarzio. German Schaller tuners, Kluson style tune-o-matic chrome bridge and tailpiece, Jumbo frets, very low and playable action, Brass strap knobs.
Three 3-way toggle switches:
Top – 12 string neck pickup selector
Middle – Neck selector, north/ south orientation
Up – 12 string neck on
Middle – both necks on
Bottom – 6 string neck on
Bottom – 6 string neck pickup selector
2 pairs of chrome single volume and tone knobs for each neck.
3-way mini toggle switch for coil splitting/ in-out of phase for the 6 string bridge pickup 13.2 lbs. LOBUE logo and mother of pearl flaming vase inlay on each headstock
Fitted Epiphone hard case, exc+.....$8950, REDUCED...$7450
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*GIBSON Super 400, 1935, appears to have a Gibson re-lacquer ca 1959, 18" lower bout, 12 7/8" at the upper bout, 25.4" scale, 1 5/8" at the nut, all original parts other than a very nice replacement bound Tortoise pick guard, blistered Maple back, flamed Maple sides and neck, exc, '60s hard case.......$9500
*HERITAGE Sweet 16, Amber burst, 2011, probably our favorite Heritage archtop, 16" wide with a sharp cutaway, 25.5" scale, 1 11/16" at the nut, floating pickup at the neck with controls on the Ebony pickguard, 6-finger tailpiece, pearl split block inlays in the Ebony fretboard, exc+, ohsc....$4500
*FENDER American Strat Deluxe, 2005, Sienna sunburst, Maple neck with Abalone dots, S-1 switch, contoured body at the neck heel, locking tuners, pearloid pick guard, chrome hardware, tremolo, exc, ohsc..$1095
*ARIA Telecaster Thinline, '80s, made in Japan, Walnut Brown, Humbucker at the bridge and a Fender WideRange humbucker at the neck position, Maple neck, vgc...$450
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*VOX Phantom XII, ca 1962, made in Italy, Black Electric solid body 12-string with tremolo, from the original owner, the pickguard has shrunk a bit and there's a slight 'seam' line thru the treble tuner area, all original with Ebony board, plays great, original Vox case...$2250
*HAGSTROM Kent 2, '60s, black solid body with white vinyl back, 2 pickups, (with matching bass $1500) vgc++...$795
*TEMPO Electric solid body, made in Japan, '70s, 1 pickup, vgc....$200
*KAY Professional Venetian Mandolin, ca 1958,($85 when new) sunburst, carefully hand crafted for outstanding beauty and strong, well balanced tone, Select Spruce top and choice curly Maple back & sides, fancy peghead and pickguard, vgc++, original soft shell case, plays and sounds great! ...$650
*GIBSON ES-345, 1972, Walnut brown, Gold hardware, Varitone, fresh frets by Dom Ramos(btw Dom's been repairing guitars for us for 40 years and he is THE person selected by Dirk Ziff to curate his astounding vintage guitar collection, 400 of which are being donated to the Met), output jack has been converted to Mono, vgc+, ohsc...$4500
*PONO ETSHC(C)Tenor Ukulele, made in Hawaii, Cutaway with solid Cedar top, solid Rosewood back and sides, Maple top and back bindings, Rosewood fingerboard and bridge, Abalone rosette, slotted headstock, ,Bone nut and saddle, Dual-action adjustable truss rod, Gloss finish, 26-3/8” Body length, 17" scale,1 3/8" at the nut, exc, case...$750
*FENDER Deluxe Reverb, 1965, Black Panel, newer Weber 12" speaker, has a midrange boost that can easily be deleted, Reverb and Tremolo, vgc...$3950 MORE (mostly) Vintage TUBES- 7 Philips JAN 12AX7 $ 75 each 8 Svetlana eL-34 $ 35 each 8 Telefunken 12AX7. $ 75 each 4 Mullard CV4004 KQDD/K $150 each 2 Mullard 5AR4 $250 each 1 RCA 5U4 gb $ 75 1 Visseaux 6V6 $120 4 RCA 5881 $125 each 4 Phillips Jan 6V6 $50 each
* a BOB DYLAN Hohner Marine Band Harmonica, Key of D Hohner Harmonica in the key of D, with approximately a 1” square of textured opaque white tape in the middle of the top of the harmonica with the Key inked on in magic marker formerly owned by Bob Dylan. This is how Bob had his harps marked so that he could readily see the key he needed while on stage, or in the studio as Hohner identifies the key of each harp with only a tiny 1/8” impression of the key into the end of the harp, extremely difficult to see in normal circumstances let alone during a session or a concert. This one was purchased by me from a friend, who was given it as a gift by one of Dylan's techs both of whom I know personally. A similar one written in the same hand, on the exact same textured tape and was sold at auction for $4886 including the buyer’s premium: https://www.rrauction.com/auctions/lot-detail/343653105965280 The harmonica is in excellent condition, with case......$4500
BACK IN STOCK!
*Palm Trees, Senoritas... and Rocket Ships" - the illustrated History of National, Dobro, Supro, Valco and OMI Guitars A 423 page tour-de-force that explores the fascinating design world of the musical instruments produced by the Dopyera Brothers from 1923 to 1993. Famous for their 'National' guitars, they went on to pioneer electric pickups, fiberglass construction, amplifiers etc, and influenced the sound of Country Music, Bluegrass, Blues and Hawaiian music through most of the 20th Century. Entirely and lavishly illustrated with over 1100 musical instruments and amplifiers and more than 100 artists who used them - this is THE DEFINITIVE COLLECTION of all the various developments, designs, colours and engraving patterns of everything produced by the Dopyera Brothers in their various companies throughout the 20th century - National, Dobro, Supro, Valco, Mosrite, Regal and OMI. It has them ALL! It also features lap steels, amplifiers and various National and Valco manufactured items for other Trade houses. The book is concluded with an updated list of the serial numbers of known and re-discovered instruments - now in excess of 4200. A MUST HAVE for anyone interested in these guitars. Leaves other books on the subject in the dust....$140 In the 1/24/13 Bergen Record, nice article- http://snipurl.com/26aujli*STORE PANORAMIC VIEW- OF SORTS ______________________________ To see Lark Street Music's Wall click here Duke Levine w/ the Roy Sludge Trio in the store the day between the Bowery and the Bell House gigs in NY last week - click here for a clip. Also check out ______________________________________________________________________
********* PICTURES from the EXHIBIT ************* These are fairly large prints and are here in the store for purchase, all signed by Jonathan Singer- check his site www.botanicamagnifica for his story. Prices were from $500-$1000. On sale, 30-40% off
or
http://www.facebook.com/pages/Teaneck-NJ/Lark-Street-Music/46986714380
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Before After .....
We often get asked "where do these guitars come from" ??? or "who buys these things" ??
So here's an interesting picture of the quite rare White ES-345 (that we had for sale for about a year) with both it's original ( c. 1964), and current (April'06) owners.
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IF YOU HAVE TROUBLE VIEWING THESE PHOTOS, SEE BELOW
Some have complained about bad pictures. If this is happening to you or your PC, let me know. We have Macs and the pictures are large and clear, so we'd like to know figure out why this problem is happening
An answer from my brother Rick-
By default, Internet Explorer will shrink pictures to fit onto one screen. That's probably what people are complaining about. Usually, if they hold the cursor over the picture for a few seconds, a button will appear and they can click it to restore the pic to full size. I hate the feature, so I just turn it off and always see the photos full-size:
From the IE menu bar, click Tools | Internet Options
Click the Advanced tab
Scroll down to the Multimedia section
Remove the check from "Enable Automatic Image Resizing"
Click OK to save settings
For you who don't know, we do all manner of guitar repair and restoration. We do most of it here but also give some work to Dom Ramos -repairing and building since working in Dan Armstrong's shop in the '60s. We've also been a Martin Warrantee Center since 1985 before Martin closed down all 5 NJ Centers because of a tax dispute between NJ and Martin Political sentiments Turn back before it's too late!\\ 5/14/26 by Peter Himmelman Last night I promised to post my new essay. Here it is: "The New York Times and the Shape of the Modern Blood Libel." There is a pattern emerging in the coverage of Israel that should trouble anyone who still believes there is a moral difference between accusation and proof, between proportion and false equivalence. Again and again, grotesque allegations, emotionally overwhelming imagery, and accusations of barbarism and genocide race across the globe before the underlying facts have settled into place. By the time corrections, qualifications, or deeper reporting arrive, the emotional conclusion has already hardened in the public imagination. The New York Times has been central to this pattern. Let me show how. On October 17, 2023, near the beginning of Israel’s military incursion into Gaza following the October 7 massacre, the world was told that Israel had bombed the Al-Ahli hospital in Gaza, reportedly killing hundreds of civilians. The claim went world-wide within hours. Protests erupted throughout the Middle East. Protesters at universities and in the streets across the United States grabbed ready-made placards and hit the streets. Political leaders issued condemnations. Much of the reporting relied heavily on immediate statements issued by Hamas-controlled authorities in Gaza. Not long afterwards, multiple intelligence assessments and forensic analyses concluded that the missile was not of Israeli origin, but rather, a misfire from an Islamic Jihad rocket launched from within Gaza. But by then, the emotional conclusion had already hardened into place for millions of people: “Israel had bombed a hospital full of civilians.” Many of the people I discuss Israel with still believe it. Dozens of similar editorial errors followed, their corrections barely noticed. Take as another example the photograph of a grieving mother holding her skeletal child, an image used as symbolic proof of genocidal starvation in Gaza, only for subsequent reporting to reveal that the child suffered from severe preexisting medical conditions unrelated to starvation itself. Again, the image remained. The emotional verdict remained. The subsequent clarifications drifted by like moths. The reputational damage done to Israel and its supporters is impossible to fully measure. Despite the later revelations, the photograph —along with the larger body of Gaza imagery surrounding it—was later honored with journalism’s highest accolades, including Pulitzer Prize-winning coverage for Breaking News Photography. By then, the emotional narrative attached to the image had already settled permanently into the public imagination. I should add that the image itself is beautiful, though in the same unsettling way that much of the visual propaganda of Nazi Germany or the Stalin era was beautiful. Beauty, after all, has never been a guarantor of truth. And now comes Nicholas Kristof’s recent article in The New York Times, describing allegations of sexualized abuse and humiliation involving Palestinian detainees. Among the more sensational details circulated through activist reporting and repeated in public discourse were allegations involving dogs allegedly used in acts of sexualized abuse. But the more grotesque and emotionally explosive the allegation, the greater the journalistic obligation to verify it rigorously before presenting it in ways that invite moral conclusions of systemic barbarism. The specific allegation involving so-called “rape-trained dogs” is especially difficult to evaluate seriously. There is no recognized military or scientific practice of systematically training dogs to commit sexual assault against human beings. Dogs have tragically been used throughout history for intimidation, attack, tracking, torture, and terror. That is well known. But this particular allegation belongs less to the realm of recognizable military practice than to the realm of atrocity mythology — imagery so grotesque and emotionally overwhelming that it bypasses ordinary skepticism altogether. And once such imagery enters the public imagination, it becomes almost impossible to dislodge, regardless of later qualifications, ambiguities, or evidentiary problems. To be clear, all wars produce criminal acts, breakdowns of discipline, sadism, vengeance, and moral collapse among some individuals. This is true throughout every military conflict in human history. Some of the allegations described in the article may in fact prove true. Some may already have evidence behind them. They must be investigated seriously, and any guilty parties should be punished. The question is not whether abuses occur. They can and they do. The question is whether such acts are state policy, culturally celebrated, strategically organized, or morally condemned and prosecuted. That distinction matters enormously. There is a profound moral difference between a military confronting allegations of criminal misconduct among individual soldiers, prison guards, or others, and an armed movement whose ideology, media ecosystem, educational culture, and operational planning openly sanctify massacre, kidnapping, rape, and eliminationist violence against civilians. The atrocities of October 7 were not hidden. They were filmed. Celebrated. Distributed. Integrated into the operation itself. Hostages were dragged into Gaza while crowds cheered. Women’s bodies were paraded. Civilians participated. The attack was not merely tolerated by Hamas and allied movements. It was central to their vision. It was also not some spontaneous eruption of rage. It was planned. It was supported by a wider ecosystem of Islamist violence and state sponsorship, including the Islamic Republic of Iran. And yet in much Western coverage one increasingly encounters the suggestion — sometimes explicit, sometimes more opaque — that Israel and Hamas represent morally equivalent actors trapped in a symmetrical cycle of barbarism. That is the real distortion. The true obscenity at the center of this entire narrative. Clearly, not every allegation against an Israeli soldier is false. Not every report of abuse should be dismissed. That is not my argument. Not at all. My argument is that the framing matters. Sourcing matters. Proportion matters. And when sensational allegations are placed beside the planned atrocities of October 7 without a careful distinction between criminal misconduct and strategic barbarism, a false parallel is created. That false parallel is not incidental. It has shaped and sustained public perception. Much of the reporting and amplification surrounding these allegations traces back, directly or indirectly, to Euro-Med Human Rights Monitor, an advocacy organization founded by Ramy Abdu, a Palestinian political activist whose public posture regarding Israel is neither neutral nor difficult to discern. Euro-Med presents itself as a human-rights monitoring organization focused on documenting alleged abuses in the Middle East, particularly involving Israel and Gaza. Yet critics have repeatedly raised concerns regarding the organization’s sourcing methods, ideological activism, inflammatory rhetoric, and the circulation of claims prior to independent verification. Activist organizations and professional investigative journalistic institutions are not the same thing. Advocacy groups exist, by definition, to advance moral and political causes. Journalism, at least in its highest form — the form The New York Times purports to aspire to — is supposed to function differently. It is supposed to apply skepticism evenly, especially toward emotionally explosive allegations emerging in the middle of war. In the case of Israel, that distinction appears to have nearly collapsed. Organizations like Euro-Med are now routinely treated by major journalists and media outlets as though they were functionally equivalent to neutral investigative bodies or forensic institutions. Allegations originating within highly ideological ecosystems are elevated almost instantly into mainstream discourse with insufficient scrutiny, particularly when the accusations concern Israel. Somehow, the more grotesque the accusation against Israel, the less proof seems required. And the more monstrous the claim, the faster it travels. At a certain point, one no longer knows whether to respond with outrage, disbelief, or a kind of exhausted grief at what journalism itself has become. I have no problem with legitimate criticism of Israel, that is, criticism on par with that directed toward any nation engaged in war, conflict, or morally fraught political decisions. Israel, like every other country, is capable of error, excess, confusion, internal disagreement, and ethical failure. Serious people understand this. Serious people also understand that war itself is horrifying and destabilizing. What troubles me is something else entirely: the increasingly reflexive willingness of major media outlets, prestigious journalists, and influential commentators to circulate the most grotesque accusations imaginable against the Jewish state with remarkably little evidentiary restraint— and then to place those accusations inside a moral frame that suggests equivalence between Israel and those who carried out October 7. Is it wrong to suspect that this is no longer accidental? Again and again, emotionally overwhelming claims race across the globe with astonishing speed. The accusation arrives fully formed, morally cogent, and socially contagious. Then later, sometimes within days, sometimes weeks, the clarifications emerge, each buried beneath the tropes and memes of the original outrage. The correction, if it comes at all, feels like someone quietly filed the necessary legal paperwork. Like you probably did, I grew up believing that the great newspapers, however imperfect, were at least attempting to honor a serious distinction between accusation and proof. That distinction now feels frighteningly unstable where Israel is concerned. At this point, the pattern itself becomes impossible to ignore. This is where the matter becomes darker than journalism alone. These are the very same features in the moral imagination that have surrounded Jews throughout history: the readiness to believe accusations of extraordinary cruelty; the fascination with an assumed hidden perversity; the lowering of ordinary standards of proof once Jews occupy the role of the accused. The imagery changes with the centuries, but the mechanism feels strangely familiar. The blood libels rush to mind. None of this is to deny the reality of Palestinian suffering. Real civilians have died. Real grief exists. Real tragedy exists. And at the same time, genuine suffering does not absolve journalism of its obligation to distinguish carefully between verified fact, activist amplification, emotional inference, and mythologized blame. Nor does moral seriousness permit the collapse of all distinctions. War, horrible as it is, is not automatically genocide. Civilian suffering, however catastrophic, is not itself proof of eliminationist intent. Criminal acts by individual soldiers or prison guards, however odious, are not the moral equivalent of a terrorist movement whose foundational vision openly embraces the murder, rape, abduction, and destruction of civilians. We are no longer entering dangerous territory; we are already there. Poorly sourced accusation has too often become sufficient. Verification has become secondary to emotional utility — or worse, to the need to promote one’s brand — and the world’s oldest fantasies about Jewish monstrosity are reappearing daily in the language of modern human rights discourse. An entire civilization seems to have lost the ability to distinguish allegation from proof, spectacle from hard evidence, and criminal misconduct from strategic evil. I’ve begun to feel like the boy with his finger in the dike, holding back the floodwaters. If you have a bucket, please come and help. See lessUPDATED JULY 16 https://www.facebook.com/reel/685997670609240 AND THIS TOO- https://www.facebook.com/reel/1440054026935399 and this- https://www.facebook.com/reel/3623986564575308 by David Horovitz, Editor of Times of Israel 2/11/26 It’s not remotely surprising that President Isaac Herzog’s visit to Australia is being met with protests by “pro-Palestinian” activists falsely alleging Israeli genocide in Gaza. After all, “pro-Palestinian” activists in Australia, and pretty much everywhere else on the planet, have been demonstrating against Israel’s resort to war from almost immediately after Hamas invaded southern Israel from a Jew-free Gaza Strip, massacred some 1,200 people amid unspeakable brutality, abducted 251 to Gaza, and vowed to keep on killing Israelis until the world’s only Jewish-majority state is destroyed. These are not demonstrations regarding Israel’s prosecution of the war, or focused on the pro-annexation policies of a hawkish Israeli government, by activists genuinely concerned for the well-being of non-terrorist Palestinians and noncombatants in any and all conflict zones. Rather, these are concerted protests transparently designed to demonize and delegitimize Israel and Israel alone, in its entirety and its essence — to render Israel a pariah state with which no decent country should interact in any field, to deny it not only the right to defend itself but the weaponry and practical capacity to defend itself, and thus to aid Hamas, Hezbollah and the Iranian regime in their declared mission to wipe us out. So the demonstrations against Herzog’s visit are anything but surprising. But they are particularly revealing, horrifying and despicable. Anti-Israel protesters gather in front of a police station in Surry Hills in Sydney on February 10, 2026. (Saeed KHAN / AFP) Twenty-seven months of orchestrated global activism have relentlessly spread a narrative in which the Jewish state, uniquely, can do no right, and calculatedly created a bedrock of empathy and support for regimes, terrorist groups, and individuals who seek to murder and maim Israelis and Jews wherever we are found. And in that deliberately created climate of murderous hostility, in Sydney, Australia, on December 14, 2025, father and son Islamic extremists Sajid and Naveed Akram massacred 15 people at a Hanukkah party on Bondi Beach. This was not a case of direct cause and effect. Naveed had links to a pro-Islamic State network in Australia dating back to 2019. But you might have wanted to believe that the deadly and terribly predictable turn of events in Australia would have given the country’s “pro-Palestinian” activists pause. The victims of the December 14, 2025, Sydney Hanukkah terror shooting: top row (left to right) – Reuven Morrison, Rabbi Yaakov Levitan, Dan Elkayam, Alex Kleytman, Rabbi Eli Schlanger; middle row (left to right) – Edith Brutman, Peter Meagher, Tibor Weitzen, Marika Pogany, Matilda [last name withheld]; bottom row (left to right) – Tania Tretiak, Boris Tetleroyd, Adam Smyth, Sofia and Boris Gurman. (Composite: Times of Israel; Images: Courtesy/social media, used in accordance with Clause 27a of the Copyright Law) Fellow Australians were gunned down on the beach for being Jewish. Now, the president of the nation-state of the Jewish people is visiting to try to bring the devastated Jewish community a little solace and comfort. And the protests are targeting him? You might have wanted to hope that, if there were to be demonstrations to coincide with Herzog’s visit, they would have been held to demand that the Australian government take more effective measures to protect the Australian Jewish community, that it take more effective measures to tackle the ongoing stream of antisemitic attacks, that it take more effective measures to prevent the dissemination of hate materials online. Israel’s President Isaac Herzog, right, and his wife Michal Herzog, second right, visit Bondi Beach, where two Islamic terrorists killed 15 people at a Hanukkah event on December 14, 2025, in Sydney on February 9, 2026. (AP Photo/Rick Rycroft) In truth, you would not have expected anything of the kind. We all know better than to be so naive. But that’s what should have been happening on Herzog’s visit. For that matter, those “pro-Palestinian” activists who purport to care for innocent lives, in the Middle East and beyond, should also have been out on the streets demonstrating on behalf of the people of Iran, who have been risking their lives — and losing them in the thousands if not the tens of thousands — to try to bring down their repressive, misogynistic, warmongering Islamic death cult leadership. These were innocent people ruthlessly massacred by their own oppressive government, to widespread international indifference. Anti-Israel protesters gather in front of a police station in Surry Hills, Sydney, Australia, on February 10, 2026. (Saeed KHAN / AFP) But, of course, in Australia as pretty much everywhere else on the planet, the “pro-Palestinian” activists are not actually “pro” freedom for Palestinians, or Iranians or anybody else, nor “pro” the right to live peaceably, in safety, under humane leadership. They claim to be opposing ostensible genocide by the Jewish state. In fact, they are seeking to enable the destruction of the Jewish state, and championing the mass murder of Jews — even, if not especially, because it has been unfolding in their own country. 10/16/25 From "The Tablet" What are the cool kids chanting these days, what with “ceasefire now” being, like, so three days ago? We hardly expected a “Thank you, president Trump!” or a “good job there, Bibi.” We’re not crazy. But it’s the fall, and the leaves are turning colors, and everyone is enjoying pumpkin-spice-everything and dreaming about the holidays, so we hoped that maybe we’d get just a few days of basic human decency focused on sentiments like “let’s rebuild!” or “time to heal!” or “gee, it’s sure good to see the hostages back home with their loved ones.” Forget it, Jack—this is Palestine, and the cool kids have a new war cry: “Death to all collaborators.” That chant ain’t theoretical: it’s praising the very real murders of very real Palestinians, executed in the streets of Gaza by panicky Hamas terrorists in the aftermath of Trump’s deal. Just who’s doing the chanting? That would be our pals over at Students for Justice in Palestine, or SJP, America’s premiere “pro-Palestine” organization. You know SJP, right? Zohran Mamdani sure does: He founded the hate group’s local chapter at his alma mater, Bowdoin College. We know what you’re thinking: Don’t be mean! Just because someone supported something in college doesn’t mean he supports it still! I mean, it’s college, and people do stupid things in college, like grab that eighth beer, or hit on their TA, or pledge allegiance to a genocidal group dedicated to getting Jews thrown off campus, the Jewish state destroyed, and the American “empire” eradicated, by any means necessary. You know, exuberant, youthful stuff! But hard as Mamdani may try, he just can’t quit hatin’ on the Jews. This week, his own wife, the artist Rama Duwaji, took a break from her constant stream of anti-Israel screeds to post a mournful note bemoaning the death of Sale al-Jafarawi, killed this week by Palestinians in Gaza. If the name doesn’t ring a bell, perhaps you know al-Jafarawi by his nom de bullshit, Mr. Fafo: As Liel Leibovitz wrote in Tablet two years ago, al-Jafarawi emerged as perhaps Hamas’s most effective propaganda artist. He died on camera several times only to be miraculously reborn the very next moment, sired a (plastic) baby and lost it in (fake) Israeli air raids, posed as a doctor and a patient and a foreign correspondent and a combatant, always grinning widely because the grotesque, obvious lying was precisely the point. “Why do we love him so?” Leibovitz asked. “Why has he become the subject of so much attention, on social media and in the press?” The answer, he argued, was as simple as it was searing: Because he is the pure embodiment of a greater truth: We live in an age that has progressed beyond rational argument. It should be obvious by now that so many of the creeps who purport to weep for Palestine don’t really care about Palestinians, dead or alive, or about Israelis, or about the historical and moral intricacies of the Israeli-Palestinian conflict. What they want is an excuse to indulge in something deeper, more libidinal, ancient, and indeed erotic—hating Jews. They cheer for #MrFAFO not despite the fact that he’s so obviously faking it but precisely because of it. His performances promise liberation from the annoyances of a fact-based reality whose contradictions are inherently troubling, and instead affirm that old motto coined by Hasan-i Sabbah, the 12th-century founder of the Hashashin, or the Order of the Assassins—nothing is true, everything is permitted. That this is the person the very likely next first lady of New York City mourns as her “beloved” is troubling. Just ask the young New Yorkers who opened their hearts to TV writer Yoni Weinberg this week, telling stories of how former friends and fellow progressives turned on them the moment they dared supporting Israel, and wondering whether it was time to get out of Dodge. “When I saw Mamdani win, it was really difficult,” one film director told Weinberg. “I spent time in Paris growing up and experienced hardcore antisemitism there, so I know what it looks like outside America. To see that kind of hatred reach the one place that, in my mind, was safe from it is too much to bear. It breaks my heart.” Is your heart breaking, too, when you see the largest Jewish community outside Israel littered with vile anti-Semitic slogans and about to be seized by a Third World blowhard terror enthusiast? We have the perfect prescription: Pack your bags and run right up to the Magic Mountain. As David Mikics writes in Tablet today, Thomas Mann’s classic, itself now the subject of a brilliant new book-length study, is modernism’s most humane novel, a masterwork that has a thing or two to teach anyone wondering why seemingly normal people become engrossed by absolutely crazy ideas.(All prices subject to change, up or down!)
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