larkstreet@gmail.com
*GIBSON Les Paul Murphy '57 Goldtop w/ black plastic, 2026, mint, ohsc, papers....$5950
*MARTIN Backpacker, used, exc, w/ gigbag...$195
*YAMAHA GUITALELE,GL-1, recent, a 6 string tenor Uke, sunburst, gigbag exc...$150
*CHARVEL Bass, CSM-2B, used, Black, P/J setup, vgc++, gigbag...$349
*BC RICH Mockingbird, 1983, trans Blue, 2 humbuckers,
all original, some play wear, vgc, ohsc...HOLD
gbn
*MARTIN D-35S, 1972, 12 Frets til the body, Spruce top, Rosewood sides, Rosewood 3-piece back, once belonged to Tom Paley of the New Lost City Ramblers, 2 well repaired top cracks, super low action, vgc++, hsc...$3950
*FENDER Harvard Amp, 1956, Tweed, Narrow panel, newer Jupiter Alnico 5 made in USA 10" speaker, new Volume pot, Diode added, vgc+...$6500
*FENDER Deluxe Amp, 1955, Tweed narrow Panel, new Output transformer, Jupiter Alnico 5 made in USA 12" speaker, vgc+...$4000
*EASTMAN E6 SS-TC, 2023, basically a slope shouldered J-45 style, all solid woods- Spruce torrified top, Mahogany back & sides, Mahogany neck with Ebony fretboard, striped pick guard, nearly mint, ohsc....$995
*YAMAHA FGX700, recent, Acoustic dreadnought cutaway, w/ pickup, vgc++, gigbag..$275
*FENDER American Performer Telecaster, 2019, metallic burgundy, humbucker in the neck position, Rosewood board, exc, ohsc....$995
*PRS SE Zach Myers, semi-hollow, Myers Blue (aqua blue), curly Maple top,
Rosewood board w/ birds, 22-fret, 24.6" scale, PRS adjustable stoptail
bridge, vintage-style tuners, PRS-designed 245 “S” Humbucker pickups
near mint, gigbag..$599
*VEGA Cylinder Back Mandolin, ca 1923, Spruce top, Mahogany back and sides, great action, hardly any playing wear, exc+, ohsc...$1995 GBL
*GIBSON EM-150 Electric Mandolin, ca 1949, A-50 style with spruce top, Maple back & sides, P-90 pickup near the neck, a new classy jackplate but all else original and in really nice condition, tall vintage knobs, exc, ohsc..$1995
*MARTIN 000-10E Retro, New....$999
*MARTIN OMC-10E Mod Burst, New, cutaway, solid spruce top, solid Sapele back & sides, pickup, $1199
*GRETSCH 6161 Combo Amplifier, 1959, 2 6x9 oval speakers and a tweeter, grey patterned tolex, 2x6973 power tubes, ~15 watts, all original, vgc...$1595
*TAYLOR 214CE-DLX, 2021, Cutaway with Spruce top, Rosewood back and sides, exc, ohsc...$775
*FENDER Ltd Ed '59 Stratocaster, 2019, New Old Stock, Sea Foam Green with gold hardware, AAA Birdseye neck/ Maple board, large "C" '56 neck shape, Fat '50s Pickups, cert signed by C.W. Fleming, near mint, 7.63 lbs, cert and shop paper, tweed case...$3750
*STEINBERGER GL-4T, c 1986, Black, Original
style, Humbucker and 2 Single coil pickups, Trans-trem, exc,
original gigbag...$4350
*MORTORO Starling, 1998, roseburst, 17" cutaway Archtop that was built for and owned by the Jazz great Tony Mottola, carved Spruce top, curly Maple back and sides, 24.9" scale, Ebony board pickguard and tailpiece, poearl block fingerbaord inlays, small 1" repaired crack in upper bout, exc-, ohsc....$5900
*YAMAHA FG-580, '70s, Made in Japan, 16 1/4" at the lower bout, 24.9" scale, 1 11/16" at the nut, solid Spruce top and Jacaranda Rosewood back and sides, has an LR Baggs pickup, shows playing wear, excellent action, vgc, hsc...$1395
*KLON Centaur, original, Gold with Centaur and sword, exc...$6000 gbl
*GIBSON ES-175, 1957, sunburst, 1 PAF humbucker at the neck position, original '60s tuners but once had Grovers, repro tailpiece but original might be fixable, original brown case, vgc+...$7500
*DEAN Michael Schenker V, Ltd Edition, White/Black, made in USA, signed, #38/100, mint, papers and ohsc....$5500
*KUBICKI Fretless Bass, grey Jazz Bass body with 2 Dimarzio pickups, Maple neck with Ebony board and flush metal fret markers, BaddAss II bridge, Schaller tuners, not sure the origin of the body- could have been original to the neck, exc...
*FENDER Custom Shop Stratocaster, 1999, made for Adam 12 of Powerman 5000, Inca silver, HB/S/S, mirror guard, Rosewood board on Birdseye Maple neck, metal roller nut, Volume & Tone, 5-way switch, good condition, hsc.....$2450
*FENDER Master Built Stratocaster by Yuriy Shishkov, 2007 Yngwie Malmsteen Strat,
Olympic white finish that's yellowed, Scalloped Maple fretboard,
3 original Dimarzio Strat pickups, Midi pickup between the bridge
and bridge pickup with Midi jack on side of body, highly flamed
Maple neck, near mint with certificate, ohsc...$6900
gb
*FENDER Jazz Bass, 1962, Sunburst, slab board, 1 pickup may be later, the screw holes for the mutes are there as are the mutes (in the case), no covers, original brown case, straight neck with original frets, vgc, ohsc..$18,500
*FENDER Stratocaster, 1958, 2-tone sunburst, Maple board has original wear but also is oversprayed a long time ago, original frets, the pickups are old Strat pickups but have been spliced back in, non-original pots and 5-way switch, neck date is 2-58, original masking tape in the control cavity dated 3-18-58, the cavity has a slight enlargement, the number plate has another minus number on the reverse side, a double stamp so to speak, "Leroy" written on the tweed case as well as a faded "Leroy" on the pickguard, vgc....$29,950
*PRS Custom 24,c 2000, Whale Blue 10-top, trem, Vintage Bass humbucker at neck, HFS humbucker at the bridge, lots of little dents and dings, small amount of fretwear, 5-way rotary switch, vgc++, ohsc...$2295
*SILVERTONE 1448 1 lipstick tube pickup electric, '60s, Black, origonal case with working Amp inside, vgc....$575
*FENDER Telecaster, 1968, blonde, modded with a
humbucker at the neck position, Gibson 3 way switch installed in the upper
bout, Maple neck, changed tuners, just like Steve Howe's modded Tele,
vgc, ohsc....$6950
*FENDER Precision Bass, Made in Japan c. 1985-87 Standard, Candy Apple Red, Rosewood board, some face wear, vgc+, ohsc..$1095
*FENDER Stratocaster, Made in Japan c. 1985-87, Sunburst, Maple board with large peghead, looks like a '69 re-issue, exc, uSA plastic case.....$1495
*FENDER Stratocaster, MiM, White, Maple neck, large peghead,
3-Bolt re-issue, near mint, gb....$895
*JERRY JONES Bass, '90s, Green, 2 lipstick tube pickups,
single cutaway, vgc+, gigbag...$1895
*Fender Mustang, 1965, Blue, Kahler added, Duncan Mustang pickups, locking nut, pre-amp in pickup route, changed tuners, ohsc..$1750
*GIBSON LES PAUL Santa Fe Sunrise, ‘04, reddish curly ample top, 9.65 lbs, Ebony board, vgc, ohsc $2495
*GIBSON Les Paul Junior, c 1955, single cut, refin natural, not many original parts, no breaks or cracks, vgc...$3950
*GIBSON Grabber Bass, ‘78, Natural Maple,1 sliding pu, exc...$1900
*MARTIN D-41, 1974, had a Lashbrook treatment,
Ivoroid button Waverly tuners, braces lightly scalloped, exc, original
blue case......$5500
*MARTIN D-28, 1969, Brazilian RW, Lashbrook treatment,
ie tuner holes plugged with Pernambuco wood and step drilled so tuner
shaft contacts wood and does not float, Ivoroid Waverly tuners to
reduce weight and to give the strings more angle over the nut,
Dunlop 6105 jumbo frets til the 14th fret, Pernambuco interior side
strips added to treble side upper & lower bouts, Ebony interior side
strips added to bass side upper & lower bouts, interior post added
which goes from the bass lower bout across to the treble loser bout,
so about 16"long x 1/3" diameter, smaller Rosewood bridge plate,
original Martin tortoise guard, 2 older top splints, vgc+, hsc...$5900
*FENDER Double 6 Steel, c 1957, 2-6 String necks with 2 pickups on each, dark brown sunburst, 4 Legs, tweed case....$1250
*Stelling Bellflower, 1980, bound peghead, Walnut resonator, exc, ohsc....$3750 gbl
*GIBSON Custom Shop Firebird VII, 2015, Frost Blue, Gold hardware, Deluxe Tremolo, 3 pickups, exc+, papers, ohsc..$5500
*NATIONAL Estralita Deluxe Resonator Guitar, 2024, Sunburst wood body, curly Maple top, Walnut back & sides, single Resonator, diamond pearl fretboard inlays, 12-frets to the body, pearloid peghead overlay, near mint, ohsc.....$2900
*FENDER Champ Amp, 1959, Tweed Narrow panel, 8" original speaker, all good inside, vgc+...$2795
*NATIONAL Amp, model 1275, 12 watts, ca 1951, TV front, all original with original 10" speaker, exc.......$850
*PEAVEY Backstage Plus amp,'80s, vgc...$200
*PHANTOM P-Bass, dark blue, Rosewood board, vgc, hsc...$150 PEDALS-
*MAXON AD01, ca 1990, made in Japan, Analog Delay, purple, exc....$195
*HOMEBREW Electronics FROSTBITE Flanger, 2008, white, 6 knobs,
and an odd/even toggle, exc...$200
*DUNN Tonebender, like a tonebender Mk II, has silicon transistors, ca 2016 grey, exc......$200
*TURNIP FARMS, ca 2016, 3 different Rat circuits plus a harmonic percolator, exc...$200 gbl
*EPIPHONE Zephyr Deluxe Regent, 1951, Blonde, 17" cutaway with 2 New Yorker Epi pickups, gold hardware, all original with white octagonal knobs, Frequensator tailpiece, the only change is a large metal jack plate added, vgc, ohsc..$4900
*GIBSON Lonnie Mack Flying V, 1993, Cherry, this particular Lonnie
Mack V is from the first year of production and is in near mint
condition, just like what Lonnie wanted for his '59 V these
have the added Bigsby and mounting metal, even with all the metal
it weighs only 8.72 lbs, ohsc...$6250
*1/2 Size and 3/4 size starter guitars, by Stadium- they all have perfect playability....$89 for the half & $95 for the 3/4 size
*FENDER Mustang, 1966, Dakota Red, some checking but otherwise excellent condition and all original other than a cap change, with original grey speckle case....$2750
*
ATLAS Baritone Tres conversion, made in Japan, 3 pairs of strings, whatever it is it's unique and sounds great..$395
*EPIPHONE 'Inspired by Gibson' J-45, recent, sunburst, w/ Fishman pickup, looks like a traditional Gibson round shouldered J-45, exc, gigbag...$495
*FIREFLY BASS 6 solid body, creme, 30" scale, Maple neck w/ black block markers, Jaguar style body, 2 humbuckers, exc, gigbag.....$395
*"PENN" logo on a KAY Thin Twin 'Jimmy Reed', ca 1962, Blonde curly maple body, 2 original pickups, beautiful tortoise pickguard, fine action from a recent pro neck set, vgc+, case...$1895
*GIBSON L-2,1924, Blonde Archtop with round sound hole, Snakehead peghead, adjustable truss rod, vgc+, ssc...
*NASH Tele Custom, 2014, aged black finish, bound top and back, Rosewood board,
3 intonated brass saddles, vgc+ hsc....$1850
gbi
*MARTIN 000-21, 1951, changed tuners, oversized bridge, Brazilian Rosewood back and sides, vgc, hsc....$6500
*MARTIN D-18S, 1974, sunburst finish, 12 frets to the body, pickguard changed to tortoise, original thin-line Grover tuners, bridge has been shave down a bit, vgc, original Blue plastic Martin case..$4900 GBl
*TUBES, TUBES TUBES, NEW,
by MESA BOOGIE, FENDER and other brands
We have 6L6, 5881, EL-34, EL-84, 12AX7, 12 AT7, and others, $50/PAIR
*HUBERT SUMLIN'S Squier Telecaster, 2005, Butterscotch, Maple neck, played with many performers and autographed by guitarists he played with- Sonny Landreth, Susan Tedeschi, Derek Trucks, and Johnny Winter and Albert Lee, we bought this from Hubert's manager and caretaker of many years. As Howlin’ Wolf’s longtime guitarist from 1955 until 1976 when Wolf passed, Hubert Sumlin (1931-2011) kept to the shadows, but his sweet, subtle, sophisticated leads were the perfect foil for the big man out front. His name may not have been known in every household, but Sumlin’s playing influenced the likes of Hendrix, Clapton, Beck, Richards, Page and Robbie Robertson vgc++, gigbag....$1950
*GUILD Starfire VI, 1967, Blonde, Guild's top of the line semi-hollow
electric, this has a curly Maple body with gold hardware, a Guild
branded Bigsby, Abalone/Pearl triangle and square inlays, 100%
original with case exc+.........$6950
*EASTMAN MD615, NEW, Golden Sunburst, premo F-Style MAndolin,
all hand carved, with K&K pickup......$2049
*EASTMAN MD-515, New, F-style Mandolin with ƒ holes, hsc..$1569
*EASTMAN MD404-0BK, New, Black, A-style with Oval sound hole, w/case... gbl
*MATCHLESS Lightning '15 Combo, 1996, Green, 2x10" speakers,
2 EL-84 power tubes, Volume ,Bass, Treble & Master controls,
1 owner, exc....$2750
*TONE KING Imperial Combo, ca 1999, Black & creme, 20 watts with Tremolo and Reverb, based on a 1960 Tweed Deluxe but has exquisite clean sound, exc...$1950
*GIBSON Les Paul Standard, 2002, Amber, '60 classic neck feel, highly figured Maple top, 8.9 lbs, Duncan humbuckers, changed tuners but originals are in the original brown case, exc....$2250
*EASTMAN AC630, New, Blonde, 17"wide Jumbo, Maple Neck with Ebony
Fingerboard, 1 3/4" at the bone nut, 25.4" scale
Hand Scalloped X bracing, solid Engleman Spruce top,
solid Flamed Maple back & sides, Ebony bridge 2 5/32" Spacing
Abalone Rosette, Dual Acting truss rod, Figured Maple binding all around
Pearl Headstock logo, Pearl and Abalone Palace fretboard inlays
Gold hardware, Hardshell Case, $3629 list....$2900
*FENDER ToneMaster TWIN Reverb, recent, Creme, solid state, 35lbs, attenuation controls on back, 2-12s, near mint....$995
*HEADSTRONG Lil King, used, Black tolex, Reverb & Tremolo, exc...$2200
*JERRY JONES Single Cutaway Bass, ca 2005, Green, updated bridge, vgc+, gigbag....$1950
*FENDER Body Guard, fits Mustang, with original box, ca 1975...$100 gbl
*SEVENTY-SEVEN Albatross II, semi-hollow, Sunburst finish, solid Spruce top with ƒ holes, totally Made in JAPAN, Mahogany body, Ebony board, 6.2 lbs, stop tailpiece with tunomatic, 2 humbuckers, exc, ohsc....$1395
*TAYLOR 114CE, recent, cutaway dreadnought, vgc, ohsc...$595
* JACKSON Kelly Colored Dragon, Custom for the 2003 NAMM show 1 of 3 but the only one of this body style, made in USA, neck-thru, Ebony board with Fire Breath pearl inlay, 24 frets, Duncan Jeff Beck pickup, Art by Dan Lawrence, mint, ohsc.....$12,500
*FENDER Telecaster Deluxe, 1974, Mocha Brown, 2 Wide Range Humbuckers, Maple board, upgraded tuners, all else original, vgc++, ohsc...$3950
*GRETSCH G6129TL, Duo-Jet Reissue, ca 2008, Black, made in Japan, Bigsby, Filtertron pickups, neo-classic 1/2 moon fretboard inlays, original except now has a tunomatic bridge, aged finish, vgc+, ohsc, papers...$1895
*FURCH LJ 11-SR, NEW, Little Jane, Spruce top Rosewood back & sides, the perfect travel guitar whose neck easily is removed and stashed in the guitar while the whole thing fits into the Furch Backpack...and, it stays in tune upon the 20 second re-assembly! Solid Spruce top, solid Rosewood back and sides, 24" scale, 1 11/16" at the nut, locking tuners, zero fret with strings-thru-the-nut....$2388 https://furchguitars.com/en/instruments/travel-guitars/lj10-cm/
*JERRY JONES Sitar, ca 2010, Teal Alligator finish, near mint, ohsc...$1900
*FANO TC-6, used, made in Arizona, Blue, 2 metal clad P-90
type pickups, tortoise guard, Maple neck, 1 21/32" at the nut,
25.4" scale, 7.85 lbs, exc, gigbag.....$1900
GBL
*GIBSON Les Paul Custom '57 Re-issue, 2001, Black, signed on top by
Les Paul with phot of Les signing it, all original with Gibson
PAF re-issue pickups without covers,
9.95 lbs, vgc, ohsc....$3650
*MARTIN 3M Ukulele, ca 1936, a beautiful no issue 3M Uke with 6 ply black/white purfling on the top and white bound top and back, has the Celluloid ornament on top behind the bridge (known as the "parend") 17 fret ebony fingerboard extends to the soundhole , 3 lines inlaid down center of fingerboard. with 3 dots to the left and 3 dots to the right, no repairs or touchups, original canvas case, exc+....$2250
*EASTMAN MDC-804 MANDOCELLO, 2021, all-solid carved Mandocello with
spruce top and flamed maple back and sides, oval soundhole, Maple neck
with a radiused Ebony Fingerboard, 1 3/4″ at the nut, 25″ scale ebony
fingerboard, cast-aluminum tailpiece, gloss reddish violin finish
with ivoroid binding, exc, ohsc....$2150
*GIBSON A-Junior, 1926, dark Brown, carved top with oval
soundhole, "The Gibson" headstock logo in script, several
solidly repaired cracks, upgraded tuners, wide ope sound,
gc, ossc...$995
*WASHBURN M6SWK, F-STYLE Mandolin, Jethro Burns model, F-style mandolin
carved solid spruce top and book-matched solid flamed Maple back
and sides, it has stand-out rope purfing on the top edge, classic
rosewood fingerboard with floral vine inlays, rosewood bridge,
gold hardware with Monteleone inspired cast tailpiece,
exc, ohsc...hold
*TAYLOR Big Baby, exc, gigbag...$350 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
-------------------------o-------------------------
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.
-------------------------o-------------------------
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!)
479 Cedar Lane, Teaneck, NJ 07666
201-287-1959
www.larkstreetmusic.com