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Several thousand Arabs, Muslims and others rally and march in downtown Cleveland against violence in Gaza, the West Bank.
Palestinian President Abbas attends Friday prayer at al-Reasah mosque in Gaza January 5, 2007. Palestinian Prime Minister Ismail Haniyeh said on Friday he and President Mahmoud Abbas had agreed to keep gunmen from their rival Hamas and Fatah factions off Gaza's streets after clashes in which eight were killed. REUTERS/PPO/Abd Alhalim Abu Askar/Handout (GAZA)
Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.
His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."
Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.
Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.
After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.
Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.
Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."
In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.
A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.
Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.
— Gil Scott-Heron
In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.
On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.
After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.
In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.
In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.
Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.
The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".
Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:
This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.
The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.
In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.
Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.
He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.
Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.
In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.
Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.
Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.
Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:
The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.
At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".
In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.
According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.
Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".
Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:
Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".
Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.
Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:
In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".
Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".
In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.
Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.
Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".
In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.
He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.
Palestinian Leen Anabtawi, 24, poses for a photo in front of the Israeli barrier near Ramallah in the Israeli-occupied West Bank September 24, 2020. REUTERS/Mohamad Torokman
An orthodox Jew expresses his solidarity with Palestinians in Whitehall, London on Al Quds day, at the end of a rally which had started in Mayfair some five hours earlier.
Several thousand people, including many women and family groups, had gathered to express their support for the Palestinian struggle for justice and self-determination on Al Quds Day, which is held annually around the world and in central London.
[ Just in case anyone is interested I have attached a link to my research on British crimes against both Arabs and Jews in Palestine during the mandate period - 1919-1948. Use the following url and scroll down the list of countries alphabetically for Palestine - roguenation.org/choose-by-country/ ]
Despite the threats from far right extremists to disrupt the march, the numbers attending were high with barely any space to move in Curzon Street, Mayfair, where the rally assembled for the opening speeches.
A stretch of the street immediately in front of the Saudi Embassy had been chosen, due to the monarchical regime's tacit and often open support for Israel's occupation and its crushing of all Palestinian opposition. Israel enjoys a huge diplomatic and strategic advantage, having obtained the support of the US/UK backed neighbouring Arab dictatorships in Saudi Arabia and Egypt.
Many on the rally were also angry that the UK is exporting arms to Israel, even though it continues to defy international law by imposing a brutal blockade on Gaza and building illegal settlements on Palestinian land while at the same time its army uses lethal force against unarmed protesters.
Although there is overwhelming evidence of Israel's persistent violation of Palestinian human rights, the UK government has exported 445 million dollars worth of military equipment to the country since 2014, including components for fighter aircraft, helicopters and sniper rifles.
It is obvious that it is Israel which is the rogue state, not just by refusing to comply with international law but also by killing protesters who clearly present no danger, but the "mainstream" British media portrays opposition to the Israeli occupation as the problem blaming Hamas, Fatah, Hezbollah and even the Al Quds march in London.
Editorials insisted that the rally was a provocative and extremist event due to the presence of Hezbollah flags, however the papers felt no similar need to criticize the flying of Isreali flags representing a state which has murdered over 130 Palestinians in the last two months, including nurse Razzan al-Najjar, two journalists and several children, as well as injuring 3,600 with live ammunition.
Nor, for that matter, had there been more than a few token critical comments when Israel's prime minister Netanyahu, directly responsible for the killings, visited Downing Street for tea on the previous Wednesday.
Among the supposedly more progressive newspapers the Guardian refused to publish a drawing by its own cartoonist Steve Bell which depicted nurse Razan as one of the victims of the meeting, claiming that the depiction of Razan burning in Number 10's fireplace was anti-semitic.
The casualty figures during the recent shootings clearly show how Israel's use of lethal force is entirely out of proportion to any marginal and highly limited use of force by those besieged in the Gaza enclave. Not a single Israeli soldier has been injured during the targeting of Palestinian protesters and one of the Palestinians killed, Yasser Murtada, was a well respected journalist who had previously worked for the BBC, and was clearly wearing a PRESS jacket at the moment he was shot in the chest by a carefully aimed sniper's bullet.
Another was Razan al-Najjar, a 21 year old Palestinian medic, who was wearing her white medic's uniform, an identification tag and had her arms raised high in the air at the time she was fatally shot in the chest.
Both were killed some distance from the illegally erected border/prison fence which isolates the population of Gaza from both their family relatives and any chance of gainful economic employment in wealthier areas.
That's why the popular anology which compares Israel to South African apartheid is highly misleading because in South Africa, at least the white population needed the blacks as workers, even if they committed appalling atrocities, but in Israel the Palestinian population are neither needed nor wanted by Israeli employees.
Palestinians are treated worse than dogs, to whom humans tend to show some sympathy, but rather as unworthy of any consideration, so much so that past Israeli military operations against Gaza in which the planners know thousands of civilians are likely to die are given the military term "mowing the grass", because the Palestinian civilian population is considered of no more value in importance, than the ants one might tread underfoot when one ventures into the garden.
Jerusalem, Israel / Palestine
A man exiting the Al-Aqsa Mosque after midday prayers.
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Palestinian President Mahmoud Abbas attends Friday prayers on the second Friday of the Muslim holy month of Ramadan in the West Bank city of Ramallah, September 12, 2008, in this picture released by the Palestinian Press Office (PPO). Abbas has vowed to pursue peace talks with Ehud Olmert until the scandal-hit Israeli prime minister's last day in office, and with whoever succeeds him, an Israeli newspaper said on Friday. .
REUTERS/Thaer Ganaim/PPO/Handout (WEST BANK). FOR EDITORIAL USE ONLY. NOT FOR SALE FOR MARKETING OR ADVERTISING CAMPAIGNS.
The west bank is full of life and colour despite its tragic history, and the city of Nablus is no different. Every day hundreds of Palestinians flock the market full of fresh fruit and livestock.
A Palestinian holds his country's flag while the Mosque Dome of the Rock appears from behind during clashes in the eastern district of Jerusalem with Israeli border policemen, 16 February 2007.
On Friday 24 March, hundreds gathered in central London to protest the rolling out of a red carpet at Number 10 Downing Street for Israel's prime minister, Benjamin Netanyahu.
يوم الجمعة 24 مارس 2023 ، تجمع المئات في وسط لندن للاحتجاج على طرح السجادة الحمراء في رقم 10 داونينج ستريت لرئيس الوزراء الإسرائيلي بنيامين نتنياهو
ביום שישי ה-24 במרץ 2023, מאות התאספו במרכז לונדון במחאה על פריצת השטיח האדום ברחוב דאונינג מספר 10 עבור ראש ממשלת ישראל, בנימין נתניהו
Israeli liberals, angry at Netanyahu's attempt to crush the independence of the judiciary and protect himself from a corruption indictment, joined Palestinian and other activists infuriated by 56 years of Apartheid, since Israel's occupation of the West Bank in 1967.
Netanyahu is still on trial for corruption in three separate cases. In 2019 he had already been officially indicted for breach of trust, accepting bribes and fraud, and, as a consequence, he lost the support of his coalition partners in parliament. However, last November, he returned to power in coalition with the ultra-orthodox and ultra nationalist factions, forming what almost commentators agree is the most right wing government Israel has witnessed since its independence in 1948.
Israel has been rocked by massive protests and strikes ever since Netanyahu's justice minister, Yariv Levin, revealed the government's plan to overhaul the country's justice system in January. Activists pointed out that its intent was clear. To weaken judicial independence and to shield Netanyahu from corruption charges.
Resistance to the government's proposals escalated even further two days after this photograph was taken when Netanyahu returned to Israel and fired his defence minister, Yoav Gallant. Within an hour tens of thousands had taken to the streets in central Jerusalem and also surrounded Netanyahu's home.
Returning to Friday morning in London when this photo was taken, protesters waiting peacefully on the pavement opposite 10 Downing Street were doubtless surprised at the huge number of police, including dogs, deployed on Whitehall. Later, and despite heavy rain, around a hundred protesters made their way to the Savoy Hotel where Netanyahu was rumoured to be staying, where the police presence was far more low key.
Many activists carried placards such as "democracy and occupation cannot coexist" and "Free Palestine = Free Israel." They pointed out that Palestinians live in what both Amnesty International and Human Rights Watch have concluded is an Apartheid state, many without any access to clean water or electricity, many fearing the demolition of their homes and others the detention for lengthy periods of their relatives and children for protesting the continuing occupation. Meanwhile, Britain's ongoing military and diplomatic support for Israel make us complicit in the continued oppression of the Palestinian people.
Shuhada Street, the main road leading to the Tomb of the Patriarchs, used to be the central wholesale market of the Hebron region and northern Palestine. After the February 1994 Cave of the Patriarchs massacre, Israel closed the street for Palestinians. After the closure of all Palestinian shops, the Palestinian municipal and governmental offices, and turning the central bus station into an Israeli army base, al-Shuhada Street became virtually a ghost town. The Vegetable and Wholesale Markets next to the Avraham Avinu settlement are a closed area for Palestinians now.
An annual international "Open Shuhada Street" demonstration is organized since 2010. It is a non-violent demonstration, but they are still always stopped before they reach the street.
The picture is from the demonstration in February 2015. Right after this picture was taken, sound bombs where shoot at them, their banners and flags where taken and one of them arrested.
Feel free to use the photo, but please consult me first.
The photo in the child's cap features two murderers. Palestinian children are taught that murderers are heros and are to be worshipped. A Palestinian child is raised to believe the highest ambition he could ever have is to grow up to also become a murderer of innocent lives. As you can see, they start them early.
And that's child abuse.
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A Palestinian man reacts in front of the bodies of three children killed by an Israeli tank shell, one of them his son, at Shifa hospital in Gaza January 5, 2009. An Israeli tank shell killed three Palestinian children in their home in eastern Gaza City on Monday, medical officials said. They said several other Palestinians were wounded in the incident in Gaza's Zeitoun neighbourhood. An Israeli militants spokeswoman said she was checking the report. REUTERS/Suhaib Salem (GAZA)
A Palestinian boy looks at one of six new images painted by British street artist Banksy as part of a Christmas exhibition in the West Bank town of Bethlehem December 2, 2007. British graffiti artist Banksy is trying to bring cheer and boost tourism in Bethlehem this Christmas with a series of subversive murals in the town revered as Jesus's birthplace. Picture taken December 2, 2007. REUTERS/Ammar Awad (WEST BANK)
A vigil in Ramallah for the families of the Palestinians who were killed by the bullets of the occupation; To demand the recovery of the bodies of their detained children.
Hasselblad 500C, Carl Zeiss Planar 80mm f/2.8, Provia 400X.
On the outskirts of Jenin, the third largest palestinian city located north in the West Bank, behind the restaurant disguized as an airplane, you find shade, a pool and - if you are lucky - a dozen palestinian kids running around practising belly splash.
Female members of the Palestinian presidential guard watch a training session in the West Bank city of Jericho April 6, 2014. REUTERS/Ammar Awad (WEST BANK - Tags: POLITICS MILITARY) - RTR3K4SV
Demonstrators against violence in Palestine representing the names of the murdered civilians in Dallas. Photo © Vincent Simon
Ramallah, January 2006. Photo by: Shabtai Gold.
Palestinian flag on the left, Iraqi on the right.
"They are treating human beings like Arabs here"- MK Dr. Arieh Eldad, 1 February 2006, refering to how the Israeli military evacuated an illegal Israeli settlement in the occupied West Bank. A racist statement from a member of the Israeli National Union Party- a fascist party. They have about 8 seats in the Israeli Knesset (out of 120). Unrelated to the picture- but it just amazed me, that someone would say something so racist to the press. It seems there are "human beings" and then there are Arabs.
More news about the evacuation: