On October 20, 2014, I finished a short three-minute speech to about 1,500 Jews in front of the New York City Metropolitan Opera House on the occasion of the opening of the snuff Palestinian terrorist opera, “The Death of Klinghoffer.” As I was getting off the podium, a rabbi, who shall remain nameless, said to me, “You really shouldn't have attacked the Jews here." I nodded politely, and went my way. However, to that rabbi, I can now respond, "I didn't attack rich American Jewish Metropolitan Opera donors severely enough."
Here is why.
One of the things I said in my speech was that if there were 100 rich black Metropolitan Opera donors, and the Metropolitan Opera put on an opera ‘explaining’ the ‘perspective of a white lynch mob’ lynching a black man, the day that the black lynching Opera opened, there would be zero rich black Metropolitan Opera donors. But, today, with this evil opera glorifying the terroristic Palestinian murder of an American Jew, there are still many, many rich American Jewish Metropolitan Opera donors who are still going to donate millions upon millions to the Metropolitan Opera.
And, that, I said to the crowd, is “sickness.”
I can hear those donors saying:, “There are two sides to every story. And, since there are two sides, you have to hear what the other side has to say. Even if it means turning the other side’s ‘story’ into ‘Art.’”
Let's assume, arguendo, that there may be ‘two sides’ to the argument of the Arab-Israeli conflict.
But, are there really two sides to the argument that because there exists an Arab-Israeli conflict, the murder of an unarmed American Jew in a wheelchair on a cruise in the Mediterranean Sea by a bunch of armed Palestinian murderous terrorists can be justified?
Because, saying there are two sides to the story means is that an argument can be made for one side and an argument can be made for the other side.
What these wealthy American Jewish Metropolitan Opera donors are, in fact, really saying when they say that “there are two sides to the conflict” to rationalize their continued donations of millions and millions of dollars to the Met Opera despite the Met’s showing of the Palestinian terrorist glorification opera, is that an argument can be made for the cold-blooded terrorist murder of an American Jew in a wheelchair by a Palestinian terrorist. Why? Because there exists an Arab-Israeli conflict, and because the Palestinians are, therefore, somehow ‘aggrieved.’
These American Jewish Metropolitan Opera donors have just legitimized the murder of any, and all, American Jews, in, and out of, wheelchairs specifically, because there exists an Arab-Israeli conflict.
Why not? If there is an argument for murdering Leon Kinghoffer because there is an Arab-Israeli conflict, then there’s an argument for murdering any American Jew because there is an Arab-Israeli conflict.
These same wealthy American Jewish Metropolitan Opera donors have also legitimized the murder of any non-Jewish Americans who get in the way of a Palestinian terrorist trying to murder an American Jew - because there exists an Arab-Israeli conflict.
And if these wealthy American Jewish Metropolitan Opera donors think that there is an argument for the murder of American Jews because there exists an Arab-Israeli conflict, then can you imagine the argument that now exists for the terrorist murder of Israeli Jews because there is a Arab-Israeli conflict. After all, if a Palestinian terrorist can murder American Jews because the Arab-Israeli conflict exists, why can't he be understood for the murder of Israeli Jews simply because an Arab-Israeli conflict exists?
The American Jewish Metropolitan Opera donors have legitimized the murder of all Jews everywhere simply because there exists an Arab-Israeli conflict. Sick, indeed.