Giulio Meotti
Giulio MeottiCourtesy

“Islamists have understood the psychology of woke crowds, a collective version of Stockholm syndrome. Weak unbelievers who have all their contempt and give in to their fury like lambs. Horrifying."

Thus the anthropologist Florence Bergeaud-Blackler on the images arriving from the Bataclan which provoked a torrent of reactions. The musical duo Shkoon performed on the stage of the Paris theater where ISIS killed 90 people on November 13, 2015. The band, led by a Syrian, mixes Arabic sounds and electronic music. During the concert at the Bataclan, the band performed the song “Yamma mwel el hawa”, which evokes the Israeli-Arab Palestinian conflict. The audience thus began to shout "Free Palestine" during the concert, amidst thunderous applause.

“At the Bataclan, hordes of Islamo-goschists sing 'Free Palestine',” criticized Jean Messiha. "They would have done better to observe a minute's silence in memory of the 90 victims of Islamic terrorism killed, disembowelled and emasculated by their executioners." "In this terrible place of pain where 90 martyrs of Islamic terrorism died, this demonstration is a desecration", denounced the MEP Gilbert Collard.

"The terrorists of October 7th and those who killed my daughter at the Bataclan have the same beliefs and the same way of proceeding" said Patrick Jardin, Nathalie's father, who was one of the Bataclan technicians. On the evening of Friday November 13th she was there to spend an evening with friends and she could have been killed there together with the Italian Valeria Solesin.

“The singer Ameen Khayr is a Syrian refugee and her songs talk about tolerance, love, freedom, anti-racism, brotherhood… very well” comments Elisabeth Lévy in the monthly Causeur. “But it is not certain that the young people who attended this concert were imbued with tolerance and love. Literally, 'Free Palestine' is not shocking. It is legitimate to defend the existence of a Palestinian state."

"But it's a matter of context, as former Harvard president Claudine Gay would say. In this case, 'Free Palestine', in the current context, does not mean liberating the 'West Bank' and Gaza (which is no longer 'occupied'), but liberating Palestine from the Sea to the Jordan, in other words: destroying Israel. This slogan is chanted in demonstrations, it is written with spray cans in our universities, it is all the rage in American universities.

"Since October 7, 'Free Palestine' has been a pro-Hamas slogan. Maybe the young people of the Bataclan don't know it. But ignorance is no excuse. What is permitted by law may be prohibited by decency. We remember that 90 compatriots died at the Bataclan, 130 in total on 13 November 2015, victims of Islamic terrorism. The same terrorism that, on October 7, killed, mutilated and tortured 1,200 Israelis because they were Jews. The Bataclan is a place of memory. It is a highly symbolic place that reminds us that the battle against jihadism is far from won.

"However, Islamo-Goschism is having a field day. The October 7 casualties have been written off. The Hamas pogrom is put on the same level as the Israeli response. Brazilian President Lula Compares Israel's Response to Gaza to the Holocaust! We have the right to talk nonsense. We have the right to say that Hamas is a resistance movement. But can we still say it anywhere other than at the Bataclan, the place of funeral memory?”.

Last October, a few meters from the Bataclan, a pro-Hamas demonstration was authorized shouting "Allahu Akbar". And earlier Medine, the rapper who sings about Jihad, had organized a concert at the Bataclan.

This is truly the stupidest era in history.

Antoine Leiris, husband of one of the victims of the November 13 attacks, in “You Will Not Have My Hatred” describes what happened at the Bataclan as a twist of fate and says he feels "compassion" for whoever killed his wife.

The Bataclan hosted a concert by Sting who sang Inshallah – Allah willing. From "Allah Akbar" chanted by the ISIS commando to "Inshallah, what a magnificent word", said the singer.

But this, we were saying, is truly the stupidest era in history.

In Kreuzberg, the multicultural district of Berlin, the Haus Bethanien on Mariannenplatz hosted an artistic installation featuring personalities from history who went to their deaths in the name of their beliefs and ideals. Alexei Navalny could have been fine with it.

But alongside Socrates, Apollonia of Alexandria and Martin Luther King, there is also Ismaël Omar Mostefaï, who killed 90 people at the Bataclan. And it doesn't matter that Socrates died to defend conscience or that Martin Luther King fought against racism and was shot for it. What is the Paris mass murderer doing next to them?

The two artists who created the Berlin opera, Ida Grarup Nielsen and Henrik Grimbeck, performed in Copenhagen, where they staged the exploits of Foued Mohamed Aggad and the brothers Ibrahim and Khaled el Bakraoui: the first is the attacker Islamist who blew himself up at the Bataclan, the other two detonated their explosive belt at check-in at Brussels airport.

But I remember everything and I forget nothing.

I remember that the very famous Jeu de Paume Museum in Paris, which served as a warehouse for works of art stolen by Nazi Reichsmarschall Hermann Göring, hosted an exhibition that called Arab Palestinian suicide bombers "martyrs". Photographer Ahlam Shibli's “Death” exhibition featured dozens of Arab Palestinian suicide bombers with captions glorifying their deaths.

After all, wasn't it the great German composer Karlheinz Stockhausen who defined September 11th as "the greatest work of art ever created"?

Our postmodern daffodils, from entertainers to their crowds of trained fools, are the biggest fans of Allah's killers. Soon they will be their victims.

But this, we were saying, is truly the stupidest era in history.

Giulio Meotti is an Italian journalist with Il Foglio and writes a twice-weekly column for Arutz Sheva. He is the author of 20 books, including "A New Shoah", that researched the personal stories of Israel's terror victims, published by Encounter. His writing has appeared in publications such as the Wall Street Journal, Gatestone Institute and Die Weltwoche. He is also a Middle East Forum Writing Fellow.