Muslim terrorists keep attacking concerts. Concerts keep cheering them on.
On Nov 13, 2015, Muslim terrorists attacked a concert at the Bataclan theater in Paris, opening fire on the crowd while shouting, “Allah Akbar.” The Muslim attackers took 20 hostages, killed 90 concertgoers and left hundreds wounded. A year later the theater reopened under new ownership with ‘Insallah’ or ‘If Allah Wills” by Sting to support the Muslim migrants invading Europe. One of the members of the American band that had been playing during the attack was banned from attending the commemoration because he had been accused of ‘Islamophobia’.
A few years later, there was a Bataclan concert featuring a Muslim rappers supporting Jihad. After Oct 7, the Bataclan was filled with shouts of ‘Free Palestine’ at yet another Islamic concert.
By then Muslim terrorists had racked up multiple concert massacres at the Open Festival suicide bombing in Germany in 2016, the Manchester Arena bombing at an Ariana Grande concert in 2017 which killed 22 people, some of them children, and wounded over 1,000, the Nova festival massacre which killed nearly 400 people and the Moscow concert hall attack in 2024 that killed 145 people and wounded over 500.
Last year, Muslim terrorists plotted an attack at a Taylor Swift concert in Vienna.
Add nightclubs to the toll, and you have the Dolphinarium discotheque bombing in Israel by Hamas in 2001, which killed 21 people, most of them teens, the Pulse nightclub massacre which killed 49 people in Orlando in 2016 and the Istanbul nightclub shootings in 2017 that killed 39 people.
With over 800 concertgoers killed in Muslim terrorist attacks since 9/11, you might think that concertgoers would have some sense of vulnerability and outrage, but just the opposite. Concerts of the ‘trendier’ kind have become venues for celebrating Islamic terrorism. Not only wasn’t Bataclan going from a terrorist target to a terrorist rallying ground an exception, but Glastonbury with its terror flags and cries of support for Islamic terrorists is commonplace.
And while that sort of behavior is associated with expensive venues for trendy acts these days, a decade ago, New York’s Metropolitan Opera put on a production of The Death of Klinghoffer, justifying the Muslim terrorist killing of an elderly Jewish man in a wheelchair. Despite outrage and muted protests from the Jewish community, the show went on. The terrorist production is now due to open at Florence’s Maggio Musicale Fiorentino Theatre next year.
No one sitting in their box seats in Florence or jumping up and down at $500 a pop concert venues in Europe ever considers that at any point the sounds of “Allah Akbar” and gunfire could pierce their world. The whole point of terrorist propaganda from Kneecap, Bob Vylan or The Death of Klinghoffer is to believe that the victims of terrorism have it coming. And that they can enjoy the spectacle from the comfort of the concert without terror ever touching them.
The music scene values what’s edgy and planting nails in the faces of children, as Muslim terrorists did in Manchester, people dangling from windows at the Bataclan or a bar full of bodies at Nova are certainly edgy. Enjoying the scenes of horror requires maintaining a sense of distance from the dead mediated by narratives that make them objects in a terrorist victory. --->READ MORE HERE
If you like what you see, please "Like" and/or Follow us on FACEBOOK here, GETTR here, and TWITTER here.
No comments:
Post a Comment