Haaretz reported today that there are more than 6,800 arms exporters working in Israel.
As of the end of 2012, there were “6,684 individuals dealing with security exports in 1,006 companies and 312 independent businesses. The Israeli Defence Export Controls Agency issued 1,900 marketing permits and 8,716 export permits.”
Apparently some 6,684 Israelis are making a living selling death around the world. They are serving an industry that produces more than 150,000 jobs. However, the most crucial question here is how did the Jewish State become a death factory? Early Zionism promised, indeed, to bring to the world a ‘new Jew’ – a productive, proletarian authentic human being driven by ethics and humanism. But, it didn’t take long for the Jewish State to reveal its real supremacist inclinations and plunderous pragmatism.
By now, Israel isn’t just a regional threat. It actually operates as a military industrial lab. On a daily basis it celebrates its destructive powers on the expense of Israel’s neighbours and the Palestinians, just in order to find new markets for its growing class of death merchants.
Is it a coincidence that the Jewish State’s economy is based on weapon dealing, organ harvesting and blood diamonds? I will let you judge.
The Wandering Who? A Study Of Jewish Identity Politics, available on Amazon.com & Amazon.co.uk
IDF General . Yoav Galant Discusses Proportions — A Segment from The Lab
Gilad Atzmon is an Israeli-born British jazz saxophonist, novelist, political activist and writer.
Atzmon’s album Exile was BBC jazz album of the year in 2003. Playing over 100 dates a year, he has been called “surely the hardest-gigging man in British jazz.” His albums, of which he has recorded nine to date, often explore the music of the Middle East and political themes. He has described himself as a “devoted political artist.” He supports the Palestinian right of return and the one-state solution in the Israeli-Palestinian conflict.
His criticisms of Zionism, Jewish identity, and Judaism, as well as his controversial views on The Holocaust and Jewish history have led to allegations of antisemitism from both Zionists and anti-Zionists. A profile in The Guardian in 2009 which described Atzmon as “one of London’s finest saxophonists” stated: “It is Atzmon’s blunt anti-Zionism rather than his music that has given him an international profile, particularly in the Arab world, where his essays are widely read.”