Local News
A life cut tragically short – 50 years ago
By BERNIE BELLAN
It was 50 years ago this month that the life of a young woman who was loved by all who knew her was cut tragically short as the result of a totally unforeseeable incident.
I didn’t know Rebecca Victor (who was commonly known as Rebbie), although it turns out we weren’t far apart in age.
According to an obituary that was placed in the January 14, 1971 Jewish Post, “Rebecca Victor, age 15, passed away suddenly on Tuesday, January 5th, 1971, as the result of a shooting accident. She would have been 16 on February 12.
“Born in Winnipeg, she was a graduate of the I.L. Peretz Folk School and a student in Grade X at St. John’s High School.
“Active in musical circles, Rebecca had studied piano for a number of years and she was a student of voice with Mrs. Sara Udow. She sang in junior choir at Rosh Pina Congregation for several years and she had also participated in several productions with the Internationals at the Hollow Mug. She was formerly active at the Y.M.H.A. Community Centre where she had been the winner of a number of oratorical contests.”
In that same issue of The Jewish Post, Abe Arnold wrote a piece titled “The Meaning of a Young Girl’s Life”:
“A young girl is dead after an accidental shooting.
“Rebecca Ruth Victor – Rebbie to her friends – died a little more than a month before her sixteenth birthday. To ask why is to express a cry of anguish over the death by shooting of men and women everywhere in the world since guns were invented.
“This particular death, however, is a tragedy for many people and a catastrophic change in the lives of the immediate family.
“Rebbie Victor was a talented young woman with mature interests in the world around her. A student of music and of dance, she showed accomplishment at the piano and had a lovely voice, but music was not all and she had a great zest for the varied experiences of life.
“Rebbie had an earnest concern for other people demonstrated by her active interest in the cause of world peace and in political activities which, to her, were truly devoted to the achievement of a just society.
“Her desire for learning virtually exceeded the bounds of the school, but on January 4 she returned happily to her classroom to begin some new and more stimulating courses and, with the part of a new musical show to be performed later in the winter “The music for ‘Camelot’ sits on the piano at the Victor home and, alongside it, the music for a Gordon Lightfoot song.
“On January 5 she left school in the company of several classmates and apparently suggested a visit to a Co-operative House on St. Johns Avenue which has been serving as a community youth centre. Rebbie was a frequent visitor to the house, where she had been stimulated by impassioned discussions on war and politics and the injustice of our society.
“On this last occasion her companions were visiting the house for the first time and she was showing them around. They came to a room with a rifle hanging on the wall, which Rebbie herself had probably never seen before. In that place she could only conceive of it as a museum piece – a relic of violent death which she abhorred with all her being. To one of her companions, however, it was a curiosity to be investigated and it proved to be not a relic, but a live instrument of death.
“Can anyone imagine the shocked reaction of the young man – who squeezed the trigger in jest – at the deadly results? Can one conceive of the overpowering shock of the father on being suddenly called to the hospital to be told that his only child is no more? Can one grasp the grief of the mother who is told by her husband that their daughter has been torn from life? And can one conceive of the confounded feelings of remorse of the person who owned the gun, and of the others associated with the Co-op House?”
Abe Arnold’s piece goes on to try to place young Rebbie Victor’s death in a larger context relating to gun violence.
In light of the fact that it is the 50th anniversary of Rebbie Victor’s senseless death, Richard Yaffe, who was both a schoolmate of Rebbie’s and a good friend, contacted me to say that he wanted to mark the anniversary in some way – which is why you see the memoriam accompanying this article on this page and not on the usual memoriam page.
I noted that I did not know Rebbie Victor, but after I spoke with Richard I began to realize just how wide a swath of friends she actually had. In the normal course of a week I happen to speak with any number of different individuals about various matters. As it turned out, three different times when I mentioned Rebbie Victor’s name and asked different people whether they knew her I was greeted with the same reaction: “I knew Rebbie really well.”
From her obituary and Abe Arnold’s piece it is clear that Rebbie was a young woman of immense talent – and who, had she lived, was destined for great things.
I often remark to others that the stories in our paper which resonate most profoundly with readers are stories of lives cut tragically short – either as the result of a sudden accident or perhaps a premature death due to a terminal illness.
I have no special reason to want to pay tribute to Rebbie Victor beyond anyone else whose life might have ended all too prematurely, but it is somewhat significant to think that, as we are going through a period in which the daily recitation of the numbers of deaths from Covid has become a ritual which we would all like to be rid of, there are names attached to those numbers.
Fifty years on, will people think back to the period in which we are now living and remember the tragedy that befell so many of our loved ones? Thank you, Richard Yaffe, for taking the trouble to recall a life snuffed out 50 years ago – whose life, and tragic death, resonated to such a huge degree with so many others.
Local News
Nakba exhbit at CMHR – you can see it right here and make your own assessment
By BERNIE BELLAN (Posted June 26, updated July 19) The Nakba exhibit at the Canadian Exhibit for Human Rights opened to the public June 27. The morning before the exhibit was set to open to the public, (it had a private opening for invited guests the evening of June 26) we received a press release from the CMHR. That press release gave a very detailed description of what was in the exhibit, along with photos (supplied by Annie Kierans of the CMHR).
There is also a link right at the beginning of the press release that will allow you to watch the same videos that anyone attending the exhibit can watch. We reprinted what was sent to us without making one edit. We leave it to you to form your own opinion as to whether the exhibit is fair in its presentation, and whether it is lacking “context” – which is an accusation that has been levelled at the exhibit’s organizers by some representatives of Jewish organizations.
We have received many emails in reaction to the exhibit. If you have an opinion and would like to see it published on this website, you can send it to jewishp@mymts.net, but please indicate whether you would be willing to have it published on this website.
Here is what we received the morning of June 26:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
Local News
A photo that’s being circulated on the internet about me
For those of you not familiar with nutjob Michael Kalo – the psycho who created the notorious “$hitler’s List” years ago and the same psycho who went after Ben Carr, well – now he’s obviously taken a strong disliking to the stance I’ve taken on the Nakba exhibit at the Canadian Museum for Human Rights. (You can read elsewhere on this website how I simply posted the entire exhibit as it is – and asked readers to form their own opinions.)
Kalo likes to send out emails to various individual using phony names – such as Frank Ostrowski. When people ask me (or asked Ben Carr) why we don’t take action against him, my answer is: What’s the use? He only basks in the attention.
So Michael – enjoy the attention you’re receiving. I know how much of an embarrassment you are to your wonderfully talented daughters.
Local News
Ami Hassan returning as owner of Falafel Place
By BERNIE BELLAN In a surprise move – and after more than a six-year absence as owner of Falafel Place (Corydon at Wilton) the legendary Ami Hassan has decided to return as owner of one of Winnipeg’s most famous eateries.
Long known for his sometimes irreverent attitude to his customers, e.g., “If you’re finished, get out!”, Ami decided to return to running Falafel Place after having retired years ago (or so he thought) from running the Corydon Avenue restaurant.
We asked Ami whether he’ll be sending a special invitation to Julia Roberts to come visit him at Falafel Place. He asked again: “Who’s Julia Roberts?” (Just kidding – he really does know how Julia Roberts is.) Read the story how Ami told her to leave the restaurant and come back later at Julia Roberts turned away from Falafel Place
Ami did note that when customers saw him inside the restaurant one recent day as he was getting it ready for the reopening Monday, August 10, over 20 of them came in asking him if he was open already.
We asked Ami whether the menu will be the same as it was when he last ran the place and he said everything will be the same.
Falafel Place will be open 7 days a week from 7 am – 2 pm. Remember, if you’re finished – get out!
