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My childhood echoes in newly-released Shoah recordings
In the New York of my childhood, each year’s change in seasons, from winter to spring, meant renewed memories of the Holocaust as the adults in my neighborhood swapped long sleeves for short, and the numbers burned into the flesh of more than a few of their arms were laid bare for all to see. Observing the awful evidence of the Nazi program to exterminate the Jews, in hushed tones, my friends and I would trade stories we’d heard about first wives, first husbands, and first sets of children that our classmates’ parents and grandparents lost in mass executions and concentration camps in Europe during World War II.
Awful as the Holocaust was to us and humbled as we were by the courage and defiance of the survivors who made no effort to cover up their arms while sunbathing at our local swimming pool, as children often do, we indulged in gallows humor about the terrible events that brought these refugees to our neighborhood.
A favorite of ours was imitating a question we’d been told many former Nazis asked after the Nazi defeat, responding to accusations of collaboration in the Holocaust. “There vas a var?” we’d ask one another, giggling, in our best reproduction of German-accented English, trying to sound the way we imagined culpable Germans might sound while screwing up our faces in exaggerated disbelief, just as we’d heard many former Nazis did to prove how they, personally, had nothing to do with the genocide.
These childhood moments came back to me as I listened to the tapes Claude Lanzmann recorded while doing research for his epic film, Shoah. The tapes have been made available to the public for the very first time, in two Shoah anniversary exhibitions, at the Jewish Museum Berlin and at The New York Historical in New York.
The tapes capture perpetrators and bystanders getting all bolloxed up in justifications, self-serving claims, deflections of guilt — including blaming the Jew victims — and efforts to extract themselves from culpability. On one of the tapes, a former SS man responds to a request for comment on the killing of Jews: “No, that’s over for me!” I thought of the jokey question of my youth – “There vas a var?” – which made pretty much the same point.
Perhaps because of my experience growing up in a New York that gave refuge to those whose scars went well beyond the numbers on their arms, branding them like cattle, it was obvious to me why Lanzmann’s tapes belonged in an exhibition in New York. It was New York’s hospitality to refugees that allowed the Holocaust survivors I knew to build new lives and new families.
But many who learned of The New York Historical’s decision to offer this unique audible Holocaust history coincidentally with the Jewish Museum Berlin, which owns the tapes, were perplexed, asking me why an institution focused on New York and American history would mount an exhibition of Lanzmann’s recordings.
In spite of the connection I felt to the history Lanzmann’s tapes told, my response was not personal. Listening to the tapes illustrates a universal point: the ease with which hatred of a people based on their religion can sink its roots in any society, and the dangers of underestimating this power.
Set against the backdrop of the rise of antisemitism today, the tapes, which record the voices of victims like the parents and grandparents I knew, provide a vital history lesson to a new generation, showing how quickly the belief that Jewish people and their faith are the problem can find its way into a nation’s political consciousness, and how that mindset can ultimately fuel violence on the world stage.
There are, as well, the moral questions raised by the rise of the Nazis in Germany, which transcend geographical boundaries and fall squarely on the permanent agenda of institutions like The New York Historical, which look to the lessons of history as a way of encouraging contemporary audiences to reflect on their own roles and responsibilities, as well as those of institutions like The New York Historical when confronted with injustice.
There is also a direct connection between the antisemitism in Europe that promoted the extermination of Jews, and the history of New York. Who could fail to recognize the enormous impact of those who fled Europe in the wake of Nazism on the city’s cultural institutions, its colleges and universities, its scientific institutions and organizations?
A whole “University in Exile” was founded in New York with some of Europe’s most notable Jewish scholars as faculty; Jewish artists and musicians formed the bedrock of our city’s modern art museums, institutes, conservatories and concert halls in the 1930s and 40s.
Finally, and above all, the tapes underscore the old adage about the importance of history: how it is impossible to understand who we are without knowing from where we came. The tapes offer an incomparable opportunity to convey, especially to young people, how a significant part of our city’s demographic came to be in New York; how this demographic, like so many others in our city right now, sought the basic right to live without fear or threat of violence because of ethnicity or religious belief.
Listening to the Lanzmann tapes in both the context of today’s debates about whether people displaced by violence around the world should be offered refuge in the United States, and as we prepare to celebrate the nation’s semiquincentennial in 2026, reminds us not only of the importance of testimony and of preserving voices from the past, but of who we are as Americans and what responsibilities our democracy gave us 250 years ago. Let this extraordinary audible history be a guide.
The post My childhood echoes in newly-released Shoah recordings appeared first on The Forward.
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IDF Strikes Hezbollah Weapons Sites in Lebanon After Army Denied Its Existence
Israeli strikes targeting Hezbollah’s terror infrastructure. Photo: Via i23, Photo from social media used in accordance with Clause 27a of the Copyright Law.
i24 News – The Israel Defense Forces carried out airstrikes on a site in southern Lebanon that the Lebanese Army had previously declared free of Hezbollah activity, Israeli officials said on Sunday, citing fresh intelligence that contradicted Beirut’s assessment.
According to Israeli sources, the targeted location in the Kfar Hatta area contained significant Hezbollah weapons infrastructure, despite earlier inspections by the Lebanese Armed Forces (LAF) that concluded no military installations were present.
Lebanese officials had conveyed those findings to international monitoring mechanisms, and similar claims were reported in the Lebanese newspaper Al-Akhbar.
Israeli intelligence assessments, however, determined that Hezbollah continued to operate from the site.
During a second wave of strikes carried out Sunday, the IDF attacked and destroyed the location.
Video footage released afterward showed secondary explosions, which Israeli officials said were consistent with stored weapons or munitions at the site.
The IDF stated that the strike was conducted in response to what it described as Hezbollah’s ongoing violations of ceasefire understandings between Israel and Lebanon. Military officials said the targeted structure included underground facilities used for weapons storage.
According to the IDF, the same site had been struck roughly a week earlier after Israel alerted the Lebanese Army to what it described as active terrorist infrastructure in the area. While the LAF conducted an inspection following the warning, Israeli officials said the weapons facilities were not fully dismantled, prompting Sunday’s follow-up strike.
The IDF said it took measures ahead of the attack to reduce the risk to civilians, including issuing advance warnings to residents in the surrounding area.
“Hezbollah’s activity at these sites constitutes a clear violation of the understandings between Israel and Lebanon and poses a direct threat to the State of Israel,” the military said in a statement.
Israeli officials emphasized that operations against Hezbollah infrastructure would continue as long as such threats persist, underscoring that Israel retains the right to act independently based on its own intelligence assessments.
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Some US Senators Skeptical About Military Options for Iran
Demonstrators and activists rally in support of nationwide protests in Iran, outside the White House in Washington, D.C., U.S., January 10, 2026. REUTERS/Tom Brenner
Some US lawmakers in both major parties on Sunday questioned whether military action against Iran is the best approach for the United States as Iranian authorities face growing turmoil.
US President Donald Trump in recent days has left open the possibility of American intervention in Iran, where the biggest anti-government protests in years have led to the Revolutionary Guards blaming unrest on terrorists and vowing to safeguard the governing system.
But at least two US senators sounded notes of caution during interviews on TV networks’ Sunday morning programs.
“I don’t know that bombing Iran will have the effect that is intended,” Republican Senator Rand Paul said on ABC News’ “This Week” show.
Rather than undermining the regime, a military attack on Iran could rally the people against an outside enemy, Paul and Democratic Senator Mark Warner said.
Warner, appearing on “Fox News Sunday,” warned that a military strike against Iran could risk uniting Iranians against the United States “in a way that the regime has not been able to.” History shows the dangers of US intervention, said Warner, who argued that the US-backed 1953 overthrow of Iran’s government set in motion a chain of events that gradually led to the rise of the country’s Islamic regime in the late 1970s.
The Wall Street Journal on Sunday reported that US military and diplomatic officials will brief Trump on Tuesday about options for Iran, including cyberattacks and potential military action.
Iran has said it will target US military bases if the United States launches an attack. But Republican Senator Lindsey Graham, who has often touted a muscular approach to foreign policy, said Trump “needs to embolden the protesters and scare the hell out of the [Iranian] regime.”
“If I were you, Mr. President, I would kill the leadership that are killing the people,” Graham said on Fox News’ “Sunday Morning Futures” show. “You’ve got to end this.”
Reza Pahlavi, the US-based son of the Iranian shah who was ousted in 1979, said on Sunday he is prepared to return to Iran to lead a shift to a democratic government.
“I’m already planning on that,” Pahlavi said on “Sunday Morning Futures.” “My job is to lead this transition to make sure that no stone is left unturned, that in full transparency, people have an opportunity to elect their leaders freely and to decide their own future.”
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Bob Weir, Grateful Dead Co-Founder and Rhythm Guitarist, Dead at 78
Bob Weir poses at the red carpet during the 67th Annual Grammy Awards in Los Angeles, California, U.S., February 2, 2025. REUTERS/Daniel Cole
Veteran rock musician Bob Weir, the Grateful Dead’s rhythm guitarist who helped guide the legendary psychedelic jam band through decades of change and success, has died at age 78, his family said in a statement on Saturday.
He was diagnosed with cancer in July and “succumbed to underlying lung issues” surrounded by loved ones, according to the statement, posted on Weir‘s verified Instagram account. It did not mention when or where he died.
Just weeks after starting cancer treatment last summer, Weir had returned to his “hometown stage” at Golden Gate Park in San Francisco to play in a three-night celebration of his 60 years in music, his family recalled. Those shows turned out to be his final live public performances, according to Rolling Stone magazine.
Along with his late fellow Grateful Dead co-founder and lead guitarist Jerry Garcia, who was at the center of the universe for “Deadheads,” as diehard Dead fans are known, Weir was one of the group’s two frontmen and main vocalists for most of the band’s history.
It was Weir who sang the verses on the band’s trademark boogie anthem, “Truckin’,” and who wrote such key songs as “Sugar Magnolia,” “Playing in the Band” and “Jack Straw.”
The youthful, ponytailed “Bobby” grew into an eclectic songwriter whose handsome appearance and diverse musical influences helped broaden the band’s appeal. British newspaper the Independent called Weir “arguably rock’s greatest, if most eccentric, rhythm guitarist.”
After Garcia’s death at age 53 in 1995, Weir carved out an interesting if somewhat neglected solo career – much of it with his band, RatDog – and participated in reunions of surviving Dead members in different configurations.
LONG STRANGE TRIP
“As the one good-looking guy in the Dead, baby-faced Weir was always what passed for the band’s sex symbol,” the San Francisco Chronicle‘s Joel Selvin wrote in 2004. “He didn’t care about that, either. In fact, he always seemed to secretly relish subverting that image.”
Weir was the subject of the 2014 documentary “The Other One: The Long, Strange Trip of Bob Weir,” which made a case for the Dead’s “other” guitarist as a musical force. Though some Deadheads adopted the trappings of tie-dyed psychedelia, the group itself was deeply attached to American roots music and was credited with bringing experimental improvisation to rock music.
Weir‘s own musical tastes ranged from Chuck Berry to cowboy songs to R&B and reggae.
Thanks to relentless touring, constant musical evolution and a passionate fan base, the Grateful Dead – who existed from 1965 to 1995 – did not have to rely on producing hit records.
“Bob was the wild one,” journalist Blair Jackson wrote in 2012. “He was the rock ‘n’ roller, but also the confident, smooth-voiced narrator on all those dramatic country-rock numbers about desperadoes and fugitives; a perfect fit for those tunes. He was the guy who would screech and scream himself hoarse at the end of the show, whipping us into a dancing frenzy.”
Weir, whose birth name was Robert Hall Parber, was born on October 16, 1947, and raised by adoptive parents in Atherton, California. He did not excel in school, due in part to his undiagnosed dyslexia. In 1964 at age 16, he met Bay Area folk musician Garcia, with whom he formed the Warlocks, who soon morphed into the Grateful Dead.
THE KID
The athletic Weir, who enjoyed football, was the youngest member of the original band and was sometimes referred to as “the kid.”
He was still in high school when he joined up with Garcia, bass guitarist Phil Lesh, organist-vocalist-harmonica player Ron “Pigpen” McKernan and drummer Bill Kreutzmann.
Lesh recalled in his 2005 autobiography that he and Garcia had to make a promise to young Bob‘s mother. “The long and short of it was that if Jerry and I promised to make sure that Bob got to school every day, and that he got home all right after the gigs, she would allow him to remain in the band,” wrote Lesh, who died in October 2024 at age 84. “We somehow convinced her that we would indeed see that he got to school every day. In San Francisco. At 8:00 a.m.”
Eventually Weir moved in to the communal Dead house at 710 Ashbury Street in San Francisco. The group’s first album, “The Grateful Dead,” was released in March 1967.
According to some accounts, Weir was briefly fired from the band in 1968 because his guitar skills were deemed lacking. But he either redoubled his efforts or the others had second thoughts, because he was soon back in. By the time of the band’s two famous 1970 albums, “Workingman’s Dead” and “American Beauty,” Weir was a key contributor.
His 1972 solo album, “Ace,” was a de facto Grateful Dead album that featured Garcia and the others and included well-regarded Weir songs including “Cassidy,” “Black-Throated Wind,” “Mexicali Blues” and “Looks Like Rain.” Many of his best-known songs were co-written with his old school friend, John Perry Barlow, who died in 2018.
As the band’s rhythm guitarist, Weir often played little fills, riffs and figures instead of straight chords. “I derived a lot of what I do on guitar from listening to piano players,” he told GQ magazine in 2019, citing McCoy Tyner’s work with saxophonist John Coltrane. “He would constantly nudge and coax amazing stuff out of Coltrane.”
Even decades after Garcia’s death, Weir never forgot the influence of his old friend. He told GQ that Garcia was still present when Weir played guitar. “I can hear him: ‘Don’t go there. Don’t go there,’ or ‘Go here. Go here,’” Weir said. “And either I listen or I don’t, depending on how I’m feeling. But it’s always ‘How’s old Jerry going to feel about this riff?’ Sometimes I know he’d hate it. But he’d adjust.”
In 2017, Weir was appointed as a United Nations Development Program goodwill ambassador to support the agency’s work to end poverty while fighting climate change.
Weir married Natascha Muenter in 1999. They had two daughters.
“Looking back,” Weir once said, “I guess I have lived an unusual life.”