DR. LOUIS TURI

http://www.blogtalkradio.com/brightside1/2013/05/19/the-bright-side-show

DR. LOUIS TURI is an accomplished leading Hypnotherapist, Astropsychologist, motivational speaker, and author. He is the personal counselor of many celebrities, including Ivana Trump, Peter Fonda, Gary Busey, Denis Haysbert. and others. He was born and raised in Provence, France. He was influenced by Nostradamus, and spent many years reviving the Seer’s method, which he calls “astropsychology.” He moved to the US in 1984. He is known for the hundreds of accurate predictions he makes. He writes a yearly periodical with all these predictions, called “Moon Power Starguide.” In the 2003, Dr. Turi was recognized by Marquis “Who’s Who in America.” His perceptive and predictive powers are well documented in his books and television appearances. Dr. Turi also leads healing tours to Thailand and France with Destination Tropics Inc. His articles are also featured in Australia’s New Dawn Magazine, UFO Encounter Magazine, and India’s StarTeller, and many other magazines in the US and Europe. Recently Free Spirit Journal and Mystic Pop Magazine and UFO Enigma have picked up his articles on the Dragon and daily forecasts. Dr. Turi has appeared on numerous radio and television programs worldwide, including Coast to Coast with George Noory, the BBC in London, NBC’s “Ancient Mysteries” series, TLC and the Discovery Channel’s “Journal of the Unknown-More Than Human” to name a few. His website is www.drturi.com


Memo! from an old newsletter published May 12, 2013 - ”The current Scorpius Draconis is drastically steering the deadly Plutonic forces in all human beings, including children and yet, my work is perceive as “pseudo-science” only! This Dragon is with us all the way to February 2014 and the dramatic news ahead of you involving children and adults alike won’t be pretty! 24 dead including 9 kids!



Remember knowledge is power, ignorance is evil and if there an EVIL energy you must recognize and control it is indeed Pluto. Now do not fall for a bunch of moronic educated astronomers who; depraved of Cosmic Consciousness see Pluto, the moon and the stars as pretty rocks hanging above the earth for the sake of beauty only. First I would suggest the reader to read Pluto True Power and What The Bleep Do They Know?



Once you acknowledge the planet Pluto inner life and its karmic influence upon humankind you will be ready to assimilate the DO and DON’T - This long list of advises can make the difference between life and death or/and a very costly dramatic experience you and your loved ones certainly do not need.



The DO’s:



· Time for you to dig into deep secrets, Pluto loves bringing back dirt so you will meet the people or get the information you need.

· Time for you to dwell with magic and do some Cabalistic ritual to cleanse your home and spirit from low entities. My Cabalistic Cleansing ritual is a good start. Don’t ask for it unless your are a VIP.

· Time for you to dig into your bank account and see any fraud activity.

· Time for you to get rid of your current credit card and ask for another one

· Stay clear from doing or saying anything wrong to the police, remember the Rodney King dilemma?
Stay clear from Sunday psychics, psychic accidents are very real.


· Stay clear from haunted houses; bad entities could succeed stealing your mind, body and spirit.

· Stay clear from prostitutes an STD or AIDS is lurking around.

· Time for you to visit your departed ones and ask them for guidance and protection.

· Time for you to take serious notice of all your dreams or learn all about a prophetic or imaginative dream.

· Time for you to for you to dig into my long list of newsletter to find what you really need or the answer of a question you may have.

· Time for you to think about your own mortality and write your will.

· Time for you to investigate any form of legal or corporate endeavor.

· Time for you to regenerate your spirit and learn more about witchcraft.

· Time for you to look for ghost’s manifestation.

· Time for you to enjoy a horror movie or sex movie, yes nothing wrong with porn if you are French or if you are normal. God made sex to feel good so we do it often.

· Time for you to tell the truth to anyone but be cautious doing so.

· Time for you to deal with the police if the moon is waxing.

· Time for you to join the Law Enforcement Agency if you UCI endorse such a dangerous job.

· Time for you to clarify your situation in court of a cop did you wrong.

Salim Halali

Born Simon Halali in Algeria, the singer was performing in Paris by the late 1930s. The artsy and intellectual Ben Ghabrit was also an amateur violinist and oud player. He frequented high-toned Gallic salons, where he was admired as the “most Parisian of Muslims.” He hired Halali to perform at the Café Maure de la Mosquée, a North African-style coffeehouse and tearoom still located within the Great Mosque in Paris’s 5th Arrondissement.


If not quite this heroic, Ben Ghabrit did indeed save Halali by issuing him a false certificate of Muslim religion to mislead the Nazis. To back up this document, the name of Halali’s father was even inscribed on a blank headstone in the Muslim cemetery of the Parisian suburb of Bobigny.


In an October reply posted on the website, Stora explained that the film was centered on the true story of Halali as well as that of two little Jewish girls whose rescue by Mosque officials was authentic because Stora had personally interviewed them as part of his previous research..This reply http://www.rue89.com/2011/10/04/lhistorien-benjamin-stora-repond-aux-detracteurs-des-hommes-libres-224831
was written in French and I would so like to hve it translated to English.


In an October reply posted on the website, Stora explained that the film was centered on the true story of Halali as well as that of two little Jewish girls whose rescue by Mosque officials was authentic because Stora had personally interviewed them as part of his previous research. Stora further explained that “Free Men” is a fictional film based on factual incidents, in the manner of Claude Berri’s much loved “Le Vieil Homme et L’enfant,” “The Two of Us”, about an old Frenchman who shelters a Jewish child during the Nazi occupation. Stora concluded the polemic over how many Jewish lives were actually saved by Arabs by reminding readers of the talmudic saying “Whoever saves one life, if it is as if they had saved the whole world.”
http://www.criterion.com/films/757-the-two-of-us
http://www.criterion.com/films/684-le-corbeau

Precisely the same phrase is cited in a 2006 Washington Post article by Robert Satloff, author of “Among the Righteous: Lost Stories From the Holocaust’s Long Reach Into Arab Lands (PublicAffairs, 2006).” In The Washington Post, Satloff stated: “There is strong evidence that the most influential Arab in Europe — Si Kaddour [Ben Ghabrit], the rector of the Great Mosque of Paris — saved as many as 100 Jews by having the mosque’s administrative personnel give them certificates of Muslim identity, with which they could evade arrest and deportation.”



http://www.learntoquestion.com/resources/database/archives/001376.html
Robert Satloff, "The Holocaust's Arab Heroes," Washington Post (October 8, 2006)


The Holocaust's Arab Heroes



By Robert Satloff

Sunday, October 8, 2006; B01



Virtually alone among peoples of the world, Arabs appear to have won a free pass when it comes to denying or minimizing the Holocaust. Hezbollah leader Hasan Nasrallah has declared to his supporters that "Jews invented the legend of the Holocaust." Syrian President Bashar al-Assad recently told an interviewer that he doesn't have "any clue how [Jews] were killed or how many were killed." And Hamas's official Web site labels the Nazi effort to exterminate Jews "an alleged and invented story with no basis."



Such Arab viewpoints are not exceptional. A respected Holocaust research institution recently reported that Egypt, Qatar and Saudi Arabia all promote Holocaust denial and protect Holocaust deniers. The records of the U.S. Holocaust Memorial Museum show that only one Arab leader at or near the highest level of government -- a young prince from a Persian Gulf state -- has ever made an official visit to the museum in its 13-year history. Not a single official textbook or educational program on the Holocaust exists in an Arab country. In Arab media, literature and popular culture, Holocaust denial is pervasive and legitimized.



Yet when Arab leaders and their people deny the Holocaust, they deny their own history as well -- the lost history of the Holocaust in Arab lands. It took me four years of research -- scouring dozens of archives and conducting scores of interviews in 11 countries -- to unearth this history, one that reveals complicity and indifference on the part of some Arabs during the Holocaust, but also heroism on the part of others who took great risks to save Jewish lives.



Neither Yad Vashem, Israel's official memorial to Holocaust victims, nor any other Holocaust memorial has ever recognized an Arab rescuer. It is time for that to change. It is also time for Arabs to recall and embrace these episodes in their history. That may not change the minds of the most radical Arab leaders or populations, but for some it could make the Holocaust a source of pride, worthy of remembrance -- rather than avoidance or denial.



The Holocaust was an Arab story, too. From the beginning of World War II, Nazi plans to persecute and eventually exterminate Jews extended throughout the area that Germany and its allies hoped to conquer. That included a great Arab expanse, from Casablanca to Tripoli and on to Cairo, home to more than half a million Jews.



Though Germany and its allies controlled this region only briefly, they made substantial headway toward their goal. From June 1940 to May 1943, the Nazis, their Vichy French collaborators and their Italian fascist allies applied in Arab lands many of the precursors to the Final Solution. These included not only laws depriving Jews of property, education, livelihood, residence and free movement, but also torture, slave labor, deportation and execution.



There were no death camps, but many thousands of Jews were consigned to more than 100 brutal labor camps, many solely for Jews. Recall Maj. Strasser's warning to Ilsa, the wife of the Czech underground leader, in the 1942 film "Casablanca": "It is possible the French authorities will find a reason to put him in the concentration camp here." Indeed, the Arab lands of Algeria and Morocco were the site of the first concentration camps ever liberated by Allied troops.



About 1 percent of Jews in North Africa (4,000 to 5,000) perished under Axis control in Arab lands, compared with more than half of European Jews. These Jews were lucky to be on the southern shores of the Mediterranean, where the fighting ended relatively early and where boats -- not just cattle cars -- would have been needed to take them to the ovens in Europe. But if U.S. and British troops had not pushed Axis forces from the African continent by May 1943, the Jews of Algeria, Libya, Morocco, Tunisia and perhaps even Egypt and Palestine almost certainly would have met the same fate as those in Europe.



The Arabs in these lands were not too different from Europeans: With war waging around them, most stood by and did nothing; many participated fully and willingly in the persecution of Jews; and a brave few even helped save Jews.



Arab collaborators were everywhere. These included Arab officials conniving against Jews at royal courts, Arab overseers of Jewish work gangs, sadistic Arab guards at Jewish labor camps and Arab interpreters who went house to house with SS officers pointing out where Jews lived. Without the help of local Arabs, the persecution of Jews would have been virtually impossible.



Were Arabs, then under the domination of European colonialists, merely following orders? An interviewer once posed that question to Harry Alexander, a Jew from Leipzig, Germany, who survived a notoriously harsh French labor camp at Djelfa, in the Algerian desert. "No, no, no!" he exploded in reply. "Nobody told them to beat us all the time. Nobody told them to chain us together. Nobody told them to tie us naked to a post and beat us and to hang us by our arms and hose us down, to bury us in the sand so our heads should look up and bash our brains in and urinate on our heads. . . . No, they took this into their own hands and they enjoyed what they did."



But not all Arabs joined with the European-spawned campaign against the Jews. The few who risked their lives to save Jews provide inspiration beyond their numbers.



Arabs welcomed Jews into their homes, guarded Jews' valuables so Germans could not confiscate them, shared with Jews their meager rations and warned Jewish leaders of coming SS raids. The sultan of Morocco and the bey of Tunis provided moral support and, at times, practical help to Jewish subjects. In Vichy-controlled Algiers, mosque preachers gave Friday sermons forbidding believers from serving as conservators of confiscated Jewish property. In the words of Yaacov Zrivy, from a small town near Sfax, Tunisia, "The Arabs watched over the Jews."



I found remarkable stories of rescue, too. In the rolling hills west of Tunis, 60 Jewish internees escaped from an Axis labor camp and banged on the farm door of a man named Si Ali Sakkat, who courageously hid them until liberation by the Allies. In the Tunisian coastal town of Mahdia, a dashing local notable named Khaled Abdelwahhab scooped up several families in the middle of the night and whisked them to his countryside estate to protect one of the women from the predations of a German officer bent on rape.



And there is strong evidence that the most influential Arab in Europe -- Si Kaddour Benghabrit, the rector of the Great Mosque of Paris -- saved as many as 100 Jews by having the mosque's administrative personnel give them certificates of Muslim identity, with which they could evade arrest and deportation. These men, and others, were true heroes.



According to the Koran: "Whoever saves one life, saves the entire world." This passage echoes the Talmud's injunction, "If you save one life, it is as if you have saved the world."



Arabs need to hear these stories -- both of heroes and of villains. They especially need to hear them from their own teachers, preachers and leaders. If they do, they may respond as did that one Arab prince who visited the Holocaust museum. "What we saw today," he commented after his tour, "must help us change evil into good and hate into love and war into peace."



rsatloff@washingtoninstitute.org



Robert Satloff, executive director of the Washington Institute for Near East Policy, is author of "Among the Righteous: Lost Stories from the Holocaust's Long Reach into Arab Lands" (PublicAffairs).


Customer Review




http://www.amazon.com/review/REQOIJAS8EKZ0/ref=ep_new_rv#REQOIJAS8EKZ0

Salim Halali, king of North African music, November 26, 2005

By Daniel J. LavThis review is from: L'album D'or 2 (Audio CD)

Salim Halali is one of the great "undiscovered" gems of all time. I say undiscovered because few in the West know about him. Among the older generation of Israelis of North African descent, though, he is a household name (and rightfully so) and I imagine he's well known in the immigrant communities in France as well. He sang his own magical version of "sha'bi" - popular North African music. It's impossible to hear "Dor biha ya shibani (Danse de la mariee)" or "Ya Qalbi" without being completely swept up in the beautiful simplicity of his music. He was also quite versatile and recorded some classic "hafla" (celebration) songs - "Ila eina zarga" and "Quli 'alash". In addition, he did flamenco- and tango- influenced songs, such as "Nadira" and "Al-Andalusia" which have the ambience of pre-independence nightlife in Tangiers or Tunis.



Unless you're North African, you're not going to understand any of the lyrics. I know literary Arabic fairly well but I still can't understand anything he says. Oh well.



This album is a good complement to vol. 1, but since Salim's repertoire is so varied it's well worth getting everything you can find.



And if anyone can tell me of other musicians who made music similar to Salim's I would love to know. There's Sami Al-Maghribi and a few others, but no one I know of who quite has his flair and talent.








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“







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Boxcar Bertha

Boxcar Bertha
From Wikipedia, the free encyclopediaJump to: navigation, search This stub does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010)


Boxcar Bertha



Theatrical release poster.

Directed by Martin Scorsese

Produced by Roger Corman

Written by Book:

Ben L. Reitman

Screenplay:

Joyce Hooper Corrington

John William Corrington

Starring Barbara Hershey

David Carradine

Barry Primus

Distributed by American International Pictures

Release date(s) June 14, 1972 US release

Running time 88 min

Language English

Budget $600,000



Boxcar Bertha (1972), director Martin Scorsese's second film, is a loose adaptation of Sister of the Road, the fictionalized autobiography of radical and transient Bertha Thompson as written by Ben Reitman. One of producer Roger Corman's famous exploitation films, the movie was made with a modest $600,000 budget and taught Scorsese how to make films quickly and economically.



Plot [edit]Besides the name of the heroine and her freight riding, very little of the film bears any resemblance to the original story written in Sister of the Road. The film tells the story of Bertha Thompson (played by Barbara Hershey) and "Big" Bill Shelly (played by David Carradine), two train robbers and lovers who are caught up in the plight of railroad workers in the American South. When Bertha is implicated in the murder of a wealthy gambler, the pair become fugitives from justice. While this story adheres to certain conventions of exploitation narrative, it also offers a surprisingly frank look at race and gender issues in the 1930s.[citation needed]




Cast [edit]Barbara Hershey as Boxcar Bertha

David Carradine as Big Bill Shelly

Barry Primus as Rake Brown

Bernie Casey as Von Morton

John Carradine as H. Buckram Sartoris

Harry Northup as Harvey Hall

Victor Argo as First McIver

David Osterhout as Second McIver

Ann Morell as Tillie Parr

Marianne Dole as Mrs Mailler

Joe Reynolds as Joe Cox

Grahame Pratt as Emeric Pressburger

'Chicken' Holleman as M. Powell

Note: There aren't any characters in the film called Emeric Pressburger or M. Powell, and there are no such actors as Grahame Pratt or "Chicken" Holleman. Scorsese just added them to the cast list as a tribute to Powell and Pressburger.[citation needed]

Impact

http://en.wikipedia.org/wiki/Impact_(film)#References

(film)From Wikipedia, the free encyclopediaJump to: navigation, search Impact




1949 Theatrical Poster

Directed by Arthur Lubin

Produced by Leo C. Popkin

Written by Jay Dratler

Screenplay by Jay Dratler

Dorothy Davenport

Starring Brian Donlevy

Ella Raines

Charles Coburn

Music by Michel Michelet

Cinematography Ernest Laszlo

Editing by Arthur H. Nadel

Distributed by United Artists

Release date(s) March 20, 1949 (U.S. release)

Running time 111 min

Language English





Home Video DVD coverImpact is a 1949 film noir starring Brian Donlevy and Ella Raines. It was filmed entirely in California and included scenes filmed at San Francisco's Fisherman's Wharf, and other locations around the city. The film was based on a story by film noir writer Jay Dratler.



Contents [hide]

1 Plot
Plot [edit]Millionaire industrialist Walter Williams (Brian Donlevy) has a young wife, Irene (Helen Walker), who is trying to kill him with the help of her young lover, Jim Torrance (Tony Barrett). The plan falls apart when Williams survives a hit on the head from the would-be killer. Attempting to flee the scene in Williams' Packard convertible, Torrance dies in a fiery head-on collision. At this point, it is believed that Williams was the driver.




The dazed Williams ends up in the fictional small town of Larkspur, Idaho. He gets a job as a service station mechanic and falls in love with Marsha (Ella Raines), the station's owner. Meanwhile, the police arrest Williams' wife for his "murder." After Marsha eventually persuades Walter to go back to clear his wife, he is charged with murdering Torrance. Marsha enlists the help of kindly police detective Quincy (Charles Coburn) to prove Walter's innocence.




2 Cast   below

3 Review  below

4 Product placement

5 See also

6 References

7 External links





Plot [edit]Millionaire industrialist Walter Williams (Brian Donlevy) has a young wife, Irene (Helen Walker), who is trying to kill him with the help of her young lover, Jim Torrance (Tony Barrett). The plan falls apart when Williams survives a hit on the head from the would-be killer. Attempting to flee the scene in Williams' Packard convertible, Torrance dies in a fiery head-on collision. At this point, it is believed that Williams was the driver.



The dazed Williams ends up in the fictional small town of Larkspur, Idaho. He gets a job as a service station mechanic and falls in love with Marsha (Ella Raines), the station's owner. Meanwhile, the police arrest Williams' wife for his "murder." After Marsha eventually persuades Walter to go back to clear his wife, he is charged with murdering Torrance. Marsha enlists the help of kindly police detective Quincy (Charles Coburn) to prove Walter's innocence.



Cast [edit]Actor Role

Brian Donlevy Walter Williams

Ella Raines Marsha Peters

Charles Coburn Lt. Tom Quincy

Helen Walker Irene Williams

Tony Barrett Jim Torrance

Anna May Wong Su Lin

Robert Warwick Capt. Callahan

Philip Ahn Ah Sing



This was Anna May Wong's first screen appearance since 1942. Character actor Tom Greenway made his first appearance on screen as an unnamed moving van driver.



Review [edit]Gary W. Tooze, reviewer for www.dvdbeaver.com, praised the B-movie: "As far as 'modest' Film Noirs go, this is one of the best. A simple plot idea is twisted to the max for late 1940s audiences."[1]

directed by Arthur Lubin

USA 1949







As far as 'modest' Film Noirs go, this is one of the best. A simple plot idea is twisted to the max for late 1940's audiences. Millionaire-industrialist, cool as a cucumber-bigshot, Walter Williams (Brian Donlevy) has an unscrupulous young wife (Helen Walker) who is out to see him dead. With the help of her nefarious lover/boyfriend, enlisted for the deed - the plan crumbles to pieces and not only does Williams survive a bash on the noggin, but the would-be culprit wrecks himself up in a fireball with the intended targets auto. Now everyone thinks Williams IS dead. After figuring what has transpired Walter has settled as an auto mechanic in a gentle quiet village leaving his mystery to a dogged, close-to-retirement detective, Lt. Tom Quincy (Charles Coburn). Walter succumbs to 'doing-the-right-thing' and returns with garage owner and boss/girlfriend Ella Raines (Marsha Peters), the sweet and sexy girl-next-door. Trouble is now HE has been charged with murder of the hidden lover, thanks to his wife's abilities to lie. He needs assistance from ex-housekeeper Su Lin (silent screen goddess Anna Mae Wong). Impact is one of those clandestine gems that you love to unravel. A true Noir masterpiece. out of
http://www.amazon.com/dp/0805056998/ref=nosim?tag=dvdbeaver-20&link_code=as3&creativeASIN=0805056998&creative=373489&camp=211189
Somewhere in the Night: Film Noir and the American City [Paperback]


Nicholas Christopher
In elegant and engaging prose, Nicholas Christopher explains how elements like the play of light and shadow, the backdrop of the city's mysterious maze, and the hero's haunting voice-over come together to produce the mood we love in film classics like Double Indemnity, Out of the Past, and Chinatown, as well as neo-noirs like Blade Runner and The Usual Suspects. His insightful analysis of more than 300 films reveals the many cultural archetypes and artistic influences that come into play, focusing on the modern psyche and all of the psychosis, anxiety, and existential dread that lurk just below our society's bright, pop-culture surface. But Somewhere in the Night does more than describe and explain the importance of a truly American art form, it pays homage to it as only a poet could. Christopher is, quite simply, the first author who has imbued a book on film noir with the style, humor, depth, and intelligence that has filled the genre and drawn to it countless fans for more than four decades.

muslims-who-helped-save-french-jews/

http://forward.com/articles/149041/muslims-who-helped-save-french-jews/?p=all

Benjamin Stora, an Algerian-born writer and political activist who turned 61 in December, has for years combined history and self-history as a North African Jew. Most recently he has become embroiled in a controversy about the role that Muslims may have played in saving French Jews during the Holocaust.




As adviser for the acclaimed French film “Free Men” (“Les Hommes Libres”), the prolific Stora was responsible for its historical accuracy. Released in Paris in the fall, and set for American arrival in the spring of 2012, “Free Men” tells how, in German-occupied Paris during World War II, a young Algerian immigrant unexpectedly joins the anti-Nazi resistance after becoming friends with a Jewish cafe singer. Co-written and directed by Ismaël Ferroukhi, a Frenchman born in Morocco, “Free Men” is inspired by real-life episodes in which Si Kaddour Ben Ghabrit, an Algerian-born high-society lover of the arts who served as the rector of the Great Mosque of Paris, managed to save the life of Jewish singer Salim Halali, who would later become a well-known performer of North African music.

Born Simon Halali in Algeria, the singer was performing in Paris by the late 1930s. The artsy and intellectual Ben Ghabrit was also an amateur violinist and oud player. He frequented high-toned Gallic salons, where he was admired as the “most Parisian of Muslims.” He hired Halali to perform at the Café Maure de la Mosquée, a North African-style coffeehouse and tearoom still located within the Great Mosque in Paris’s 5th Arrondissement.


Ben Ghabrit, although required to collaborate with the Nazi-controlled French Vichy government, was also a close friend of Mohammed V, King of Morocco. The latter monarch’s laudable efforts to protect his Jewish subjects during the Second World War have led to his name, among others, currently being bruited about to be named one of the “Righteous Among the Nations,” an initiative that Shimon Peres reportedly supports. As Eva Weisel pointed out in a December 28 Op-Ed in The New York Times, getting Yad Vashem to grant the honorific to a Muslim seems to be unusually difficult.


If not quite this heroic, Ben Ghabrit did indeed save Halali by issuing him a false certificate of Muslim religion to mislead the Nazis. To back up this document, the name of Halali’s father was even inscribed on a blank headstone in the Muslim cemetery of the Parisian suburb of Bobigny.




“Free Men” cites other cases of such false certificates being issued, although the full number has been a matter of dispute, with undocumented estimates ranging from more than 1,500 to a scant few, depending on the account. After “Free Men” opened, a number of articles on the news and culture website rue89.com alleged that the film exaggerated the number of such salvations. The articles also implied that the filmmakers painted a misleading portrait of solidarity between Arabs and Jews.



In an October reply posted on the website, Stora explained that the film was centered on the true story of Halali as well as that of two little Jewish girls whose rescue by Mosque officials was authentic because Stora had personally interviewed them as part of his previous research. Stora further explained that “Free Men” is a fictional film based on factual incidents, in the manner of Claude Berri’s much loved “Le Vieil Homme et L’enfant,” “The Two of Us”, about an old Frenchman who shelters a Jewish child during the Nazi occupation. Stora concluded the polemic over how many Jewish lives were actually saved by Arabs by reminding readers of the talmudic saying “Whoever saves one life, if it is as if they had saved the whole world.”


Precisely the same phrase is cited in a 2006 Washington Post article by Robert Satloff, author of “Among the Righteous: Lost Stories From the Holocaust’s Long Reach Into Arab Lands (PublicAffairs, 2006).” In The Washington Post, Satloff stated: “There is strong evidence that the most influential Arab in Europe — Si Kaddour [Ben Ghabrit], the rector of the Great Mosque of Paris — saved as many as 100 Jews by having the mosque’s administrative personnel give them certificates of Muslim identity, with which they could evade arrest and deportation.”




Whatever the actual numbers may be, equally pertinent both to history and to its fictional filming in “Free Men” is to understand what would motivate an impoverished Algerian immigrant, psychologically and emotionally, to fight Nazis in defense of Jews. Here, Stora’s professional and life expertise is invaluable, as recounted in his “self-history,” “Three Exiles: Algerian Jews” (“Les Trois Exils, Juifs d’Algérie”), reprinted this past spring by Pluriel.



In “Three Exiles” and other works, Stora uses his own family history as a springboard for understanding the historical fate of North Africans — more specifically Algerians, and even more specifically, Algerian Jews. Stora ranges from accounts of brutal anti-Semitic oppression to sweet memories of Jewish cultural delights in Constantine, Algeria, such as the Sephardic culinary wonder known as la dafina, the slow-cooked Sabbath-evening dish that is sometimes inadequately described as a North African cholent; in Constantine, la dafina was a patiently simmered concoction of beef, potatoes, chickpeas, eggs and spinach, among other ingredients.



In 1962, Stora and his parents left such delicacies behind after his homeland’s independence from France was declared. They settled in France, where he still lives in the working-class Paris suburb of Asnières-sur-Seine. At first feeling estranged in his new surroundings, Stora found context and purpose during Paris’s 1968 student revolution, when he became a Trotskyite activist alongside such budding politicians as Lionel Jospin, who would later serve as France’s prime minister and as the Socialist Party candidate for his country’s presidency. Stora’s own political achievements were humbler, although they did alienate his father, a traditional-minded semolina salesman from Algeria, and his mother, whose only dream was for her son to embrace the stable career of dentistry.

Instead, Stora acquired the historical and social acumen to appreciate working-class sufferings and to see why in Paris, circa 1940, some Algerian immigrant laborers were ardent anti-fascists and devoted supporters of Léon Blum’s socialist Front Populaire. As ill-treated immigrants, some Arabs preferred to side with persecuted working-class Jews rather than haughty Nazi propagandists within France’s Vichy government. In a comparable way, North African Jews enjoyed the music and culture on offer at the Paris Mosque, where they could be sure to avoid pork products, elsewhere a French culinary staple, in any meals served. Stora notes that even today, we can encounter French Jews who during wartime requested to be documented as Muslims at the Paris Mosque in order to save their families.




On the human level and the cinematic scale of “Free Men,” Stora’s judgment has been wholly validated. And in the historical context, Satloff writes in “Among the Righteous” that albeit in very modest numbers, it can be demonstrated that during “Nazi, Vichy, and Fascist persecution of Jews in Arab lands, and in every place that it occurred, Arabs helped Jews.”



When the first volume of Stora’s “The Algerian War Seen by Algerians,” (“La Guerre d’Algérie Vue par les Algériens”) appeared in 2007 from Les Éditions Denoël, it was praised by Le Monde for “offering a viewpoint, in the cinematographic sense of the word, which is both original and up-to-date.” This same cinematographic sensibility made it only a matter of time before Stora’s talents hit the big screen. He was historical adviser for the 1992 French film “Indochine” which won the Oscar for best foreign film, and he wrote the documentary “The Algerian Years,” broadcast by France 2 television in 1991. In “Les Hommes Libres,” Stora has found a subject of unprecedented closeness to his heart and the essence of his work as a historian.



Benjamin Ivry is a frequent contributor to the Forward.







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Salim Halali

http://www.youtube.com/artist/salim-halali

Note the film "FREE MEN" where his vocal reproducings of Andalusian music is simulated.


http://www.youtube.com/watch?v=DWn8EFE5VDg

Long playlist   

http://www.roxtag.com/Home.aspx?tag=D6u1SkwoIg-y8LS1xFKz-g



Andalusian Mahwwal singer and dabukkah master

He deliberately escaped fame which dogged him

Passed away 2005 Cannes  in deliberate anonymity

A sephardic Jew protected in the Mosque of Paris during the Nazi infestation of Paris WWII. Protected by the rector of that Mosque   .SEE my other post on this righteous saver of lives,  Si Kaddour Ben Gabrit

Arab-Andalusian music

http://archive.org/details/OrchestraOfTheTetouanConservatory_SahraLasamir_BasitRasdDayl

Orchestra Of The Tetouan Conservatory - Sahra Lasamir 1970s - BasitRasdDayl


This is a collection of Arab-Andalusian music recordings which were performed at a soiree in the city of Tetouan (Morocco) in the 1970s.


The recordings are specifically from mizan "basit" of the nawba "rasd dayl".


This audio is part of the collection: Community Audio


It also belongs to collection:

Arabic




Artist/Composer: Orchestra Of The Tetouan Conservatory




I have grown in appreciation and grown thereby of Andalusian music . Note the dance scene and sequence of  the film "Free Men"