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User: israeliradio |
Video of Rabin's murder as never seen before http://israelradio.lihi.co.il Twelve years after, new technology enables viewers to get a clear view of what transpired on Nov. 4th, 1995: The three bullets that changed history "On November 4th, 1995, the prime minister was murdered." This was the headline we awoke to, as if to a nightmare. The three bullets fired at the prime minister during the peace rally changed the face of Israel forever. Each of us harbors that moment within us, the moment we heard of the murder at the square. Twelve years on, the enhanced video now clearly shows the moments of the murder. It was 9:40 pm, and the security personnel accompanied the participants of the peace rally down the back stairs of the municipality building on the way to the prime minister's car. At first, Foreign Minister Shimon Peres descended the staircase waving to the crowd with a smile. The prime minister descended next, with an assured step. Suddenly out of the darkness the image appeared. The door of the prime minister's car had already been opened. Rabin approached the back seat; the first shot was sounded, then another and another. Yitzhak Rabin's last steps were captured by the lens of Ronny Kempler's camera. Now, thanks to new technology, for the first time viewers can see exactly what happened at the square on that night: The unbearable ease in which the prime minister was murdered from point-blank range. Tags: israel rabin |
User: top526 |
Itzhak Rabin's day of death A piece about Itzhak Rabin's day just before he was murdered. Tags: Itzhak Rabin יצחק רבין ישראל israel |
User: top526 |
Rabin's conspiracy David rotshtain and barry chamish try to convince people at the Itzhak Rabin's memorial that he was killed by someone else than Yigal Amir. Tags: barry chamish בארי חמיש itzhak rabin יצחק רבין קונספירציה |
User: davidrutstein |
Yitzhak Rabin's Driver's Daughter Sees the Assassination Interview on Brittish TV shows a cute 20 years old describe her friends trauma after seeing Yitzhak Rabin shot in cold blood in the limousine. Full story at http://www.shimonperes.net/davidrutstein.htm Tags: רצח רבין rabin assassination murder |
User: fiestahere |
Noa Dori 'Shir lashalom' (song for peace)@Itzhak Rabin's Noa Dori sings Shir lashalom (song for peace)the song the late Israeli's prime minister, Itzhak Rabin sang along before he got shot and later died Tags: university of judaism rabin dennis prager noa dori peace song for shir lashalom memorial service prim |
User: dparad22 |
Rabin's Chicken Dance Contracts Professor Rabin at Syracuse College of Law performs the infamous "Chicken Dance." Tags: Rabin Contracts Syracuse Law |
User: Dannyamir |
Jeanne Rabin's Ensemble - Listen To The Falling Rain The girls singing Falling Rain, in the rain, near Salzburg, Austria. Tags: music listen to the falling rain jeanne rabin ensemble |
User: fiestahere |
Noa Dori Hatikva-Israel's national anthem@Rabin's tribute Noa Dori sings israel's national anthem at Rabin's memorial ceremony. Tags: dennis prager itzhak rabin memorial ofra haza celine dion sara brightman jews hebrew israel phil blazer acoust |
User: annu51 |
rabin's pick up lines Rabin **trying** to pick danu up while at vas's house. Tags: rabin |
User: dparad22 |
Rabin's Final Song Syracuse College of Law Professor Rabin sings his final song in Contracts. Tags: Syracuse University College Law Professo Rabi Song Contrct |
User: Dannyamir |
Jeanne Rabin's Ensemble & The Big Zbang "It Takes Two To Swing" - joint performance of Jeanne Rabin's Ensemble and Sasha Kantsberg's Big Zbang. (Filmed and edited by Tammy Shaham) Tags: jeanne rabin ensemble sasha kantsberg big zbang band jazz pop broadway musicals swing tammy shaham |
User: eyaloz |
Jeanne Rabin's Ensemble - I feel pretty - June 21st 2008 show Part of our show Tags: feel pretty Jeanne Rabin's Ensemble |
User: medicyehudi |
Rabin's Final Walk This is the path that Prime Minister of Israel, Yitzhak Rabin in the moments that preceded his assasination. Tags: Rabin's Final Walk |
User: 250gmnet |
Rabin's Graduation rabin's graduation ceremony at UTS Tags: rabin graduation rujuna UTS engineering |
User: fiestahere |
Noa Dori &Dennis Prager 'Hatikva' @Rabin's tribute Noa Dori sings israel's national anthem at Rabin's memorial ceremony w dennis prager. Tags: dennis prager itzhak rabin memorial ofra haza celine dion sara brightman jews hebrew israel phil blazer acoust |
User: 85scampi |
The Plaza Record. Betcha Life I Do. Twelve Cavaliers.1933 "Betcha' Life I Do" The Twelve Cavaliers (Oscar Rabin & His Romany Band).1933. The Plaza Record was manufactured by the British Homophone Company whose most famous label was probably the Sterno record. Like Crystalate they offered good quality recording at low prices on labels such as the '4in1', 'Solex' and 'Homochord'. The Sound Wave Gramophone trade journal in 1933 was inviting record dealers to 'beat the large multiple stores at their own game' and to 'stock the Plaza 6d record'.The popularity of Woolworths with their large selling Eclipse label was evidently in mind here.The same advertisement gave the following prices Sterno at 1s and 6d, Homochord at 1 shilling (both 10 inch) and the Plaza (8inch) for sixpence. British Homophone was eventually bought out by Decca in 1935 and the labels were withdrawn from sale. I love these little humble Plaza's especially when it is noted that the bands behind these pseudonyms such as 'The Twelve Cavaliers' and 'Dick Rose & His Band' are actually musicians of the highest calibre of Charlie Kunz & The Casani Club Orchestra, Sydney Lipton & His Grosvenor House Band and as on this record Oscar Rabin's Band. Oscar Rabin's early thirties records are very good indeed and probably greatly overlooked, Lets have a re-issue someone?. The last one I recall was on the Burlington L.P series in the late 1980's. This was recorded on October 12th 1933 with vocal by Oscar Rabin stalwart Harry Davis. Tags: British Homophone Co. 78rpm Plaza Record 1933 Oscar Rabin's Band. |
User: MichaelRabinMemoriam |
Michael Rabin - Wieniawski Concerto No.1 Part 1/1 Vn Concerto No.1 in F sharp minor, Op.14: I.Allegro moderato Michael Rabin and the London Philharmonia Conducted by Sir Adrian Boult Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair. Tags: rabin heifetz menuhin elman gitlis haendel stern wieniawski paganini love world music classical alternative |
User: BourgeoisBuffoon |
Frostbite by Trevor Rabin A quick vid I made joining Thomas Kinkade's beautiful artwork with Trevor Rabin's modern-day classical composition. I've followed Rabin since his initial stint with Yes and the '90125' recording. I don't think I've ever heard anything from him I don't enjoy. Try 1989's 'Can't Look Away' solo album and you'll probably be hooked. This song was from the 'Jack Frost' soundtrack featuring Michael Keaton. I didn't see a rendition of it on YouTube so I figured I'd put it up for someone else to enjoy. So here it is... Tags: Trevor Rabin Thomas Kinkade Frostbite |
User: MichaelRabinMemoriam |
Michael Rabin plays Tzigane by Ravel Conducted by Donald Voorhees Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Tags: rabin heifetz menuhin elman gitlis haendel stern ravel gypsy cigany love classical blue |
User: MichaelRabinMemoriam |
Michael Rabin plays the Finale of Bruch Violin Concerto No.1 Michael Rabin and the Bell Telephone Houer Orchestra Conducted by Donald Voorhees Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Tags: rabin bruch finale violin concerto heifetz perlman stern kreisler elman hassid gitlis classical |
User: GuyanWei |
Guyan Wei - Advant Children 3 My third Final Fantasy VII - Advent Children Clip. I used Trevor Rabin's "Boost Me", the song from "Gone in 60 Seconds" soundtrack. Once again, Windows Movie Maker - Darn Pixels hehehe Tags: Guyan Wei Final Fantasy VII Seven FFVII FF7 Advent Children Gone Seconds Trevor Rabin Boost AMV Anime Music Video Cloud |
User: MichaelRabinMemoriam |
Michael Rabin - Mendelsshon Concerto -Allegro Part1 Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Tags: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical |
User: MichaelRabinMemoriam |
Michael Rabin - 18th variation - Theme of Paganini Michael Rabin and the Bell Telephone Houer Orchestra Conducted by Donald Voorhees Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Tags: rabin rhapsody theme rachmaninov perlman stern kreisler elman hassid gitlis |
User: MichaelRabinMemoriam |
Michael Rabin - Chopin arr. Milstein "Nocturne" Michael Rabin and the Bell Telephone Houer Orchestra Conducted by Donald Voorhees Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Tags: rabin chopin nocturne horowitz rubinstein heifetz perlman stern kreisler elman hassid gitlis |
User: marinata35 |
Yitzhak Rabin - murderer of Altalena ship MURDERING FELLOW JEWS - THE ALTALENA AFFAIR - One of Rabin's proudest military moments came on June 22, 1948. Menachem Begin's Irgun, another Israeli military group, was in the midst of negotiating a pact with David Ben-Gurion under which Irgun would join the new Israeli Defense Force. Meanwhile, the Irgun had loaded a ship, the Altalena, with weapons and Jewish fighters (many of them Holocaust survivors) to join the IDF. Ben-Gurion ordered that the Altalena be fired upon. Rabin carried out his orders to the letter. Later, Rabin bragged how he had "bumped them off on the deck of the burning ship and while they were trying to swim to safety." Sixteen Jews were killed, many shot while swimming to shore. Tags: Britain Palestine Israel |
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