Seth Mandel: The ‘America First’ Crew’s Complete Disregard for American Lives
As an American, I have a hard time shrugging this off. As an American, I find it increasingly difficult to even understand the psychology of those who can shrug it off. And as an American, I find it incomprehensible that the defenders of these innocent American victims are accused of being disloyal Americans.John Ondrasik: My 2001 Hit Song, ‘Superman,’ Is for the Hostages in Gaza
“They were schoolyard bullies,” Trump said of Iran this morning. “But now they’re not bullies anymore.” He specifically mentioned the Iranians’ motto of “Death to America,” which was also their battle plan and organizing program. He seemed pleased that there were finally consequences for Iran’s long war on the United States, that there is a price to be paid for all Iran’s mischief.
And here is the most interesting part: The price Iran has paid has not, in fact, been steep or cruel and unusual. In the history of mankind, no nation’s civilians have been safer while an enemy state controls their airspace during a live war. There’s nothing really to even compare it to. We are watching something no one has ever watched before. Israel, in response to Iran’s pursuit of the destruction of the Jewish people, not to mention its role in the worst daylong mass murder of Jews since the Holocaust, took control of Iran’s airspace and used that to patiently eliminate the sources of the Iranian regime’s power to oppress its people.
Trump supports this. If it feels to the keyboard warriors of isolationism like there is a degree of pressure to support these strikes, that is because those who are comfortable with Iranian nuclear acquisition, which would grant the regime full immunity from all its ongoing crimes against America and Americans, are in the minority.
It is also because they must intuitively question, on some level, their own decision to draw the line in the sand right here. When Trump ordered the elimination of ISIS leader Abu Bakr al-Baghdadi in Syria in 2019, the handwringing from his MAGA supporters was muted. The same is true for the assassination of Qasem Soleimani, the Iranian terror general in charge of a global campaign to murder Americans. It was not cause for much in the way of hysterical warnings of apocalyptic warmongering.
The difference this time, of course, is Israel’s direct involvement. Most Americans seem to think this is a good thing—we have an allied nation willing to sacrifice to keep our common enemies down—but a few are uncomfortable for reasons they do not try very hard to disguise.
Whatever “America First” means, surely it ought not to mean a coldblooded heartlessness toward the victims of totalitarian terror, many of whom are Americans themselves. Nor should it mean an instinctive suspicion of anyone who seeks the defeat of America’s enemies.
I turned to “Superman,” hoping to remind the world that the hostages are people, not statistics. They are brothers and sisters, sons and daughters, husbands and wives. Music would bring out this shared humanity after the Jewish people experienced their worst trauma since the Holocaust, just like music uplifted an America shattered by 9/11.Rigged, Corrupt, and False: The UN Just Accused Israel of “Extermination"
“Superman” is a message of hope, solidarity and unity. Yet the unity of 2001 feels elusive. In response to my compassion for the hostages, I’ve been called a sellout and propagandist. For whom or what, I don’t know. I’ve been told I should “stick to music.” My new video with Alon’s family—shared by hostage families, supported by human-rights advocates, played in synagogues and town halls—triggered an onslaught of online vitriol.
“Superman” isn’t political. It’s emotional. It’s all of us. I can’t understand how connecting it to the obvious cause of Israeli hostages unleashed a torrent of hate from people who have never listened to the lyrics, never watched the video, and never cared to understand what this moment is truly about. To them, taking a stand—any stand—means choosing sides in someone else’s war. Yet the hostages aren’t political. This is a basic moral issue.
I’ve written political music before. When I released “Blood on My Hands” in 2021, condemning the botched U.S. withdrawal from Afghanistan, I expected blowback. I got it. But I accepted that because the song was overtly political. It pointed fingers, demanded accountability. It became the voice for veterans of the war in Afghanistan who were gutted by the withdrawal. Similarly, I wrote “Can One Man Save the World” to support Ukraine, and then recorded a video for it with a Ukrainian orchestra in the bombed-out Antonov airport. I chose a side, and again expected the criticism I received.
Yet there is no way to pick a side over Oct. 7. The horrors of that day stand alone. My critics believe that expressing empathy for one group means you must hate another. You have to either be “oppressor” or “oppressed,” though I’m not sure who Alon Ohel is oppressing from the tunnels of Gaza. In the face of these absurd labels, there’s no room for conversation, let alone reality.
When did we lose the ability to say “I see suffering, and I choose to respond with compassion”? How can anyone be reluctant to say a simple phrase like “Free the Hostages”? Would anyone prefer they stay put, starving and abused underground? When did we become so tribal that Americans could label a song dangerous, divisive or, worse, genocidal, simply because it refuses to dehumanize one side over the other?
Music is where we should be able to meet honestly without enmity. As I sing in “Superman,” I’m not naive. I know a song can’t stop a war, but it can start a conversation. It can open a heart. It can remind us that behind every headline is a human being who bleeds and loves and cries just like we do.
The UN’s latest accusation of “extermination” against Israel is not just false—it’s the culmination of a rigged, corrupt process designed to shield terrorists and slander the Jewish state.
International law was created to protect humanity from horrors like genocide, mass murder, and systemic oppression. But what happens when those very laws are hijacked—used not to protect the innocent, but to cover for terrorists and smear their victims?
Welcome to the world of the UN Human Rights Council’s Commission of Inquiry on Israel, chaired by Navi Pillay. The COI’s latest June 2025 report accuses Israel of the crime of extermination—a grotesque inversion of reality that exposes the entire commission for what it is: propaganda in legal drag. The UN’s Permanent Inquisition
Unlike past UN inquiries that had defined time frames, this Commission of Inquiry is permanent. Established after the 2021 Hamas-Israel war, it was designed to create an endless cycle of condemnation against Israel, regardless of facts. The COI doesn’t just investigate events—it investigates Israel’s existence.
Its leadership? Activists pretending to be in judges’ robes.
Navi Pillay has long lobbied for sanctions against Israel and supports the antisemitic BDS movement.
Miloon Kothari publicly ranted about “the Jewish lobby,” comments so outrageous even the U.S. condemned them as “antisemitic, inappropriate, and corrosive.”
Chris Sidoti mocked accusations of antisemitism, claiming that “Jews throw around accusations of antisemitism like rice at a wedding.”
This is not impartiality. This is a rigged trial. The methodology behind the COI's latest report has raised significant concerns, particularly regarding its lack of transparency. The report relies heavily on anonymous testimony and unverifiable sources, with little to no forensic evidence to back up its claims.
