President Obama once derided those who warned of Iran’s nuclear ambitions as promoting a “drumbeat of war.” It was a curious charge, especially as his negotiated JCPOA deal paved Iran’s legal pathway to nuclear weapons within a decade—despite Tehran’s unabashed calls to utterly destroy an American ally, and referred to the United States as “Satan.”
The phrase “drumbeat of war” is worth pausing over, because its imagery is meant to point a damning finger at generals and war profiteers, when in fact it refers to a beating passion that comes from a variety of sources.
Music itself teaches us the power of the drumbeat. Maurice Ravel’s “Bolero” begins as a whisper—a single snare tapping a faint rhythm—but its relentless pattern swells, layer by layer, into a rapturous explosion. Nothing changes except the intensity. It is a master class in how a simple beat, repeated without interruption, can inflame emotion, tighten resolve, and propel an entire orchestra toward an inevitable climax. Passion grows not from complexity but from persistence.
Cinema took that lesson to the battlefield. Ennio Morricone’s “L’Arena,” born from spaghetti-western duels and later carried into modern war films, shows how percussion can elevate tension into confrontation. Its pounding drums accompanied by trumpets push characters toward conflict; the beat does not merely accompany battle—it summons it. Morricone understood that rhythm can be a weapon, a psychological drumroll that makes violence feel fated long before the first shot is fired.
In American history, drummers were not symbolic ornaments—they were battlefield communicators. The famous “Spirit of ’76” painting captures a young boy and an old man beating time through the fog of revolution. In both the Revolutionary War and the Civil War, the drummer corps relayed commands, kept formation, and lifted morale. Soldiers needed to be adults to enlist, but drummer boys could be barely in their teens. They were not the policymakers of war; they were the ones whose youthful energy pushed men forward into battle.
It is an uncomfortable truth: the drumbeat of war is often carried not by governments or generals but by the young.
We like to imagine youth as the innocent bystanders of conflict—swept up, exploited, or victimized by forces beyond their control. That is often tragically correct. But not always. In the Middle East, teenage Palestinian Arabs have repeatedly been at the center of anti-Jewish violence. During the knife intifada of 2015–2016, most of the attackers were adolescents. Arabic media even gave them a romanticized nickname: Ashbāl al-Quds—the lion cubs of Jerusalem.
They were not pawns in someone else’s narrative. They were active participants in it.
While they were stabbing Israelis in the streets, new legions of drummer boys was forming. The Lions’ Den was inaugurated in the West Bank to unleash dozens of attacks. The United Arab Emirates named a school for children for these young murderers. In the United States, a group calling itself the Palestinian Youth Movement openly glorifies the murderers of October 7 and calls for an intifada on American soil. They harass Jews at universities, shut down bridges, disrupt traffic, and chant for “uprisings”—all under the pretext of activism, and often shielded by tax-exempt organizations like WESPAC.
The drumbeat is steady. It is disciplined. And it is aimed squarely at Jews.
Where does this beat begin? It is not in the Israeli cabinet rooms the media delights in blaming. It begins at UNRWA schools, where generations of children are taught that Jews are colonial invaders with no history in their homeland. It echoes through activist teacher unions in the United States, where “decolonization” rhetoric is repackaged into lesson plans that erase Jewish indigeneity. It thunders at the United Nations, where Muslim-majority blocs and their allies advance resolutions asserting that Jews must be removed from Judea, Samaria, and even parts of Jerusalem “by any means necessary.” The young Palestinian Arab terrorist are then shielded from blame and prosecution by the poorly named “UN Coordinator for Middle East Peace.” Laughable if not such a tragedy.
The young listen. And they march.
At Christmastime, the world hears “The Little Drummer Boy”—a melody of humility. A child with nothing to give but a simple rhythm of devotion for a newborn Jewish baby in Bethlehem. A beat based on innocence and purity.
But the modern Middle East and its Western echo chambers have perverted that image.
Today’s little drummer boys are not offering gentle hymns. They are being raised, trained, and celebrated for a beat of hatred—an indoctrinated cadence that valorizes “martyrs,” delegitimizes Jews, romanticizes violence, and promises glory for those who shed blood.
The world should hear the drumbeat. And it should finally ask: Who handed these children the drums? Who taught them that murder is heroism, that Jews are prey, that violence is virtue?
These teenagers did not invent the rhythm—they are marching to a score composed by UN agencies, radicalized teachers, political opportunists, and ideological arsonists who hide behind the language of “justice” while grooming minors for war.
At Christmas, we think of a young drummer offering a humble gift to a Jewish child in Bethlehem. Alas, today too many young drummers are taught to offer not devotion, but destruction—and the world nods along as if the rhythm were unavoidable. It isn’t.
The beat continues only because we refuse to silence the conductors who train the next generation of drummers to hate.
First One Through 
