The Story of Sabotage – Roger Waters and Palestinian Hope
It’s never comfortable to talk disagreeably about someone. As a mother, a teacher of young children and independent producer of documentary films, I always like to uplift and champion those who struggle through issues as a means to provide a sense of hope and healing. But, there are times in life that you need to come clean with uncomfortable truths to ensure you are not living a comfortably numb life, as Roger Waters has been singing about for 47 years.
So, I’m shooting from the hip on this one, in the hopes that this story will create enough of a ruckus to produce an apology from Roger Waters and Mona Miari to a nice old Jewish man who is currently living in a homeless shelter in Los Angeles. He was utterly sabotaged by Roger Waters and Mona Miari. I witnessed it all. This is written to solicit an apology from Roger and Mona and to do what’s right.
In December of 2024, Roger and Mona made outrageous claims and accusations about an old Jewish man/filmmaker who literally created and advocated the project they are to release next month – a rerelease of Comfortably Number with an Arabic mix. Their accusations impacted me, too, as well as a number of Gazan artists and filmmakers, literally thwarting ten years worth of work to tell the Gazan story. Roger and Mona should be ashamed of themselves.
The nice old Jewish man is named Maurice Jacobson. He’s been an independent filmmaker for years, always financially extending himself on projects that are steeped in human rights and justice issues. He got involved with Gaza shortly after a heart attack some 12 years ago, a passion project to help share an injustice against people he had grown to respect and understand. He traveled to Gaza twice, lived there, became collaborators with Gazan artists and journalists, one of whom he considers nothing less than family.
I met him during a screening in late December 2023 in Marin County. I recognized an old guy trying to do the right thing but taking on too much by himself. Being in a unique situation, as I was leaving my apartment to tend to my aging parents, I figured I could help him get organized, find editors and funders and finish a film he called We All Live in Gaza (www.we-gaza.com). He had incredible footage, plus insiders who carried integrity and skill, and were dealing with the most horrific slaughtering we all witnessed on our phones. His film needed shaping, lots of editing, He was on track to create a powerhouse project.
Maurice and I were in New York in February/March 2024 building a team. But I had to return to my father who was preparing for radiation treatment. I was the sole caretaker who could drive him to the hospital every day for two weeks. I set Maurice up with an Arabic translator who also happened to be Palestinian. Bless her heart, she took Maurice out on the town one evening, and they attended a concert with Mona Miari. He called me right away and said that her music needed to be in the film.
Maurice is a dreamer. He thinks big even if his pocketbook isn’t. I keep telling him he has an angel on his shoulder, given every time he’s broke, somehow something comes through and he keeps plugging away on his film or art gallery presentations by the stunning artists he met in Gaza. Many of them are women. And he champions them. He was responsible for bridging the relationship between the artists of Gaza and Rebuilding Alliance, which gave many of the artists income as well as support.
After our trip to New York and working with filmmakers inside Gaza and other editors, his funding had run dry. We had to put the project on hold. He went back to driving for UBER, and I went back to working with children. I had often told Maurice he’s got angels looking out for him. His project is good, but just not complete. Suddenly it seemd one of those angels arrived, with the name Roger Waters.
Getting a big name like his plus funding from him seemed like a blessing. With no contract, just what we all believed was trust and solidarity for a common cause, Maurice shared the vision with him, asked if he could use his music studio. Maurice wanted to fly Mona Miari from France to Los Angeles to record an Arabic version of Comfortably Numb. It was completely his vision.
“Maurice, there are so many local singers who could do this. Why Mona? We don’t have the budget if you want this film completed.” I repeatedly said to him, sometimes feeling exhausted that his big ideas just kept getting bigger.
“She’s the one,” he smiled. He went on and on about the beauty of her voice.
In November of 2024, I flew to Los Angeles from San Francisco, after lining up support for my parents while I was gone, worried all the time that my dad would have another situation that would send us back to the hospital. My poor mother was filled with worry, and had been leaning on me for support. I also was missing time with my son, his final year of high school, and the guilt was tremendous. But, perhaps, like Maurice, I had big ideas for peace in the world. I could not stand by comfortably numb while my tax dollars fed an atrocious slaughter of men, women and children without a diplomat’s voice, such as Jimmy Carter or former Senator George Mitchell. Where are our peacekeepers?
We picked up Mona at the airport. Maurice and I stayed in a cheap hostel, as we always did when traveling, and put her up in a nice room. We were booked at the music studio in two days and that’s when the dream hit reality. And it hit hard.
Roger Waters emailed demanding a zoom meeting with his producers. We all got online and it was clear something didn’t align and I wasn’t mentally prepared for what felt like an abusive, dominating and controlling tone instead of what I believed should have been a collaborative, supporting intention. He kept calling me Margaret, which pissed me off right away. There was no respect.
“I want a demo tape. What are you doing!” Etc. etc. This also stunned Maurice who had been completely and utterly transparent.
After the call Maurice, Mona and I talked. Mona is young. And to her credit, she took the opportunity in a positive way. She hustled to find a studio to record a demo tape. Meanwhile our four day plan turned into a two week endeavor, plus expenses which completely broke us. Maurice stayed in a hostel and set Mona up in a nice Airbnb. Mona had a friend come out from New York, which Maurice paid for, belieeving she could help with the project. I flew back to San Francisco, to save money, recogning that the last of our funds were going to go to Mona, as we were paying for her demo tape. Then things turned very sour.
I got a string of calls from Mona, crying her eyes out. A distrust had grown, or perhaps an agenda. Mona was accusing Maurice of all sorts of things. . She not only started directly communicating with Roger Waters, but she began to create sabotaging stories about Maurice, including the idea that he wouldn’t pay her or book her flight back to New York. I tried to be the calm voice and ensured her not to worry. I knew Maurice would not do that, but Maurice was now beginning to lose trust in her. Was she going to deliver a demo tape that he’s paying her a big daily chunk of money to produce? Everything spun quickly out of control. With great reluctance, Mona did deliver the demo tape late at night, the day before we were to deliver it to Roger, as he had asked. But the damage had been done.
The following morning I met with Maurice. “Did you hear the demo?” he asked me. I had. And it was truly stunning, a kind of power that literally goes into your bones to make you feel something. But still, the ugly behavior of her and Roger had also played out. I wanted to know how Maurice was feeling about that, as it was clear Maurice was out of the game.
“It was a painful birth,” he said smiling.
We got a letter from Roger Waters accusing Maurice of all sorts of impropriety, including using Israeli music for the film, cheating the Gazan artists and worse. Mona reached out to all the artists Maurice had championed over the last ten years with art shows, exhibits and film projects, efforts that often left him broke. They turned against us and it took a long time to re establish trust. The accusations were totally untrue and written so utterly nasty. The fact was, Mona sabotaged us in order to go for the big cheese, Roger Waters. And she did. And likely Roger saw opportunity himself.
I love music and I even like the song Comfortably Numb. Mona’s contribution to the new remix is incredible, and I wish her a stunning career. However, I will never live comfortably numb without speaking out and demanding a public apology from both Roger Waters and Mona Miari to both Maurice Jabobson and myself.
And I demand Roger Waters and Mona Miari credit Mauice Jacobson, a nice old Jewish guy who has championed the Gazan artists, befriended the Gazan people, spoke lovingly about them in a way that gives us all hope for co existence. Maurice is currently living in a homeless shelter in Los Angeles after losing the little bit that he had, such as a car and storage unit. He is still making videos about Gaza. He is also championing homeless artists in Los Angeles. I’m back working with children trying to recoup a year of making peanuts to champion that dream that Maurice had. . . peaceful co existence, respect and love for the arts and a humanity.
Maurice and I ultimately completed a short documentary, nevertheless, to honor the funding we did receive. It championed a true peacekeeper, US President Jimmy Carter. The film received an award in Ireland, screening in several other nations, including Cambodia. A festival in Tehran has also asked for it. The project is leading to a new endeavor . . . a statue of US President Jimmy Carter in San Francisco, currently endorsed by Cambodia and China. Other nations will be invited to participate, including the 50 who attended the 1945 Conference of San Francisco to establish peace in the form or The United Nations. Maybe it’s time we celebrate true figures who understood diplomacy, respect and a peaceful Middle East region.
I keep telling Maurice he’s got an angel on his shoulder, as he just never gives up believing in peace and the power of art to heal.
And, Roger and Mona. . . it’s time to come clean. It’s time to apologize and show the world what true integrity, kindness and respect actually look like. Unless, of course, you’re comfortably numb.









