Travel Reference
In-Depth Information
Shmulik Kraus was one of the fi rst musicians to work with Arik Einstein. He was the main
creative force behind the High Windows trio, of which Einstein was also a member. In 1970,
Kraus formed another group, Cape of Good Hope, whose song “Ballad to a Kibbutz Leaver”—
a mockery of kibbutz life, previously the symbol of Israeli-ness, and an appraisal of city life —
symbolized the rebellion of Israeli rock.
Kaveret (Beehive) was an original, creative group unlike any that had previously existed
in Israel. The seven members wrote their own songs and even produced their own records.
The sales fi gures of their three records from 1973 to 1975 were unprecedented in Israel. Their
original creations consisted of catchy tunes, Beatles-like harmonies, and sophisticated sketches
with clever nonsensical humor. They occasionally used Eastern melodies and instruments to
accompany sarcastic lyrics that exposed prominent taboos in Israeli society. Lines from their
songs are still often quoted.
Despite these early stars, Israeli rock remained far from dominant in Israeli music as late
as 1980, with traditional folk songs still generally considered more Israeli than anything else.
Popular Song Festivals
Beginning in 1960 and continuing for four decades, Kol Israel (later the Israeli Broadcasting
Authority) sponsored a song contest to encourage new Hebrew songs. By the early 1970s, this
event, generally called the Song Festival, had become the model for many other song contests
in the country. These festivals had a huge impact on music, especially in the 1970s and 1980s,
giving new performers and writers a venue for introducing new songs and a way to build their
careers.
Since the original festival became mainstream by the 1970s, the music world pressed for
additional festivals, one focusing on music more popular among Israelis of Middle Eastern
origin and another on religious music. These festivals became two additional dimensions of
authentic Israeli music. Private entrepreneurs also began children's song festivals, which were
very successful. All these festivals became national events, often broadcast live on radio and
television. Many of the new songs, especially the contest winners, became hits, and the albums
became commercial successes.
Israeli Pop/Rock
By the mid-1980s, local pop/rock had become the dominant Israeli music. The sociologist
Motti Regev argues that during this time, while folk and Middle East - oriented music were
still popular, it was rock that spoke to the younger generation and refl ected its desire to see
Israel as an integral part of contemporary Western society. American and British innovations
as well as Mediterranean music were all signifi cant infl uences shaping this Israeli music. Rus-
sian, religious, and Arab infl uences were less prominent infl uences. Two of the biggest music
companies — CBS-Israel and Hed Arzi — concluded that there was a strong market for locally
produced rock.
As companies offered more and more contracts to local rock musicians and promoted
their work, the industry became more and more successful. A notable example of success is
Yehuda Poliker, whose roots were in Greek music. His career with his band Benzeen earned
