Travel Reference
In-Depth Information
him recognition as one of the best rock musicians in Israel. After leaving Benzeen, he made
two “back to the roots” records. The fi rst was a rock-oriented interpretation of contemporary
Greek songs translated into Hebrew. Then, in 1988, together with his regular lyricist and co-
producer Ya'akov Gilad, he made what most critics regard as his masterpiece —
Ashes and Dust
.
In this record, he merged a variety of musical infl uences — rock, punk, Eastern European,
Greek, and Arabic — as an expression of his and Gilad's experiences growing up in Israel as
sons of Auschwitz survivors. The blend was not only remarkably appealing emotionally and
musically but also distinctively Israeli in its hybrid mixture of style and theme.
As in Western music, the classic rock era was followed by a period of soft rock. Sentimental
ballads were produced by singer-songwriters such as Rami Kleinstein, inspired by Elton John.
Glamorous female singers also became popular, of whom the single-named Rita was perhaps
most famous. Yehudit Ravitz, whose unglamorous persona was the perfect refl ection of the
Israeli self-image, brought a wave of original songs that included a South American infl uence.
Especially popular on the contemporary rock scene in the early twenty-fi rst century is a
gentle music with ballad overtones, including songs by musicians like Yoni Bloch and the
bands HaYehudim (The Jews) and Beit Habubot (House of Dolls). Groups like the Mercedes
band also have complex and sophisticated lyrics, which to some extent take on the role once
occupied by poetry.
Musika Mizrahit
(Middle Eastern Music)
In the country's earlier years,
musika mizrahit
(Middle Eastern music) had an almost under-
ground quality, but it emerged in the early 1970s to become quite successful (though never
dominant). It can be defi ned as a blend of Middle Eastern musical styles and Greek-Turkish-
Mediterranean infl uences, infused with some Western-style pop spirit. Such music used both
rock (electric guitar, bass, synthesizer, and drums) and traditional instruments (the qanoun,
oud, and bouzouki). Sometimes artists nearly copied foreign works, substituting Hebrew lyr-
ics by Israeli composers to make the songs Israeli. Beginning in the 1980s, this type of music
become mainstream national music not connected to a particular ethnic group.
Since musika mizrahit has less commercial backing and radio play and fewer sales than its
rock rivals, performers rely more on live performances. In the early 1980s, after a decade of
work by bands like Tzliley HaOud and Tzliley HaKerem, musika mizrahit crystallized in the
music of the singers Zohar Argov and Haim Moshe. In 1983 they crossed over to the main-
stream market with two classic albums, Argov's
Nahon LeHayom
and Moshe's
Ahavat Hayai
.
Their success led to recognition of this type of music as mainstream, and its supporters de-
manded more radio time at the expense of Anglo-American and Israeli rock music.
Since all Israeli radio stations were public until 1995, this demand became a political is-
sue intertwined with the campaign by Israeli Jews with Middle Eastern roots to achieve more
recognition for their culture and traditions in Israeli society. On one hand, this music was
seen as asserting this group's particular identity; on the other hand, it was seen as representing
authentic Israeli music.
Different strategies have been used to popularize the music. One approach has been to
incorporate elements of folk songs into musika mizrahit. Another has been to insist on the
