The shunning of Israel (yet another positive result of the Gaza flotilla) is coming along much faster than I'd expected:
An Elton John concert ordinarily isn't front-page news. But in Israel, where many feel more shunned than they have in decades, the legendary pop icon's decision to perform in Tel Aviv last Thursday was cause for celebration.
After weeks of dreary reports about artists caving to calls to boycott Israel, Israeli diplomats being expelled by friendly allies, and even pressure from the United States to change course in Gaza, John allowed Israel an opportunity "for three hours," as one music reviewer put it, "to be a normal country."
Aww. Tears you up, doesn't it? I'm sure Afrikaners felt just as grateful when Linda Rondstadt played Sun City. And you've got to love Janine Zacharia's choice of the not-even-slightly-loaded phrase "caving to", when "responding to" or "honoring" (among others) would have worked just fine; I always appreciate it when reporters wear their biases on their sleeves.
But here's the best part:
"This is something Israelis know: that they very, very much depend on both America and Germany, or in the larger sense, Europe. And there's nothing they fear more than being alone in the world," said Tom Segev, an Israeli historian. [...] Israelis may be indifferent to criticism when it's in their own media or when it comes from Israeli human rights groups, Segev said, "but we are not indifferent to these signs coming from abroad."
Which is great to hear, since Israelis are not only indifferent to criticism in their media or from Israeli human rights groups (as Segev observes) but to calls for justice in countless other forms (not to mention the monotonous background noise of their victims, but that goes without saying). So it's interesting that the cultural boycott seems to be having a disproportionately large effect, producing such a chorus of mopey, self-pitying whining after just a few cancellations.
I'd say this hits home because for decades the average Israeli has had the luxury of living a life of entitled consumption just like that of any coddled upper-class Westerner, as though the Gulag they've created next door doesn't exist—and a cultural boycott threatens that directly. Israelis don't really give a damn what Elvis Costello or Carlos Santana think about their decades-long project of ethnic cleansing (any more than they care what anyone else thinks), but they
do care very much about being able to live in a bubble of blissful self-imposed ignorance. So when they're forced to face what seem like trivial consequences in their daily lives (is it
really such a tragedy not to hear "Monkey Gone to Heaven" live?), it comes as a very direct and personal blow with a psychological effect far out of proportion to its cause. And it's exactly this kind of pressure that's most likely to bring about a change.
So a huge amount of respect to all the artists who've participated in the shunning so far, and here's hoping more will follow their lead. It's making a difference.
ROCKODILE CROCK: Reginald Kenneth Dwight snipes at his moral superiors:
John, who wore blue-tinted sunglasses, told the audience those
cancellations "ain't gonna stop me from playing here, baby."
Recent
cancellations by the Pixies and Elvis Costello, who cited Israeli
government policies, have added to Israel's growing sense of isolation.
John swiped at those artists, saying, "We do not cherry-pick our consciences," before hitting the opening chords of his 1972 hit "Crocodile Rock."
By "cherry-pick" I believe the man with five first names actually meant "either possess or follow". On the plus side, this gives me a reason to promote my vague irritation with him and his music into full-blown loathing (the same sort of upside as when talentless munster John Malkovich fantasized about killing Robert Fisk and George Galloway).