Though few lost sleep when Elvis Costello or the Pixies cravenly caved to
anti-Israel pressure and cancelled their scheduled appearances in Tel Aviv,
their decisions merit a second glance in light of future boycott threats yet to
be wielded against other artists. Not only did they disappoint loyal fans and
break formal contracts, but the precedent set and message conveyed were immoral,
mean-spirited and just plain wimpy.
Leonard Cohen, on the other hand,
came and gave what was acclaimed the best concert in Israel of the year this
past fall. Stars like Madonna and Phil Collins have come in recent years and
Elton John, who has already appeared here twice in the past, is scheduled to
play Ramat Gan on Thursday night. What makes some icons turn up to perform while
others brazenly renege on their commitments? I can answer that question from the
inside at least insofar as the Leonard Cohen visit is concerned.
It is
instructive to understand the dynamics of “cultural boycott,” since this
is one
predictable and time-tested dagger in the arsenal of Israel-bashers
worldwide.
COHEN WAS not a typical case. Following an extended stint in a
Buddhist monastery in California and larcenous loss of much of his
life-earned
fortune by white collar “friends,” he actually decided to circumnavigate
the
planet in a quixotic effort to replenish his coffers, probably not
something
many 70-year-olds would elect to do. In short: His concert tour was both
necessary and somewhat removed from current trends, since he had removed
himself
from that scene for some time.
It was only natural to add Israel to his
itinerary. Jewish thought envelopes much of his poetry and some of his
best
known songs (“Hallelujah,” “Who by Fire”), and he rushed to perform for
the IDF
during the Yom Kippur War. Moreover, he has a large, fervently committed
fan
base here.
I was somewhat surprised by my first conversation with the
concert tour’s top organizers. Rather than discussing the routine
who-what-how
of media interest in his upcoming concert at the Ramat Gan Stadium, the
conversation bore an entirely different tenor.
Here the model was raised
that has been and will continue to face top performers whenever Israel
pops up
as a possible performance venue. The organizers had barely announced the
likelihood of Cohen’s touring Israel when Israel bashers immediately
orchestrated a drumbeat of “boycott Israel or else!” Internet protests
spread
and veiled threats of disruptions at other concerts were shamelessly
raised as
leverage in the campaign.
The Cohen people were understandably
concerned.
The poet-musician wanted to conduct a positive, successful
tour – and who needed the injection of politics, Middle Eastern
cacophony and
threats. Who needed keffiyeh-wearing street demonstrators outside of
concert
halls, or disruptions within them, in Berlin or London? Such concerns
undoubtedly weighed in on the decisions of Elvis Costello and the Pixies
(15,000
people planned to attend the group’s performance here). A Pixies
statement
averred, “The decision was not reached easily, and we’d like to extend
our
deepest apologies to the fans, but events beyond all our control have
conspired
against us.”
They, as did Cohen, faced the same threats – yet why did
some surrender while others stood firm? EVERY TOP artist thinking about
playing
here must realize in advance that the Palestinian Campaign for the
Academic and
Cultural Boycott of Israel will put him or her clearly into its
propaganda
sights, as it’s done since 2004. The artists will be called all manner
of names
under the sun and will face threats and slander if they do not instantly
cancel
their scheduled appearance in Zion.
The Cohen folks were not necessarily
impressed most by my calls to morality. How dare they give in to
proterrorist
coercion? How dare they consider betraying tens of thousands of lifelong
loyal
fans here? But I clearly remember they sat up and listened attentively
when I
fell back on one specific example: “If Paul McCartney actually ignored
death
threats along with the boycott pressures to play in Israel – as he did
in
September 2008 – then how could Leonard Cohen possibly do anything other
than
follow in Sir Paul’s principled footsteps?” That rhetorical question led
to a
request for my firm to prepare an unusual research document entitled
“Sir Paul
McCartney’s Israel Concert,” which delved in detail into the nature of
the
threats and to the astute manner in which Paul ignored and overrode the
boycott
threats, concluding in a 40,000 sellout crowd and $6 million in income
generated. The puffed up boycott shouters were shown to be nothing more
than
shadow boxers filled with hot air.
I understand that Leonard Cohen
reviewed my analysis and drew his own conclusions. Later we advised on
the theme
of this special appearance which took on a charitable character in
support of
Israel-Arab reconciliation, elevating it to still a higher
plane.
Hopefully, other top performers will hearken to Leonard Cohen’s
vision and values. His concert here demonstrated, truly, “I’m Your
Man.”
And Cohen’s Priestly Blessing to his audience, in Hebrew, at the
conclusion of the concert – days before Yom Kippur – was no less
meaningful for
those attending than the hours of sublime music that preceded it.
The
writer is a public relations expert based in Jerusalem.