Weve got to admit (or at least some of us do): We really like Elvis Costellos music.
Those who remember that great rock music renaissance of the late 70s, when the tired streams of disco, arena rock and soft rock were being phased out by the creativity of punk and New Wave, are likely to remember Costello fondly, and still occasionally listen to his potent mix of ironic, retro and post-modern influences.
But we really are not fond of his politics, especially his recent decision to cancel his concerts in Israel for the foreseeable future, the result, Costello says, of an Israeli political system that he sees as unfair and oppressive.
Unlike Costello and a steadily growing list of other artists we have no problem separating politics and culture.
We do not feel, in other words, that performing or appearing in Israel implies an endorsement of any particular government or governmental policy.
The irony is that Costello like such other musical acts as Santana, the Pixies, Devendra Banhart, Gorillaz, the Klaxons and Gil Scott-Heron is most likely to appeal to the very Israelis who are most likely to oppose the right-wing government and policies which he himself professes to oppose.
It is hard to imagine mobs of haredim lighting their Bics at a Gorillaz performance or gray-haired Likudniks jumping into the mosh pit at a Costello show.
So who are these self-proclaimed musical guardians of right and wrong really preaching to?
Mostly to themselves, we assume, in a naïve and misdirected effort to quiet their own guilty consciences. They might also be preaching to the more vocally expressive of their fans from the far left-wing, whose threats of boycott might raise warning flags to revenue-conscious rock stars and rappers.
We make these assumptions because few if any of these cultural boycotters have had anything substantive to say regarding their decision to avoid Israel. Like the rhetoric regularly produced by diplomats at the UN and agitators on college campuses, the anti-Israel screeds weve heard from rock musicians and movie stars have been simplistic, myopic and biased, and that is when they say anything at all.
We have no problem with those artists who openly and honestly and sometimes intelligently express their opposition to Israeli policies, but have the integrity to do so in Israel itself.
We have respect for (if not agreement with) people like Pink Floyds Roger Waters, an outspoken foe of Israels security wall, who made his opinions known as he performed The Wall in Israel.
We also respect those who might disagree with Israeli policies but keep their political opinions to themselves.
Ian Anderson, the legendary front man for the veteran band Jethro Tull, recently explained the bands decision to play in Israel by saying that culture and the arts should be free of political and religious censorship and a distance kept between them.
We are far more grateful to those who not only refuse to be intimidated by the boycott crowd but who openly express their love and friendship for Israel. Stars like Madonna, Paul McCartney and Elton John have shown courage and solidarity that Israelis are never going to forget.
To those who have cast their lot with the so-called cultural intifada, we can only suggest that if it is good for the goose it is good for the gander.
Boycotts, in other words, can be a two-edged sword.
If Elvis Costello refuses to set his righteous red shoes onto Israeli soil, then all Israelis and supporters of Israel should stop purchasing, downloading and playing his music.
If Carlos Santana is too spiritually immaculate to spend his time in the Holy Land, then our dog-eared copies of Abraxas can be tossed out easily enough.
In their absence, may we suggest Sgt. Peppers Lonely Hearts Club Band and Goodbye Yellow Brick Road as perfectly suitable (and, if truth be told, musically superior) replacements?
Copyright © 2010 by the Intermountain Jewish News
