Beruflich Dokumente
Kultur Dokumente
Copyright © 2007
BSA Publications Ltd®
Volume 1(3): 317–341
[DOI: 10.1177/1749975507082051]
SAGE Publications
Los Angeles, London,
New Delhi and Singapore
ABSTRACT
Pop-rock music is portrayed as a major embodiment of the transformation of
national cultural uniqueness from purist essentialism into aesthetic cosmopoli-
tanism. Examining the local production of ethno-national pop-rock, and its public
reception and legitimation through half a century, the article demonstrates how
forces within the national context greatly contribute to cultural globalization. The
article looks at three aspects of the rise of ethno-national pop-rock music to
national legitimacy: the agency of musicians, analyzed as structurally stemming from
the intersection of the field of pop-rock and the field of national culture; a four-
phase, half-century long process, called here the ‘historical musical event’ of pop-
rock; and the consequence of pop-rock legitimacy for performance of national
uniqueness. The general arguments and theoretical points are illustrated by
detailed reference to the cases of pop-rock music in Argentina and Israel.
KEY WORDS
aesthetic cosmopolitanism / Argentina / Israel / national culture / pop-rock music
/ popular music / sociology of music
Introduction
I Argentinean rock band Bersuit Vergarabat partly satirize and partly celebrate
things that evoke national pride in their country. The double album of the
same name, in which the song appears, received the Gardel prize for best album
317
318 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
of 2005. In another part of the world, in the 1993 song Kama Yossi (How
Many Yossi), Israeli rock auteur Berry Sakharoff reminisces about Israeli sub-
urban culture of the 1960s. The song is considered by critics as one of the best
Israeli rock songs ever recorded. Each of these songs represents a recent
moment in the popular music of Argentina and Israel. The themes of the lyrics,
the language used for singing, the dialogue with earlier moments in local music,
as well as the positive reviews and market success, make them a very local mat-
ter in each country. For their respective local audiences, each song stands as an
expression of current national cultural uniqueness: Argentine-ness and Israeli-
ness. Yet, at the same time, each of these songs is a pop-rock song. The electric
and electronic instrumentation, the sophisticated studio production techniques
used for their creation and the presence of the stylistic influence of global pop-
rock genres, make each of these songs an art work that shares much aesthetic
common ground with many songs produced elsewhere in the world. As com-
ponents of a global form of art, each of these songs contains stylistic traces and
influences from places and traditions alien to Israel or Argentina. The incorpo-
ration of these influences thus naturalizes elements of ‘otherness’ into the cur-
rent sense of national uniqueness in these two countries. These songs exemplify
the transformation that has taken place in the ways national uniqueness is
expressed in, and performed through, music. This involves a shift from com-
mitment to essentialist notions of folkism and traditionalism, to fluidity and
conscious openness to exterior influences of pop-rock. Needless to say, these
two countries are just two cases of a prevalent phenomenon, found in the musi-
cal reality of many countries. Pop-rock music stands here as a major embodi-
ment of the transformation that took place in the cultural uniqueness of many
nations and ethnicities (henceforth called here ethno-national cultural unique-
ness): from an emphasis and quest for purism and essentialism, to a conception
of ethno-national cultural uniqueness which I call aesthetic cosmopolitanism.
The term aesthetic (sometimes cultural) cosmopolitanism, as suggested in
the work of Urry (1995) and Szerszynski and Urry (2002, 2006), applies to the
cultural realm the renewed general interest in the centuries-old concept of cos-
mopolitanism (Beck, 2000; Cheah and Robbins, 1998; Hannerz, 1990, 2004;
Vertovec and Cohen, 2002). These works locate aesthetic cosmopolitanism, at
the individual level, as individuals having a taste for art and culture of nations
and other groups other than one’s own, and for ‘the wider shores of cultural
experience’ (Tomlinson, 1999: 202). However, in late modernity, many of the
art works and cultural products that signify contemporary ethno-national cul-
tural uniqueness routinely and intentionally include elements drawn from ‘out-
side’ the nation or ethnicity which they represent. The difference between what
counts as ‘exterior’ or ‘interior’ to national culture has been blurred. Therefore,
in the light of Beck’s succinct definition of cosmopolitanism as a condition in
which the ‘otherness of the other is included in one’s own self-identity and self-
definition’ (Beck, 2003: 17), and following Regev (2007), I want to expand the
notion of aesthetic cosmopolitanism, and suggest that the concept should be
located not necessarily at the individual level, but at the structural collective
Ethno-National Pop-Rock Music Regev 319
I will begin with some clarifications as to the nature of the category of music
called here ‘pop-rock’ and its constitution as a field of cultural production. The
term pop-rock is used here to refer to music consciously created and produced
by using amplification, electric and electronic music instruments, sophisticated
recording equipment and other sound manipulation devices. For pop-rock
musicians, these technologies of sonic expression are not just aids for enhanc-
ing or capturing sound produced by traditional acoustic instruments and the
human voice, but rather are regarded as creative tools for generating sonic tex-
tures that cannot be produced otherwise (S. Jones, 1992; Théberge, 1997). Pop-
rock music is predominantly a creation of recording studios, destined primarily
for phonograms. Put differently, pop-rock is mainly an art of recorded music,
an art of making records. From a cultural sociology perspective, pop-rock is an
art form mostly comparable to film. Both are defined by their technologies of
creation and consumption.
Obviously, the affinity between the plethora of styles that make up pop-
rock music also rests on a strong socio-cultural base. A useful way to concep-
tualize sociologically the socio-cultural base of pop-rock is by using Bourdieu’s
theory of the fields of cultural and artistic production (1992, 1993a). The his-
tory of pop-rock music since the mid-1950s amounts to the emergence and
institutionalization of a certain field of cultural production, that is, the field of
pop-rock music. The field of pop-rock has the typical hierarchical structure and
logic of struggle of all artistic fields. Thus, it has dominant positions, consisting
of consecrated canonic musicians and their works (mostly albums), and corre-
sponding production of meaning positions (i.e. the activities and products of
critics, journalists, historians etc.) that maintain the successfully imposed crite-
ria of evaluation. The history of the field is that of struggles by new entrants to
gain the ultimate prize of becoming part of the canon. Such struggles might take
the form of heresy (including attempts to transgress and redefine the dominant
criteria of evaluation) or may be evolutionary, occuring in the wake of already
existing canonical positions. In either case, the ever developing field is con-
structed of a series of additions to the canon, each justified in its turn by power-
holding producers of meaning as important stylistic innovations. The
justifications used for erecting this canon are permutations of the traditional
modernist ideology of autonomous art, meaning that the importance of albums
and musicians is determined not necessarily by their impact in the market of
phonograms, but by their perceived aesthetic and cultural value (Appen and
Dohering, 2006; Regev, 1994). That is, the canonic albums are believed to be
ultimate embodiments of the potential hidden in the expressive technologies of
pop-rock for the latter to be genuine artistic and creative means. Each new
addition is typically justified by interpreting it as an expansion of the creative
possibilities hidden in existing or newly developed technologies.
A major characteristic of the field consists of the very differentiation of
pop-rock music from other types of popular music. This differentiation is
Ethno-National Pop-Rock Music Regev 321
at a given moment. Thus many countries witnessed locally made rock’n’roll in the
early 1960s, music inspired by British rock later in that decade, progressive rock,
folk rock and punk in the 1970s, new wave in the 1980s, and hip-hop or electro-
dance in the 1990s. The salient ‘ethno-national’ elements in these repertoires con-
sisted of singing in the native language and referring in the lyrics to subjects and
issues that emanated from local, ethno-national social reality. However, in order
for musicians to justify this music and to gain legitimacy as expressions of ethno-
national uniqueness, transposition of creative practices also takes place in the
other direction. This is done by incorporating into pop-rock stylistic elements and
creative techniques associated with local, ethno-national traditions of folk and
popular music. This practice includes the use of native music instruments (some-
times modified to be electric), indigenous vocal techniques of enunciation through
singing and rhythmic patterns, and, most obviously, recording electrified pop-
rock cover versions of traditional music.
The pattern is most typically exemplified by folk rock singer-songwriters
whose inspiration comes from Bob Dylan, but whose notion of ‘folk’ comes
from their own heritage. The result is an electric ‘ethno-rock’, often received
with much enthusiasm by critics and audiences for its perceived seamless hybrid-
ity of indigenous tradition and state of the art modernity. Thus in Argentina, the
electric variant of folk rhythms produced by Leon Gieco made him a national
figure, and in Israel Ehud Banai’s rock, tinged with Central Asian and Middle
Eastern flavors, spawned a whole wave of ethnic pop-rock. The term ‘hybridiza-
tion’ is often used to describe the creative practices employed by Leon Gieco or
Ehud Banai, and it certainly depicts the nature of their creativity. In the light of
the above, however, it should be stressed that hybridization is not an arbitrary
or whimsical creative practice, but rather an artistic practice structured by
the social embeddedness of pop-rock music in the intersection of two fields of
cultural production.
It should be added that not only musicians find themselves in this intersec-
tion. Critics, commentators, radio DJs and music editors – in short, producers
of meaning – occupy important positions in this regard as well. Their practices
of transposition take place by establishing pop-rock magazines, editing and pre-
senting radio programmes, writing reviews and columns in the press, and so on.
Through these practices, they transpose into the local field the knowledge of
pop-rock, its criteria of evaluation, its mythology of canonical works and the
latter’s history. Their agency ultimately involves producing the ideological
vocabulary and artistic justification through which pop-rock music in general
becomes culturally respectable, and home-made pop-rock gains recognition as
a legitimate expression of ethno-national uniqueness.
The Event:
Actors: musicians, critics, fans, media professionals, music industry
Phase 2. Consecrated/mythical beginning (Local Music inspired by the Beatles, Dylan, folk rock,
psychedelia and progressive rock)
Phase 3. Consolidation and dominance (aligning ranks with traditional national music, local new-
wave, rockization of pop)
of cultural uniqueness has been a major endeavour. The role played by folk and
popular music in this effort provided similar backgrounds to the paths of pop-rock
music towards legitimacy in both countries. That is, pop-rock posed a potential
threat to the perceived achievement of unified national uniqueness, and its dis-
course and practice in these countries had therefore to defend and justify ethno-
national relevance vigorously. Methodologically, my personal fluency in Spanish
and Hebrew allowed for unmediated, first-hand deciphering of texts and dis-
course. Overall, I trace the stylistic expansion and public reception of national
pop-rock in these two countries and point to musicians, albums and styles that
have been the carriers of this socio-cultural process. Taken together, the four
phases depict the social career of pop-rock in each country from marginality to
legitimacy. They also expose the themes of linearity and achievement that under-
lie the historical narratives of pop-rock, the pride of local actors about ‘making it’
in terms of the artistic parameters of pop-rock, and maintenance of ethno-national
uniqueness. The details of pop-rock presented here have been extracted from the
production of meaning apparatuses in both countries. For the sake of brevity and
fluidity, I keep direct quotes to a minimum.2
Pre-history
This early phase consists of the musicians and albums conventionally regarded
as the first to introduce rock music into local-national cultures. However,
328 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
except for factual acknowledgment, they are hardly appreciated at this time for
artistic quality or authenticity. The musicians in this phase preceded the
mythologized, consecrated moment of the ‘birth’ of ethno-national pop-rock,
the moment when its proper ‘history’ began, hence my use of the term ‘pre-
history’. Lack of appreciation is coupled to typical characterizations of the
music at this phase as imitative and inauthentic (Kreimer, 1970). However,
while in Argentina the performers associated with this early stage enjoyed
commercial success and the status of media teen idols, in Israel, on the other
hand, the pioneering of pop-rock had the character of a suburban subculture,
hardly noticed by the media or record industry. Another noticeable difference
lies in the fact that early pop-rock was mostly a middle-class youth phenomenon
in Argentina, while in Israel it was primarily a working-class youth affair.
Interestingly, a salient source of influence on this early pop-rock in both Israel
and Argentina was the Italian pop-rock associated with the San Remo festival,
and with performers such as Little Tony, Bobby Solo, Rita Pavone and others.
Performers Sandro and Palito Ortega are the most salient names in
Argentina in this phase. Sandro was a local impersonation of Elvis Presley. He
recorded cover versions of early rock’n’roll hits, and adopted the correspond-
ing appearance (hair style, body language on stage, and so on). Palito Ortega,
on the other hand, was the main figure in the group of performers known as El
Club Del Clan, named after the television show which regularly featured them.
The models here were early 1960s North American musicians such as Paul
Anka or Neil Sedaka. Known together as La Nueva Ola (new wave) or Musica
Beat, Sandro and El Club Del Clan participants were an intrusion in the popu-
lar music of Argentina, dominated by folklore, tango and other typically ‘Latin
American’ forms of popular music.
In the case of Israel, the early musicians are usually grouped together
under the name lehakot ha-ketzev (the beat groups). The label refers to a num-
ber of bands that sang in (bad) English covers of Anglo-American hits (origi-
nally by Presley, Cliff Richard, the Beatles, the Rolling Stones, the Animals, the
Kinks, the Who etc.). With names such as Ha-shmenim ve-harazim (the Fat
Guys and the Slim Guys), Ha-kokhavim ha-kehulim (the Blue Stars), the
Goldfingers, Ha-arayiot (the Lions), Uzi ve-ha-signonot (Uzi and the Styles)
and the Churchills, the bands regularly exchanged members between each
other and performed in small clubs in the greater Tel Aviv area, most notably
in the town of Ramle. The limited cultural industries of Israel in the mid-1960s
did not pay any attention to the phenomenon. Lehakot ha-ketzev, if noticed
at all by those occupying power-holding positions in the field of national
culture, were dismissed as totally irrelevant, and at best treated as a threat to
the sought purity of national culture.
Consecrated ‘Beginning’
Each country has its quasi-mythical moment of the ‘birth’ of its own ethno-
national rock, a founding and constitutive historical moment. This moment,
Ethno-National Pop-Rock Music Regev 329
lasting roughly from the late 1960s throughout much of the 1970s, consists of
musicians that, according to conventional narratives, were the first to make
local rock music ‘worthy of its name’. This was in two senses. First, music that
matched artistic standards set by leading Anglo-American artists of the period.
Second, music that could properly be called locally ‘authentic’, because of the
language it used, the content of its lyrics, its typical sonic texture, and the social
sources from which it emanated. Thus the consecrated beginning of pop-rock
in the two countries is characterized by the appearance of enthusiastically
received local versions of music inspired by the Beatles and Bob Dylan, folk
rock, progressive rock and, to some extent, hard/heavy rock. Following this
period, leading musicians of this phase enjoyed a lasting and influential career
into the 21st century. The albums recorded in this phase by these musicians are
the consecrated classics of local rock, its essential canon. It is with these albums
that in the countries in question the music was given the proper names of
respectively Israeli rock and rock nacional.
An important feature of this formative moment, as with similar moments
in other fields of art, is its collaborative nature. In each country, the ‘birth’ of
ethno-national pop-rock is credited to a small network of musicians that
between them formed bands, duos or short-lived projects, participated in each
others’ solo efforts, contributed production work and authorship of composi-
tions or lyrics to each others’ albums, and joined forces on stage in special con-
certs and events. Regev and Seroussi (2004) refer to this network in Israel as the
‘elite’ of Israeli rock. The term can be applied to the parallel network in
Argentina as well. Musicians and critics there repeatedly declared the release
and success of the single La Balsa (The Raft) by the group Los Gatos in 1967
as the beginning of rock nacional. Litto Nebia, front person of this band, is one
member of the ‘elite’ network, whose additional prominent names include Luis
Alberto Spinetta, Charly García, Nito Mestre, David Lebón, Leon Gieco, as
well as other members of the bands some of these musicians led (Almendra,
Pescado Rabioso, Sui Generis, Seru Giran, Pappo’s Blues), and members of
bands such as Manal, Vox Dei, and Arco Iris. The first album by Spinetta’s
band, Almendra, is often credited as the constitutive work of rock nacional.
The album was twice voted, in critics’ and musicians’ polls conducted by the
daily newspapers Clarín in 1985 and Página /12 in 1992, as the best album in
the history of Argentine rock. As Pujol (2002: 269) expresses it:
Everything seemed to be there in place: the sonic world of the [19]60s, with its
diverse replicates, diverse styles, synthesized in thirty minutes. In this sense, it might
be said that the influence of the Beatles on Almendra was less about direct musical
affiliation than about the idea of the integral disc or album, like Sgt. Pepper’s
Lonely Hearts Club Band.
In Israel, the network consisted of singer Arik Einstein and musicians like
Shalom Hanoch, Shmulik Kraus and Shem-Tov Levy who collaborated with
him intensively at this formative stage. The ‘elite’ also included the band
Kaveret as well as Ariel Zilber, Matti Caspi and others. Foremost among the
330 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
albums made by members of this network are Sof Onat ha-Tapuzim (End of the
Orange Season, 1976), the only album by the band Tamuz, formed by Hanoch
and Zilber, and Shablool (1970), by Arik Einstein and Hanoch again. As
Yaakov Gilaad, a critic writing retrospectively in the mid-1980s, put it:
In a period when Israeli music sounds like a merger of a poor man’s San Remo fes-
tival and the Eurovision, Shablool lands like a thunder on a clear day. A real boom.
The most important and best album recorded until this day in the new Israeli music
… Rock’n’roll in Hebrew. Here, at this point exactly, Israeli rock is born.
(Hadashot, 5 December 1986)
this period in Israel. Put differently, in this phase ethno-national culture saw the
indigenization of pop-rock music, its ‘Argentinization’ and ‘Israelization’.
Various phenomena came together to produce this effect. Most salient is
the general adoption of electrification, amplification and sophisticated studio
production – the rock aesthetic – as the standard creative practice in the field of
popular music. While this adoption can be attributed to the growing embed-
dedness of local cultural industries in the network of multinational corpora-
tions (Getino, 1995; Regev, 1997; Wallis and Malm, 1984; Yúdice, 1999), and
to organizational isomorphism in the music industry (DiMaggio and Powell,
1983), the dynamics of the cultural field in this regard cannot be underesti-
mated. Given that rock musicians have been those who moulded and codified
the modes for using electric instruments, amplification and studio production
techniques as expressive and creative tools, adoption of these practices, even by
musicians who were not ‘rock’ musicians in a strict sense, signaled an accep-
tance of ‘rock’ as the realm of innovation for large parts of the field of popular
music. It reflected an acknowledgment by actors that ‘rock’ was the position
where new sonic patterns and expressive options in electric instruments and stu-
dio technology are explored and formulated, involving a set of aesthetic possi-
bilities that could later usefully be adopted by other positions in the field.
Pop-rock musicians and instrumentalists who had already gained proficiency
and reputation during the early phases of the adoption of pop-rock practices
became by the 1980s the national hoard of experts from which musicians or
studio producers were recruited for making ‘state of the art’ popular music.
More specific phenomena that took place within this general trend consisted
of collaborations and mergers of pop-rock with traditional genres. In a move that
broadened some tendencies that already existed in earlier works, pop-rock musi-
cians started to record, in rock arrangements, songs from the local folk and tra-
ditional popular canon, in order to create original music in the same vein, and to
team up with prominent musicians from those genres. The two-way stylistic
exchange that emerged blurred at some points the differences between pop-rock
and other genres. Notable examples in Argentina include Mercedes Sosa, a
national icon of folklore, who shared the stage in 1982 with Charly García, Leon
Gieco and other ‘founders’, and then moved on to record songs by these and
other pop-rock authors such as Fito Páez and Alejandro Lerner. Gieco himself
expanded earlier inclinations, and together with former Arco Iris leader Gustavo
Santaolalla, toured the country with a mobile studio. The original and traditional
music which they recorded with local musicians resulted in the highly valorized
four-disc project De Ushuaia a La Quiaca (1985). Finally, Juan Carlos Baglietto,
in his first solo album (1982), which became the first rock nacional album to
receive ‘gold’ certification from the local industry, performed pop-rock music
using a vocal form of delivery, and arrangements that owed much to the tradi-
tional atmosphere of tango.
In Israel, the first thing to mention is the success of leading rock artists in
establishing themselves as inheritors of, rather than rebels against, the folk tra-
dition of shirey eretz yisrael.3 This was achieved primarily through the series of
332 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
albums Good Old Eretz Yisrael, in which Arik Einstein recorded classic songs
from this folk repertoire in soft rock arrangements. The composers and
arrangers who collaborated with him on the project, Shem-Tov Levy and Yoni
Rechter, emerged in this as well as other projects as the rock-inspired heirs of
canonic eretz yisrael composers such as Sasha Argov, Mordechai Zeira and
David Zehavi. From a different angle, the growing presence and legitimacy of
the genre known as musica mizrahit (oriental music),4 although ideologically
antagonistic to ‘rock’, nevertheless introduced an ‘ethnic’ form of pop-rock,
best expressed in the work of singers Zohar Argov and Haim Moshe. In a sim-
ilar vein, Yehuda Poliker left his hard rock band Benzin to become one of the
country’s most successful and beloved musicians, with his formula of Greek and
other Mediterranean inspired pop-rock music. Ehud Banai, mentioned earlier,
also emerged with a successful career and a sonic idiom that fuses rock with
Middle Eastern and Asian influences.
A further important phenomenon in this context is the transformation of
traditional vocal pop into so-called ‘soft rock’ or ‘adult-oriented rock.’ Here, the
niche of sentimental ballads has been conquered by singer songwriters such as
Alejandro Lerner in Argentina and Rami Kleinstein in Israel, whose inspiration
comes from the likes of Elton John, for example. Most saliently, this niche came
to be associated with female singers, sometimes characterized as glamorous pop
divas, whose grandiose sonic idiom is set within pop-rock parameters of instru-
mentation and production (synthesizers, electric guitars, and so on). The obvi-
ous names to mention here are the Israeli singer Rita, and the Argentine Sandra
Mihanovich. More than any other style, this phenomenon reflects the ‘rockiza-
tion’ of pop and indeed, the expansion of ‘rock’ to become ‘pop-rock.’
Finally, this phase in the on-going historical event witnessed a new gener-
ation of pop-rock musicians whose careers either took off following collabora-
tions with the founders (Yehudith Ravitz in Israel, Fito Páez in Argentina), or
who were influenced by new frontiers of stylistic innovation – most notably
post-punk and new wave (the bands Soda Stereo and Virus in Argentina, and
Mashina in Israel). Given the already legitimized position of the founders, the
entry of these newcomers into the framework of what counts as ‘national’
music, was smoother and faster than was hitherto possible, and met with posi-
tive reviews that stressed how they allowed local culture to keep pace with
broader artistic innovations. This type of acceptance was facilitated by a dis-
course, developed in music magazines, newspaper supplements, and radio and
television shows that flourished at this point, which were written and edited by
critics and journalists whose professionalism was totally based on the pop-rock
habitus. This discourse mythologized the founders of national rock, and pre-
sented the expansion of pop-rock as a natural, conflict-free linear evolution.
While this discourse, as Alabarces (1993: 88) notes, neutralizes the oppositional
character rock initially had, and therefore ‘de-ideologizes the ideological, and
de-politicizes the political’, it nevertheless depicts the position reached by pop-
rock during the 1980s: that of dominance and centrality in these national fields
of popular music.
Ethno-National Pop-Rock Music Regev 333
The most recent phase of national pop-rock, during the 1990s and into the next
century, consisted not only of stylistic diversification in accordance with trends in
global pop-rock, but also of the development of indigenous patterns, decoupled
from such trends. In addition, local musicians made forays into the global field with
occasional success, thus bringing pride into the national field about the latter’s per-
ceived artistic quality. This phase also witnessed the appearance of written or tele-
vised histories of national pop-rock, and the institution of prizes and awards by the
industry, the media and the state to honour the work of pop-rock musicians.
Diversification along the lines of global trends is best exemplified by the intro-
duction of national hip-hop (Illya Kuryaki & Los Valderramas, and Sindicato
Argentino del Hip Hop in Argentina, Shabak Samech and Hadag Nahash in Israel)
and local electro-dance or electro-pop (house, techno, etc.). More significant, how-
ever, were the indigenous stylistic developments that indicated self-confidence on
the part of national pop-rock musicians about their ability to create their ‘own’
innovations, decoupled from Anglo-American trends – a development that to some
extent rendered US and UK pop-rock less relevant for national pop-rock cultures
(Frith, 2004). In Argentina this point became most explicit with the appearance of
the trend known as rock chabón, best exemplified by bands such as Los Piojos and
La Renga (Semán and Vila, 2002; Semán et al., 2004). The critique by older rock-
ers of this style’s artistic quality and the form of nationalism it expressed (Marchi,
2005) exposed rock chabón as a rupture in the perceived smoothness and linearity
of rock ‘evolution’. In Israel, the phenomenon to mention is the fusion between the
up until then conflicting musical cultures of musica mizrahit and rock. The fusion
of these forms is exemplified by Tea-Packs and other bands that surfaced from the
southern town of Sderot, deploying an ethnic sound that owed as much to existing
Israeli and dominant Anglo-American pop-rock as to musica mizrahit. The ‘sound
of Sderot’ thus defied existing categories, and was hailed by critics as a quintessen-
tial, indigenous Israeli idiom of pop-rock (Saada-Ophir, 2006).
Another aspect of this phase consisted of the growing embeddedness of
national fields in the global field, through the relatively successful forays of cer-
tain local artists into global markets. With these, national pop-rock critics and
musicians celebrated a sense of achievement. Such successes served as apparent
proof of the artistic quality reached by national pop-rock musicians, and their
abilities to match or even surpass dominant Anglo-American pop-rock stan-
dards. In the case of Israel, there was the worldwide success of the Israeli-made
electronic style of goa-trance music, with duos such as Astral Projection and
Infected Mushroom becoming globally recognized names in this scene. The
worldwide success of female singers Ofra Haza and Noa contributed to Israel’s
presence in the ‘world music’ context, while intensive touring of the band
Rockfour in the USA, as well as the collaboration of Israeli star Aviv Geffen
with Steven Wilson (leader of UK progressive rock band Porcupine Tree) under
the name Blackfield, brought respect to Israeli music in some alternative rock
scenes in the USA and Europe.
334 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
Following the historical musical event of its emergence, legitimation and insti-
tutionalization, pop-rock music came to be prominent in many countries, and
certainly in Argentina and Israel, as a corpus of cultural products set within a
discourse of appraisal. It remains to be seen what this presence means at the
level of practice vis-a-vis the performance of musical nationalism (Turino,
2003). Traditionally, musical nationalism has attached cultural uniqueness in
music to styles associated with rural life, or early modern urban genres, and has
institutionalized specific genres as national folk and popular music. In the case
of Israel, an iconic relation has been established between nationhood and the
folk genre of shirey eretz yisrael; in Argentina such a relation was established
between nationhood and certain types of Andean and other indigenous music
styles from various parts of the country, as well as the urban genre of tango.
The constitutive power of music for nationalism, however, goes deeper than
the mechanical attachment of a given genre, style or repertoire of works to a
Ethno-National Pop-Rock Music Regev 335
In Israel, pop-rock ballads came to dominate various national and state cer-
emonies. Thus the commemoration rally for Prime Minister Yitzhak Rabin,
held exactly one week after his assassination, was a music-only event, with most
of the participants being pop-rock singers who performed various Israeli pop-
rock ballads (Vinitzky-Seroussi, 1998). Also notable is the current dominance
of pop-rock ballads in radio play-lists on Memorial Day, a national day of
mourning, and their presence in school ceremonies marking that day and other
national events (Lomsky-Feder, 2003).
The sonic textures of pop-rock, and therefore the forms of corporeality
they evoke, are obviously dissimilar to those associated with earlier folk and
popular music. Given the inter-mingling of stylistic influences, national pop-
rock of one country also shares much aesthetic common ground with pop-rock
elsewhere in the world. National pop-rock thus increases the proximity
between musical nationalisms, and is a forceful embodiment of the ‘complex
connectivity’ (Tomlinson, 1999) between the forms of cultural uniqueness of
different nations. The specificity of the corporeality, and the sense of ‘intensive
presence’, associated with one ethno-national entity, come to include elements
336 Cultural Sociology Volume 1 ■ Number 3 ■ November 2007
that are present in the specificity of other entities as well. We may think of
crowds in concerts by Charly García (in Argentina) and Shalom Hanoch (in
Israel) that move together to the sound of songs that evoke locally particular
life trajectories, generational memories and a specific mode of being
‘Argentinean’ or ‘Israeli’ during the last decades of the 20th century. The body
movements of these crowds, their mode of feeling ‘intensely present’ as mem-
bers of their respective national communities, have much aesthetic common
ground to them. The proximity of their aesthetic experience is greater than the
one between, for example, listeners to folk dances such as queca (in Argentina)
or hora (in Israel). It is this proximity and this complex connectivity that ulti-
mately characterizes aesthetic cosmopolitanism and sets it apart from earlier
conditions of ethno-national cultural uniqueness.
Conclusion
Acknowledgement
Earlier versions of this paper were presented at the IASPM-LA conference, Buenos
Aires, August 2005, and at the conference on The Local, The Regional and The
Global in the Emergence fo Popular Music Cultures, Copenhagen, October 2005.
Notes
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Motti Regev
Motti Regev is Associate Professor of Sociology at The Open University of Israel. His
major interest is in popular music studies. He is the author of Popular Music and National
Culture in Israel (2004, co-authored with Edwin Seroussi), Rock: Music and Culture (1994,
in Hebrew) and Ûd and Guitar: The Musical Culture of the Arabs in Israel (1993, in
Hebrew), as well as articles on the sociology of popular music. He edited (with Jason
Toynbee) a special issue of Popular Music (25/1, 2006) on canonization.
Address: Department of Sociology, Political Science and Communication, The Open
University of Israel, 108 Ravutski st., P.O. Box 808, Raanana 43107, Israel.
E-mail: mottire@openu.ac.il