Between A Rock And A Hard Place: What possessed Lorde to include Tel Aviv on her 2018 touring schedule? If there is one shark school a young performing artist should avoid at all costs – it’s the Middle East. Put your foot into the Israeli-Palestinian conflict and you may be sure of only one thing: you will be bitten. The smartest move is always to give Israel/Palestine a very wide berth.
“THOSE GREAT WHITES, they have big teeth”, sings Ella
Yelich-O’Connor (Lorde) in “Green Light”. Her decisions to play – and then not
to play – Tel Aviv are showing how much damage those teeth can inflict. Right
now, there’s a lot of blood in the water and, unfortunately, most of it is
hers.
How did it come to this? What possessed Lorde to include Tel
Aviv on her 2018 touring schedule? If there is one shark school a young
performing artist should avoid at all costs – it’s the Middle East. Put your
foot into the Israeli-Palestinian conflict and you may be sure of only one
thing: you will be bitten. The smartest move is always to give Israel/Palestine
a very wide berth.
That’s not so easy, however, when Lucian Grainge, the CEO of
your record label, the Universal Music Group (UMG) is the 2013 recipient of the
Foundation For Ethnic Understanding’s (FFEU) 2013 Humanitarian Award.
The FFEU was established in 1989 by Rabbi Marc Schneier to
promote understanding and reconciliation between Muslims and Jews. Presumably,
the decisions of the UMG’s chief executive were seen as contributing
significantly to that worthy objective. Presumably, that’s why they honoured
him. Presumably, that’s also why building bridges between Israelis and
Palestinians is seen as “a good thing” in Lucien Grainge’s UMG.
Did Lorde know about this? When she saw Tel Aviv on her 2018
touring schedule, did her interior moral traffic light flash green or red? Was
she reassured that playing Tel Aviv was “a good thing” because it promoted
understanding between Muslims and Jews? Did her “people” tell her that the boss
of UMG believed very strongly in the power of music to bring people together?
Is that why, like that other big UMG star, Elton John, she agreed to perform in
Israel?
Standing back from all this, it is difficult not to see
Lorde as a pawn in a whole host of people’s games.
As a propaganda tool, the music industry is every bit as
effective as the film and television industries – maybe more so. It would be
naïve in the extreme to think that the Israeli Government and its “assets” in
the Jewish diaspora were ignorant of the effect Lorde’s playing Tel Aviv would
have had on global opinion. How else to explain their reaction to her green
light switching to red?
But, if Lorde has been treated as a pawn by Israel’s friends
in the global music industry, her treatment by the ‘Boycott, Disinvest,
Sanctions’ (BDS) movement hasn’t been much better.
When the BDS movement discovered Lorde was scheduled to play
Tel Aviv, it must have whooped with delight. Here, at the mercy of the social
media platforms it has learned to manipulate so ruthlessly, was a young
singer-songwriter earnestly committed to doing good in the world. How long
would she be able to resist the orchestrated pressures of Twitter, Facebook and
Instagram? Not long – as it turned out.
The Great White Sharks are not confined to corporate waters
exclusively. The Left have teeth of their own.
Pity is an emotion all-too-easily evoked: and the situation
of Palestinians living on the West Bank and Gaza is pitiable in the extreme.
That the BDS movement exploits their pitiable circumstances is unsurprising –
Public Relations 101.
Beseeching Lorde and her fans to boycott “Apartheid Israel”
offers them the opportunity to strike a blow without firing a shot. What young
entertainer anxious to prove her progressive credentials is going to turn down
an offer to become the John Minto of her generation?
Upon closer inspection, however, the BDS movement is nothing
more than a sophisticated front organisation in the service of Palestinian
nationalism. Just one more weapon in a war that has been raging since 1947.
It’s never been a war for two states in the Holy Land. Rather, it’s been a war
to determine who inherits the Holy Land – Jews or Arabs? Sometimes the war’s
been fought with fighter-bombers, tanks and artillery; sometimes with martyrs
on buses wearing explosive vests; and, yes, sometimes with singer-songwriters like
Leonard Cohen, Paul Simon, Nick Cave and Elton John.
The BDS movement hasn’t the slightest chance of defeating
the State of Israel, nor of liberating the Palestinians. What it can deliver,
however, is the occasional, morale-boosting, Palestinian propaganda victory.
On this occasion, that victory’s collateral damage was Ella
Yelich-O’Connor.
This essay was
originally published in The Waikato Times, The Taranaki Daily News, The
Timaru Herald, The Otago Daily Times and The Greymouth Star of Friday, 5 January 2018.

