Natalie Imbruglia Cancels Her Gig in Apartheid Israel

Natalie Imbruglia cancels IsraelAfter a solid campaign by concerned groups and Indigenous people, Natalie Imbruglia has cancelled her gig in Israel which was scheduled for March 1, 2017. The campaign was co-ordinated by Don’t Play Apartheid Israel with an accompanying Facebook page.

Natalie’s decision to refrain from playing in Israel is much appreciated, following the passing of a criminal “law” by Israel’s Knesset retrospectively “legalizing” theft of private Palestinian lands for illegal Jewish-only settlements. Recently, in concert with renewed bombing, Israel prevented anaesthetic gas from reaching Gaza, yet after international pressure, one shipment of anaesthetic was permitted before Israel slammed the Gaza prison gates shut for all imports and exports. Gaza’s civilian population has lived under brutal siege by Israel since 2006. Of 2 million Gazan civilians persecuted by Israel’s military Occupation, over half are children.

Gig cancelled http://www.songkick.com/artists/66427-natalie-imbruglia

Let’s hope Australian band Pond, UK-based Nick Cave and the Bad Seeds, Fat Boy Slim and Radiohead similarly revise their tour plans to exclude the apartheid state of Israel and respect the principled Palestinian-led boycott, divestment and sanctions campaign (BDS).

SUPPORT THE CULTURAL BOYCOTT OF ISRAEL

Sign the petition to persuade Radiohead to respect the boycott.

Contact Radiohead
On Facebook: https://www.facebook.com/radiohead
On Twitter: http://twitter.com/Radiohead

Contact Pond
On Facebook: https://www.facebook.com/pondling
On Twitter: http://twitter.com/Pondband

Contact Nick Cave and the Bad Seeds
On Facebook: https://www.facebook.com/nickcaveandthebadseeds
On Twitter: http://twitter.com/nickcave

Contact Fat Boy Slim
On Facebook: https://www.facebook.com/fatboyslim
On Twitter: http://twitter.com/FatboySlim

UPDATE

In the JPost (12 February, 2017), event organisers are quoted saying Natalie cancelled because of “logistic constraints”, that she apologises and will reschedule.

Nevertheless, “Concert producers said refunds would be given to all ticket holders” and thus a reschedule is not expected in the near future.

The Israeli promoters of Natalie Imbruglia are said to claim, but not Natalie Imbruglia herself (who removed apartheid Israel from her tour without any comment on it being cancelled):
“Imbruglia apologized for disappointing her fans in Israel and vowed to schedule a show in country at a future date.”

No new concert in Israel appears on Natalie’s tour program or the promoter’s events.

3A Productions 2017 events

For updates see DPAI Page:
“Natalie Imbruglia, Playing Apartheid is a Big Mistake”

Clearly, by claiming the concert will be rescheduled the promoters facilitate the Israeli anti-BDS propaganda. This tactic has been used rather frequently. For example, when Pharrell Williams cancelled his July 2016 gig due to “scheduling problems”, it was claimed falsely by JPost he would reschedule.

Similarly, the JPost published in August 2014:
“American pop singer Lana Del Rey announced on Friday that her Tel Aviv concert scheduled for August 20 has been pushed back to another date due to the ongoing crisis in the south.”
“Those who purchased tickets for the concert will be notified of an alternate date. Organizers for the show said that the original tickets will be honored.”

However, two and half years later Lana Del Rey has not rescheduled.

For updates see DPAI Page:
Lana Del Rey, Don’t Endorse Apartheid Israel’s Violence

At Walla (Hebrew), “industry sources” allegedly are blaming poor ticket sales for Natalie’s cancellation. “Industry sources” also claimed Pharrell Williams’ concert was cancelled due to low ticket sales. Are “low ticket sales” yet another repeat excuse deployed to disguise cancellations made by musicians who decide to refrain from crossing the boycott picket line?

FURTHER UPDATE

The promoters, 3A Productions, are now claimingshe just couldn’t make it” and “she is busy, really busy“, not low ticket sales, for Natalie’s cancellation.

UPDATE – PALESTINIANS THANK NATALIE

Palestinian artists, cultural organizations and human rights supporters welcome the Australian-British singer Natalie Imbruglia’s cancellation of her March performance in Tel Aviv.

In Trumpenland

When you are a CEO,
there’s no place higher to go,
collect your options and cash them in
let them hate, while you grin.

For the coffers are secure
and our system must stay pure,
make them hate on da Jews
while we create alt-news.

Ruling class left fridge door open,
planet’s boiling, gyre is broken,
money’s not mother of invention
all are victims of capitalism.

Jinjirrie, February 2017

Peacock Capitalism

 

Natalie Imbruglia, Please Don’t Make a Big Mistake

Natalie Imbruglia, Playing Apartheid is a Big MistakeDear Natalie,

We are writing to you to ask you to please reconsider your performance in Israel, scheduled for the 1st March, 2017. We understand this will be your first appearance in Israel and would like to inform you that playing there will be in breach of the Palestinian call for artists to respect the cultural boycott of Israel until it adheres to international law and Palestinians have their civil and political rights which they are currently denied by the apartheid Israeli government. [1]

Like Aboriginal people in Australia before 1966, indigenous Palestinians who live in Israel are prevented from enjoying full citizenship in that state. Full citizenship is available only on theocratic grounds, to people who are defined as Jewish by the State. Furthermore, Palestinians in Israel are subject to more than 50 laws discriminating against them – de facto apartheid.  Palestinians who reside in the Occupied Territories of East Jerusalem, the West Bank and Gaza which Israel seized and occupied in 1967 cannot vote at all in Israeli elections. These Palestinian people subsist in segregated bantustans isolated from each other by apartheid walls and fences with their movement controlled by over 500 checkpoints, preventing them from attending universities and hospitals, and seeing friends and relatives – many families have been separated for years due to this system of apartheid. Indeed the International Court of Justice declared Israel’s apartheid wall in the Occupied Palestinian Territory illegal in 2004 – further international law that it ignores.

Palestinians persecuted by military occupation naturally wish to live freely with rights in their own ancestral lands. However, illegal Israeli settlements continually expand and encroach upon those lands, despite several United Nations Security Council (UNSC) resolutions. Most recently, on 23 December 2016, the UNSC passed another resolution unanimously against expansion of the illegal settlements, and again affirmed their illegality under international law, yet Israel refuses to recognise these resolutions.  Israel has now declared de facto war on the resolution’s sponsors, including New Zealand [2] and also intends to withhold UN dues [3]. Since the resolution Israel has accelerated its demolition of Palestinian homes to four times its 2016 weekly average, making hundreds of people homeless.

Nearly 800,000 Jewish people now reside illegally on Palestinian lands, enjoying full political rights while Palestinians languish, brutalised by military occupation and without rights. Palestinian refugees driven out in the 1948 Nakba from the areas which Israel claimed comprise the second largest refugee population in the world and again, despite the requirements of international law, Israel refuses to permit these Indigenous people to return to their homes. In many countries Palestinians are stateless, living in squalid refugee camps for decades, never giving up hope that their right of return will be realised and they can return to their Indigenous home and heritage which has been usurped and colonised.

Zionist colonisation of Palestine follows a similar trajectory to British colonisation of Australia, where Indigenous Australians were forced into isolating missions and reserves, slaughtered and dispossessed of their land and culture, while Palestinians too are subjected to extreme violence and forced into refugee camps and bantustans  We understand you have experienced the end results of these genocidal colonial crimes during your participation in the First Contact SBS programme and are sympathetic to the plight of Aboriginal people in Australia consequent to white colonisation. We ask you to consider also the distressing situation for Palestinian people and the importance of support for their struggle for liberation and justice. Because the international political community has refused to act to support their rights, Palestinians called in 2005 for cultural boycott and asked people of conscience like yourself for solidarity with their movement by refraining from performing in Israel.

By respecting their call, you will also be supporting the women of Gaza who suffer from breast cancer, another area where you have shown empathy. Israel prevents breast cancer sufferers, and indeed most cancer sufferers from obtaining appropriate treatment, due to its collective punishment of two million civilians which it has incarcerated in the largest prison in the world – Gaza – since 2006.

Dozens of female cancer patients in the Gaza Strip have launched a protest against Israel’s refusal to allow them to cross into Israel to seek medical treatments in hospitals in Israel, East Jerusalem and the West Bank. The women say the ban or delay of their treatments is a “premeditated death sentence.” [4]

Due to Israel’s military attacks on Gaza and its illegal, immoral siege which prevents the import of fuel supply and parts, sickness is common there since the water supply is contaminated by dysfunctional sewerage treatment plants and electricity supply is currently down to a mere four hours per day [5]. Physicians for Human Rights comments on Israel’s deprivation of medical equipment:

There are no syringes, no bandages and no tubes. When one of our surgeons asks for a specific scalpel or bandage during surgery he’s told that there aren’t any available. When we train a local doctor and teach him techniques and procedures he has nothing to work with.” [Ibid.]

The UN has estimated that without major reconstruction, Gaza will be uninhabitable by 2020. [Ibid.] Should you play your concert in Israel, be aware that this crime against humanity is being perpetrated just miles from you.

Certainly, Israel will continue to carry out its injustices against the Palestinian people if we are silent and do not act. We implore you to recognise your performance in Israel cannot create bridges over apartheid, oppression and suffering, merely obscure it so Israel can continue to pretend that its crimes are “normal” and blame Palestinians for their own plight. This is clearly not the case any more than the myth proliferated by white supremacists that Aboriginal people in Australia are responsible for their own immiseration.

The reality is that for Israel any show that isn’t cancelled because of boycott appeals is considered a political victory over the Palestinian struggle and international solidarity with it. Performing in Tel Aviv means playing for a segregated audience, on ethnically cleansed land. We really hope you can’t see yourself doing this and you join Lauryn Hill, Cassandra Wilson, Sinead O’Connor, Cat Power, Massive Attack and thousands of other artists who have refused to play in Israel – in Ireland over 540 artists have pledged to boycott the state, as have over 1,190 in the UK, and many more all over the world.

Please respect the Palestinian call to boycott Israel – you can make a real difference here and help tip the moral scales toward justice.

DPAI

We are a group, of over 2000 members from many nations around the globe, who believe that it is essential for musicians & other artists to heed the call of the PACBI, and join in the boycott of Israel. This is essential in order to work towards justice for the Palestinian people under occupation, and also in refugee camps and in the diaspora throughout the world.

Palestine Support Network Australia (PSNA)
Australian Friends of Palestine Association (AFOPA)
Australian Boycott, Divestments and Sanctions Campaign for Palestine (BDS)
Coalition for Justice and Peace in Palestine (CJPP)
Sydney Staff for BDS
The Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI)

Samah Sabawi, Palestinian Australian playwright and Al Shabaka policy adviser
Kollaps, Melbourne band
Candy Royalle, Writer, Performer, Activist, Educator
Amy McQuire, Indigenous Writer
Penelope Swales, Musician
Sara Dowse, Writer
Trish Nacey, Videographer and Musician
Walbira Murray, Indigenous Research Officer
Ken Canning, Indigenous Playwright
Jeff Sparrow, Writer, Editor and Broadcaster
Marcelo Svirsky, Writer

Notes:

  1. https://bdsmovement.net/pacbi/cultural-boycott-guidelines
  2. https://electronicintifada.net/blogs/ali-abunimah/why-israel-should-fear-new-zealand
  3. http://www.aljazeera.com/news/2017/01/israel-halts-6m-protest-unsc-settlements-vote-170106205417524.html
  4. http://www.haaretz.com/israel-news/.premium-1.763355
  5. http://www.haaretz.com/israel-news/.premium-1.763280

Salute to the Alexandrov Ensemble

The devastating loss of 64 choristers, orchestra members and dancers from the Alexandrov Ensemble as well as 9 journalists in a tragic plane crash over the Black Sea reverberates its shock back to my early years. The first time I heard the Internationale, it was sung by the Red Army Choir, the precursor of the Alexandrov Ensemble, on a record of my dad’s. Being a bass singer and chorister himself, my father found the rich timbre and brilliance of the Red Army Choir irresistible.

As a confirmed voter for the Australian Labor Party whom Lenin had described accurately and disparagingly in 1913 as “a liberal-bourgeois party”, my father would not have appreciated perhaps the sentiments expressed in the USSR official anthem, though he loved the passionate Slavic feel of the music. Few things would bring a tear to his stolid Scottish eye, yet this rendition was one.

Somewhere packed away, this record still survives, along with those he brought back from South Africa during the apartheid years, like “Wait a Minim!

Here’s the Red Army Choir in 1993 with the Leningrad Cowboys in Helsinki performing Rolling Stones and many other covers.

And more recently, the Alexandrov Ensemble perform a “heppy” version of “Happy”!

Predictably, bloodthirsty apologists for AQ/Nusra/JFS and affiliates (who in concert with depraved patriarchal oppression of women regard music as “wicked and immoral“) and other obfuscators of US/GCC/NATO contras’ belligerence gloat at the deaths of Russia’s iconic musos.

The enemies of music are enemies of their own humanity.

Mr Grabbit Has a Poetic History

C. J. Dennis

Unearthed from my library, this satirical poem by celebrated Australian poet, C.J. Dennis (aka “Den”) was published in his 1913 anthology Backblock Ballads and Other Verses – with its piercing, remarkably relevant political humour, it might stand up proudly today as a live slam performance.

The Martyred Democrat

A Recitation (with directions)

(Begin breezily)
In Lady Lusher’s drawing-room, where float the strains of Brahms,
While cultured caterpillars chew the leaves of potted palms –
In Lady Lusher’s drawing-room, upon a summer’s day,
The democrats of Toorak met to pass an hour away.
They hearkened to a long address by Mister Grabbit, M.L.C.,
While Senator O’Sweatem passed around the cakes and tea.
And all the brains and beauty of the suburb gathered there,
In Lady Lusher’s drawing-room – Miss Fibwell in the chair.

(With increasing interest)
Ay, all the fair and brave were there – the fair in charming hats;
The brave in pale mauve pantaloons and shiny boots, with spats.
But pride of all that gathering, a giant ‘mid the rest,
Was Mr Percy Puttipate, in fancy socks and vest.
Despite his bout of brain-fag, plainly showing in his eyes –
Contracted while inventing something new in nobby ties –
He braved the ills – the draughts and chills, damp tablecloths and mats –
Of Lady Lusher’s drawing-room: this prince of Democrats.

(Resume the breeze)
Upon a silken ottoman sat Willie Dawdlerich,
Who spoke of democratic things to Mabel Bandersnitch;
And likewise there, on couch and chair, with keen, attentive ears,
Sat many sons and daughters of our sturdy pioneers –
Seed of our noble squatter-lords – those democrats of old –
Who held of this fair land of ours as much as each can hold;
Whose motto is, and ever was, despite the traitor’s gab:
‘Australia for Australians – who’ve learned the art of grab.’

Good Mr Grabbit spoke his piece ‘mid glad ‘Heah, heahs’ and claps,
And Willie Dawdlerich declared he was the best of chaps.
Then the lady organizer, dear Miss Fibwell, rose to speak.
A fighter she, tho’ of the sex miscalled by men ‘the weak’.
And, tho’ they hailed her there and then as Queen of Democrats,
They privily agreed that she was something choice in ‘cats’.
She was, in truth, a shade passé a trifle frayed, but still,
She was an earnest Democrat who owned a sturdy will.

(In cultured tones)
‘Deah friends,’ began Miss Fibwell, ‘you – ah – understand ouah league
Is formed to stand against that band of schemers who intrigue –
That horrid band of Socialists who seek to wrest ouah raights,
And, with class legislation straive to plague ouah days and naights.
They claim to be the workers of the land, but Ai maintain
That, tho’ they stand for horny hands, we represent the bwain.
Are not bwain-workers toilers too, who labah without feah?’
(The fashioner of fancy ties: ‘Heah, heah! Quaite raight! Heah, heah!’)

‘They arrogate unto themselves the sacred name of Work;
But still, Ai ask, where is the task that we’ve been known to shirk?
We’re toilahs, ev’ry one of us, altho’ they claim we’re not.’
(The toiler on the ottoman: ‘Bai jove, that’s bally rot!’)
‘Moahovah, friends, to serve theah ends, they’re straiving, maight and main,
To drag down to theah level folk who work with mind and bwain!
They claim we do not earn ouah share, but, Ai maintain we do!’
(The grafter in the fancy socks: ‘They’re beastly rottahs, too!’)

(With rising inflexion)
‘Yes, friends, they’ll drag us down and down, compelling us to live
Just laike themselves – the selfish elves, on what they choose to give!
Nay, moah, they’ll make us weah theah clothes – plain working–clothes, forsooth!
Blue dungarees in place of these …’ ‘Mai Gahd! Is this the truth?

(With fine dramatic force)
A gurgling scream; a sick’ning thud … a flash of fancy socks –
And Percy Puttipate went down, felled like a stricken ox –
Crashed down thro’ cakes and crockery, and lay, ‘mid plate and spoon,
In Lady Lusher’s drawing-room one summer afternoon.

(With a rush of emotion)
A scream from Mabel Bandersnitch broke thro’ the ev’ning calm
(The cultured grubs, alone unmoved, still chewed the potted palm).
Strong men turned white with sudden fright; girls fell in faint and swoon
In Lady Lusher’s drawing-room that fateful afternoon.

(With tears in the voice)
But Puttipate? … Ah, what of him – that noble Democrat,
As he lay there with glassy stare, upon the Persian mat?
What cares he now for nobby ties, and what for fancy socks,
As he lies prone, with cake and cream smeared on his sunny locks?

(With appropriate mournfulness)
Good Mr Grabbit took his head, O’Sweatem seized his feet,
They bore him to an ambulance that waited in the street.
Poor Mabel Bandersnitch sobbed loud on Dawdlerich’s vest;
And lo, a pall of woe fell over all – Miss Fibwell and the rest.
A settled gloom o’erspread the room, as shades of ev’ning fell,
And, one by one, they left the place till none was left to tell
The tale of that dire tragedy that wrecked the summer calm –
Except the apathetic grubs, who went on chewing palm.

(Suggestive pause, then with fresh interest)
There still be men – low common men – who sneer at Toorak’s ways,
And e’en upon poor Puttipate bestow but grudging praise.
But when you hear the vulgar sneer of some low Labor bore

(With fine dramatic intensity)
Point to that pallid patriot who weltered in his gore!
Point to that daring Democrat, who, with a gurgling scream
And flashing socks, dropped like an ox into the clotted cream!
Point to that hero stricken down for our great Party’s sake,
His sunny locks, his fiery socks mixed up with fancy cake.

(With bitter contempt)
Then lash with scorn the carping wretch who sullies his fair fame,
Who, moved by fear, attempts to smear the lustre of that name.
Great Puttipate! The Democrat! Who perished, all too soon,
In Lady Lusher’s drawing-room, one summer afternoon.

(Finish with a noble gesture, expressing intense scorn, bow gracefully and retire amidst great applause)

C.J. Dennis
‘Backblock Ballads and Other Verses’
1913