Against the background of the developing Israeli music of the 1970s and alongside rising stars Eric Einstein and Shalom Hanoch, Hive, a little different, Shlomo Artzi, Mati Caspi and Tamuz, and parallel to the underground Eastern music, the pop of the singer festivals, and the songs of the Land of Israel which were still considered the most legitimate Israeli music - Tzvika Peak's albums combined a variety of genres that did not fit into any mold.
"Music", with the first disco piece created in Hebrew in the form of "The Automatic Dancer", the blues of "Between the Fingers", the rock'n'roll of "What Now" and the San Remo Festival in "You Changed".
Zvika Pick was a figure who had not been seen in Israel before, who was seen as an outsider and an enigma.
In interviews he told how he longed to belong to the Israeli clique, to those who sat in the cafe and inhabited the Tel Aviv bohemia.
In the series "The end of the orange season" he said the following charged things: "I have never been appreciated like Mati Caspi, who did not write more than me, and was not more successful than me... But when you say 'Zvika Peak' they mean fandom, they say crazy clothes.
Why not music?
This is my only occupation."
In 1978, with the release of "Music", Peak was already seen as a legitimate creator with fans and especially female fans who took the phenomenon of admiration a few steps further. Peak offered songs to Eric Einstein, performed with singers such as Ilana Rubina, Josie Katz, Ruthi Navon and Yefa Yarkoni, composed songs for Chava Elberstein and Oshik Levy and worked with writers such as Yonatan Gefen and Ehud Menor. Despite all this, he is still seen as a strange phenomenon. But in "Nasaf Tishri" he managed to reconcile the many contradictions in his work, won the praise of the critics and seems to have received the ticket The entrance to the world of disco and groove.
Zvika Peak with his uncle Topaz, 1985, photo: Moshe Shay
Pick grew up in the fringe clubs, but also reached Tsotah and the Soldier's Home.
The young audience of the late 1970s was actively present at his performances, dancing and going wild, and with the economic prosperity and the optimistic atmosphere of that period, the big events began on the glittering stages, including the 'Youth City' event and the 'Noivah' festival in Sinai - both of which starred Peek in performances that drew reactions Great and hugs.
"Pop" is not a dirty word
In the early 1980s, with the groundbreaking albums of Tislam's "Strong Radio", Benzin's "24 Hours", Shalom Hanoch's "White Wedding" and more, disco-pop was considered inferior to the "important" rock and roll, but Peak's contribution Israeli pop today is seen as formidable without any feelings of inferiority to the other genres.
He not only changed pop, the sounds and the concert experience, he also created the colorful show, accompanied by dancers, glittering clothes and make-up, which set new standards of sound, lighting, playing and shaped the reactions of the audience.
In the following years, the relevance is decreasing, but his influence only gnaws more at the Israeli musical wave.
He came back to himself only in the 90s, with the construction of the flamboyant "Maestro" image, a certain parody, a certain willingness to embrace, this thanks to the tremendous growth in recent years of rhythmic catchy pop accompanied by a polished performance and elaborate music videos (Static and Ben El, Noah Kirel, Anna Zak and more) .
We must not forget who was the first to do it, and paved, knowingly or not, the way for today's pop stars.
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