There are artists for whom the stoppage of the Corona period made it possible for them to create.
Eric Berman, on the other hand, she caught at a terrible time.
"These were two very difficult years for me," he says this week on the "Culture Committee" podcast, "The whole last year was a sort of attempt to get back on my feet. The whole Corona period was very difficult for me, especially for me the lack of horizons. Suddenly there is a lot of time, you so to speak can do things, but you don't exactly know what to do, because you don't know, you can't plan anything ahead, you don't know when. So it created a kind of stagnation that didn't do me any good. But now I'm happy. We've been performing and recording for a year now So now it seems that it is possible to breathe again and do things."
So what did you do in Corona anyway?
"Meditation. I think it saved me in some way. I didn't create at all during this period. Fortunately, I created long before. I mean: many artists - the corona reached them at a good time when they could sit with themselves and stop the race and create again, me - the corona caught me in an instant That everything was already ready. The music was ready and I wanted to release it, and then everything stopped. So it really didn't help me at all."
In the podcast, Berman, who will appear on January 13 at the Barbie Club in Tel Aviv, talks about the path he has taken, the reactions on the street, the difficulties during the Corona period, and also: the frustration with the partnership model - and how he still feels that everything around him is mediocre.
Parts of the conversation are below, and you can listen to the whole thing right here.
If you want to listen to the podcast on Spotify - click here
"Culture Committee" with Eric Berman
"I get asked a lot where I disappeared to, I never know what to answer."
Berman (Photo: Reuven Castro)
About the upcoming album:
"It is conceptual, and it has several parts, there are two that are almost ready and the third is not yet. I still don't know how it turned out, but one part is a part that is more acoustic in style, which is from a show we recorded at Barbie a year ago. I decided to record the new songs in front of crowd, so we did a kind of 360 show in Barbie, we set it up just like this kind of Taj Mahal, full of pillows and mattresses, and people sat and we had some kind of conversations, and my musicians sat in a circle and they are also friends, so we played a song and then we talked. Because all the songs deal with the same subject less Or rather, you could perhaps call it 'relationships - the next generation', which is something that interests me. I talked with the musicians, and sometimes even with representatives from the audience. There was a microphone in the audience and people could approach and a conversation developed. It was a bit problematic, because instead of an hour and a half, We ran into three hours. It was problematic, but we filmed it, and recorded it, so the album is currently edited, and the video will also be edited without the three hours, so it will give a feeling as if it was a perfect evening."
On the reactions on the street:
"I just came here and someone is installing a new window in my apartment, and the installer, Danny, I made him black coffee, and then he asked me: 'Where did you go?', and this is a question I have been asked so many times, and I have not found a good answer to it. I don't know how to answer that. Every time I try something different. I told him, listen, I'm really less on the radio, but I'm at concerts, maybe you'll come to Barbie. Barbie is full, people come to concerts, as far as they're concerned, I haven't disappeared. But radio has changed a bit, like the whole culture in Israel Or in the world in general, a very dramatic change as I perceive it in the last 15 years."
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On the success at the beginning:
"It was quite fast. So we actually released the first single. It was 'What else did you ask for?' , but these were three months when we thought that maybe nothing would work. Once he came in, it really caught on and there was also a music video on Channel 24 for his memory, which also helped a lot, and after that we released 'The Last Sweets', which was also very successful, and then we released 'Yom A wonderful new one', and it was also successful. Then we released, I think, 'Johnny', 'Midonym', 'Shaar Shesh' - everything that comes out, it felt like such a Midas, a touch of gold. I thought it would be like this the whole career."
Such a great success can not disrupt and startle?
"No, I felt that it really deserved it, that this was the success this album deserved. That's how I felt," he says.
"The fact that everyone has something to say was really difficult for me. This was the first time I actually received negative reviews, because until you release an album, then the ones who give you feedback on the songs are the environment, family and friends, these are usually positive things. And if someone comes to a show and didn't enjoy it, so he wouldn't come and tell you that. So to actually have someone tell you that not only did he not like it, but that it was bad, it was really hard, on this album I learned for the first time how to deal with criticism. What's more, the meteoric success - you have to make a reservation Her, in a way it wasn't something like Ninet and a star was born that I can't walk down the street because the success is radiophonic so not everyone recognizes it, the majority doesn't. I think it kept me safe in some way."
"From the moment the first album was successful in this way. In a certain way, mentally, I freed myself from the need to prove myself and be loved. The second album I released was more or less in the same spirit as the first album, but that's because it was already written - until the first album was successful then I already had time to write the second one, so I didn't have the crisis of how I was going to reproduce the success, and I also felt that the songs were more or less in the same spirit as the first album. And on the third and fourth I already allowed myself to go as far as I can in terms of my dreams."
"They rightly love her. She is a very special and deep personality."
Miri Masika (Photo: Reuven Castro)
On the "Rimone Gang", and the success of some of its members:
"I'm not sure how connected we are musically. I think they [Karen Pels and Miri Mesika] have found the niche that suits them. I don't know if Keren thinks that way about herself, but Miri right in her head wants To be embraced and loved by the country and it works well for her and I think she is rightly loved. She is a very special personality, deep and funny and a good actress. She is everything, she really is everything."
Don't you want to be hugged?
"Maybe as a by-product, I would be happy if everyone liked the music I make, but I'm not in a place where I make music to [be liked], I don't write in such a way as to what people will like and I also don't choose a style and produce it in the form of what They will love, but I would be very happy for them to love."
About studies in Ramon:
"My studies were not a degree, nor was I a good student. In fact, I came to Ramon, enrolled in such a full course, and then after a few months I realized that I would not follow this academic path and I simply stopped all theory studies and focused only on what had to do with writing and composition, and I stayed after this year Another two years, in which every year I took two or three courses that deal only with writing and composition. I think it's really not important to go there. What's more, I always say when people consult me about Ramon, a young company, I do think it's very, very helpful to get to know people, musicians. I met my whole band with Ramon, Moshe Levy who produced most of the albums for me, and Yehuda Ader, and other names. It is indeed worthwhile in a certain sense to go and taste it, it is not for everyone, but surely you can take away all kinds of positive things."
"The alter ego I created became a part of me"
On the macho character in the songs from the beginning, which received a lot of criticism:
"The truth is that it's fascinating. Because I think that character was a kind of alter ego that I invented, and it's interesting. I remember studying in Grenoble with Yehuda Ader in a songwriting course, and he told us that songs have a prophetic character, sometimes you write something and you might not even understand The same until the end. We don't really understand where the inspiration and muse comes from and where we write, and I feel that way about these songs. Because that alter ego I created, over the years, has also become a real part of me. Let's say the first album, maybe also in the other albums, there is a complexity of Someone who really wants love and is very opposed to love. And I think at that time the person opposed to love was the alter ego and what I really wanted was love, and I didn't know exactly how to get it. Over the years I feel that I actually connect more with the other side, who doesn't want it. When I say love I don't I mean the abstract concept, I'm talking about a classic relationship. It's something I really connect with these texts of the man who doesn't give himself up, whose heart has hardened a little."
"When they called me a chauvinist or things like that, it never bothered me. Because I felt that I couldn't connect to it in any way and it really felt to me more like something that was a title. I mean, in my opinion, it's impossible to listen to an entire album of mine and not recognize there sensitivity and something broader than cataloging someone One way or another. Obviously, if you take a specific song, even 'The Last Sweets' or 'You're an Acquired Taste', songs with a lot of humor, you take it and take out a line and put it as the title, so it can sound bad, but yes in my experience I'm more I connect to it today more than I used to."
"We are spoken to like little children. I feel that my intelligence is being underestimated."
Berman (Photo: Reuven Castro)
"Instead of contempt, I recognize there a simple person with a broken heart. If I look at 'What else did you ask for', I really see someone who is scratched, burned and writing from a very vulnerable place and with a lot of love for this girl. It may be that the way it is worded then there is also a sting or A stabbing or something like that, and that's how it turned out," he explains.
On mediocrity today, following "Medium":
"Truthfully, I relate to this song more than ever... In terms of mediocrity, it's very strong, in my feeling today... I see it everywhere. I don't, I almost can't see Things on TV, in prime time. Or hearing the things on the radio, on all the mainstream stations. I can hardly hear things. Everything is very confusing to me - who is this, who is this, of the 'masked singer', I want to ask 'what is this, what is this'. Even the way they talk to me in the news, the way they talked to me during the plague, like a little child. It doesn't please me. I feel like my intelligence is being underestimated."
On the frustration with the partnership model:
"It's a question that needs to be asked, because our world is changing at a very, very fast pace, and this model is already quite old, I mean 200-300 years in historical terms is not a lot of time, but at the rate we're moving forward I feel it's almost irrelevant, or at least requires a discussion , requires re-observation and to see what kind of evolution that idea goes through... To understand where love got lost in some wrong turn in Albuquerque, as Bugs Bunny says. Something happened there. I recognize less and less love within the old model of a classic relationship."
"It just goes through sometimes very difficult hardships of a broken heart, of sometimes violence, of sometimes endless fights about the money. Sometimes the children suffer terribly from this. My parents divorced when I was 3 years old, and then remarried and separated again, I mean I know it Very, very close, and the pain that comes with it, with going after the very, very charming dream of romance, which is very seductive and very stimulating and it's a very pleasant feeling to fall in love, it simply has consequences and I am more aware of them today, and I think everyone should."
"I don't hesitate to use the word genius."
Hadas Ben Aroya (Photo: Reuven Castro)
On the first role in the "Cordroy" series:
And since then I just devoted myself to it and was all-in.
I got into it and everything she wanted me to do, I did, things I never imagined in my life that I would do."
"The truth is that it did many, many things to me, it affected me a lot, mentally, I still don't know if it's for me. There were moments that were wonderful on the set... On the other hand, the whole saga of the auditions, I'm not talking about how it will be received yet. I mean, it's going to come out, people are going to have something to say, I'm going to have to see myself on the screen, I'm going to have to get the ricochets - I don't know if it's for me. The acting part, yes I fell in love with it, but I'm going to have to exhaust the whole process including what it's like will be accepted, what will it be like to see it and what is the other side of it, and then decide if I will do it again."
Listen above to the full interview
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Eric Berman
Keren Ples
Miri Mesika
Aya Korem
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