| Revision as of 13:38, 24 October 2009 view sourceDrsmoo (talk | contribs)Extended confirmed users6,972 edits Accidentally removed source, restored← Previous edit | Revision as of 14:15, 24 October 2009 view source Drsmoo (talk | contribs)Extended confirmed users6,972 edits Restored Hipocrite/SlimVirgin reference to the Paranoid Style in American PoliticsNext edit → | ||
| Line 136: | Line 136: | ||
| After ] prime minister ] cited Atzmon during a debate with Israeli president ], music critic John Lewis wrote in '']'': "It is Atzmon's blunt anti-Zionism rather than his music that has given him an international profile, particularly in the Arab world, where his essays are widely read."<ref name="Lewis">John Lewis, , '']'', 6 March 2009.</ref> Writing about Atzmon's "wounds of the past," Jim Gilchrist notes that Atzmon attributes his opposition to Israel to his military service during the ] which Atzmon says "left a big scar."<ref name="gilchrist222">{{cite news|url=http://thescotsman.scotsman.com/features/39I-thought-music-could-heal.3804991.jp?CommentPage=1&CommentPageLength=1000|title='I thought music could heal the wounds of the past. I may have got that wrong'|last=Gilchrist|first=Jim|date=22 February 2008|work=]|accessdate=2009-03-21}}</ref> | After ] prime minister ] cited Atzmon during a debate with Israeli president ], music critic John Lewis wrote in '']'': "It is Atzmon's blunt anti-Zionism rather than his music that has given him an international profile, particularly in the Arab world, where his essays are widely read."<ref name="Lewis">John Lewis, , '']'', 6 March 2009.</ref> Writing about Atzmon's "wounds of the past," Jim Gilchrist notes that Atzmon attributes his opposition to Israel to his military service during the ] which Atzmon says "left a big scar."<ref name="gilchrist222">{{cite news|url=http://thescotsman.scotsman.com/features/39I-thought-music-could-heal.3804991.jp?CommentPage=1&CommentPageLength=1000|title='I thought music could heal the wounds of the past. I may have got that wrong'|last=Gilchrist|first=Jim|date=22 February 2008|work=]|accessdate=2009-03-21}}</ref> | ||
| Several of Atzmon's statements regarding Judaism have triggered allegations of antisemitism.<ref name="gilchrist222"/><ref name="gibson"/> The ], criticized Atzmon for saying, "I'm not going to say whether it is right or not to burn down a synagogue, I can see that it is a rational act."<ref name="ges2004">Curtis, Polly. , ''The Guardian'', May 12, 2004.</ref> Atzmon responded in a letter to ''The Observer'' that he meant "since Israel presents itself as the 'state of the Jewish people’ ... any form of anti-Jewish activity may be seen as political retaliation" for Israel's actions.<ref>Gilad Atzmon, ,], April 4, 2005</ref> Also in 2005 ] criticized Atzmon for writing in his essay "On Anti-Semitism" that "We must begin to take the accusation that the Jewish people are trying to control the world very seriously."<ref>Aaronovitch, David. ''The Times'', June 28, 2005.</ref><ref>Gilad Atzmon, , originally at his personal web site, December 20, 2003.</ref> Journalist ] compared him to members of the far right with a paranoid mentality, after Atzmon told the Oxford Literary Festival that, "Jewish ideology is driving our planet into a catastrophe" and "the Jewish tribal mindset—left, centre and right—sets Jews aside of humanity."<ref>Cohen, Nick. , ''The Observer'', June 14, 2009.</ref> In 2007 the ] criticized the ] for inviting Atzmon to speak, saying he had worked to "legitimize the hatred of Jews.” <ref name=local327>, , March 23, 2007.</ref>'' | Several of Atzmon's statements regarding Judaism have triggered allegations of antisemitism.<ref name="gilchrist222"/><ref name="gibson"/> The ], criticized Atzmon for saying, "I'm not going to say whether it is right or not to burn down a synagogue, I can see that it is a rational act."<ref name="ges2004">Curtis, Polly. , ''The Guardian'', May 12, 2004.</ref> Atzmon responded in a letter to ''The Observer'' that he meant "since Israel presents itself as the 'state of the Jewish people’ ... any form of anti-Jewish activity may be seen as political retaliation" for Israel's actions.<ref>Gilad Atzmon, ,], April 4, 2005</ref> Also in 2005 ] criticized Atzmon for writing in his essay "On Anti-Semitism" that "We must begin to take the accusation that the Jewish people are trying to control the world very seriously."<ref>Aaronovitch, David. ''The Times'', June 28, 2005.</ref><ref>Gilad Atzmon, , originally at his personal web site, December 20, 2003.</ref> Journalist ] compared him to members of the far right with a ], after Atzmon told the Oxford Literary Festival that, "Jewish ideology is driving our planet into a catastrophe" and "the Jewish tribal mindset—left, centre and right—sets Jews aside of humanity."<ref>Cohen, Nick. , ''The Observer'', June 14, 2009.</ref> In 2007 the ] criticized the ] for inviting Atzmon to speak, saying he had worked to "legitimize the hatred of Jews.” <ref name=local327>, , March 23, 2007.</ref>'' | ||
| According to Martin Gibson, Atzmon denies he is an antisemite but does blame “Jewish ideology” for Israel’s “brutality” against the Palestinians. He states he does not attack Jews or Judaism but Zionism and what he calls “Jewishness,” which he describes as "very much a supremacist, racist tendency."<ref name="gilchrist222"/> He told one interviewer “The anti-Semitic slur is a common Zionist silencing apparatus,”<ref>Barnaby Smith, , Interview with Gilad Atzmon in London Tour Dates magazine, October 5, 2006</ref> and told another about “crude and banal attempt to silence me by spreading lies, slander and defamation.”<ref>, in "Eleftherotypia" (Greek Sunday Paper), 11 January, 2009</ref>Others characterize charges of antisemitism against Atzmon as an attempt to silence or “gag” his criticism of Israel and Zionism.<ref>Martin Gibson writes: “There have been numerous attempts to silence Mr Atzmon, including inevitable charges that he is anti-Semitic, although he is Jewish himself.”</ref><ref>Mary Rizzo’s “The Gag Artists: Who’s Afraid of Gilad Atzmon?” details an "edict" that Atzmon is an antisemite, as well as attempts to prevent him from speaking in at least two venues.</ref><ref>Oren Ben-Dor, , ], March 15, 2008. “I am firmly convinced that these vulgar attempts at silencing of Gilad and other courageous voices offends against supremely thoughtful, compassionate and egalitarian intellectual endeavours....We need free speech in order to understand what might be the deep origin of Zionism and in order to contemplate Zionism's so-successful use of the Holocaust 'memory'. By simplistically condemning any free speech about the mystery of the Holocaust as 'anti-Semitic' or 'holocaust denial' the silencers suck all energy from our thinking.”</ref> | According to Martin Gibson, Atzmon denies he is an antisemite but does blame “Jewish ideology” for Israel’s “brutality” against the Palestinians. He states he does not attack Jews or Judaism but Zionism and what he calls “Jewishness,” which he describes as "very much a supremacist, racist tendency."<ref name="gilchrist222"/> He told one interviewer “The anti-Semitic slur is a common Zionist silencing apparatus,”<ref>Barnaby Smith, , Interview with Gilad Atzmon in London Tour Dates magazine, October 5, 2006</ref> and told another about “crude and banal attempt to silence me by spreading lies, slander and defamation.”<ref>, in "Eleftherotypia" (Greek Sunday Paper), 11 January, 2009</ref>Others characterize charges of antisemitism against Atzmon as an attempt to silence or “gag” his criticism of Israel and Zionism.<ref>Martin Gibson writes: “There have been numerous attempts to silence Mr Atzmon, including inevitable charges that he is anti-Semitic, although he is Jewish himself.”</ref><ref>Mary Rizzo’s “The Gag Artists: Who’s Afraid of Gilad Atzmon?” details an "edict" that Atzmon is an antisemite, as well as attempts to prevent him from speaking in at least two venues.</ref><ref>Oren Ben-Dor, , ], March 15, 2008. “I am firmly convinced that these vulgar attempts at silencing of Gilad and other courageous voices offends against supremely thoughtful, compassionate and egalitarian intellectual endeavours....We need free speech in order to understand what might be the deep origin of Zionism and in order to contemplate Zionism's so-successful use of the Holocaust 'memory'. By simplistically condemning any free speech about the mystery of the Holocaust as 'anti-Semitic' or 'holocaust denial' the silencers suck all energy from our thinking.”</ref> | ||
Revision as of 14:15, 24 October 2009
 | This article's factual accuracy is disputed. Relevant discussion may be found on the talk page. Please help to ensure that disputed statements are reliably sourced. (October 2009) (Learn how and when to remove this message) |
| Gilad Atzmon גלעד עצמון | |
|---|---|
 Gilad Atzmon | |
| Born | Gilad Atzmon (1963-06-09) June 9, 1963 (age 61) Tel Aviv, Israel |
| Nationality | Israeli and British |
| Education | Rubin Academy of Music, University of Essex |
| Occupation | Musician |
| Known for | Musician, political activist |
| Website | www.gilad.co.uk |
Gilad Atzmon (Template:Lang-he, born June 9, 1963, Israel) is an Israeli-born British jazz musician, and is known as an author and activist who is critical of both Zionism and Judaism. His album Exile was BBC jazz album of the year in 2003, and he has been described as "one of London's finest saxophonists". Playing over 100 dates a year, he has been called "surely the hardest-gigging man in British jazz". His albums, of which he has recorded nine to date, often explore political themes and the music of the Middle East. He has also written two novels, which have been translated into over 20 languages.
Early life
He was born a secular Israeli Jew in Tel Aviv, and trained at the Rubin Academy of Music in Jerusalem. His service as a paramedic in the Israeli Defense Forces during the 1982 Israeli invasion of Lebanon caused him reach the conclusion that "I was part of a colonial state, the result of plundering and ethnic cleansing."
Atzmon studied jazz and composition at the Rubin Academy of Music in Jerusalem. He first became interested in British jazz when he discovered some in a British record shop in Jerusalem in the 1970s. He initially was inspired by the work of Ronnie Scott and Tubby Hayes and regarded London as "the Mecca of Jazz." He also was influenced to become a jazz musician by the work of Charlie Parker, in particular Charlie Parker with Strings recorded in 1949. Atzmon said of the album that he "loved the way the music is both beautiful and subversive - they way he basks in the strings but also fights against them." He worked with top bands as a musical producer.
In 1994, Atzmon emigrated from Israel to London, where he attended the University of Essex and earned a Masters degree in Philosophy. He has lived there since, becoming a British citizen in 2002.
Music
While Atzmon's main instrument is the alto saxophone, he also plays soprano, tenor and baritone saxophones and clarinet, sol, zurna and flute. Atzmon's jazz style has been described as bebop/hard bop, with forays into free jazz and swing, and seemingly inspired by John Coltrane and Miles Davis. Atzmon sometimes plays the alto and soprano sax simultaneously.
Atzmon's works have also explored the music of the Middle East, North Africa, and Eastern Europe. Atzmon told The Guardian that he draws on Arabic music which he says cannot be notated like western music but must be internalised, which he calls "reverting to the primacy of the ear." Atzmon's musical method has been to play with notions of cultural identity, flirting with genres such as tango and klezmer as well as various Arabic, Balkan, Gypsy and Ladino folk forms. Atzmon's recordings deliberately differ from his live shows. "I don't think that anyone can sit in a house, at home, and listen to me play a full-on bebop solo. It's too intense. My albums need to be less manic."
Atzmon has created the "Benny Hill-like alter ego - a fanatical Zionist" Artie Fishel, on the album Artie Fishel & the Promised Band, which has been described as "musical anarchy." With traditional klezmer music, dialogue, and jokes, the album features Atzmon on saxophone, John Turville on keys and electronics, Yaron Stavi on bass, and Asaf Sirkis on drums. Other artists include vocalist Guillermo Rozenthuler, Koby Israelite on vocals and accordion, and Ovidiu Fratila on violin.
Collaborations and groups
Atzmon joined the veteran punk rock band Ian Dury and the Blockheads in 1998, and continued with The Blockheads after Dury's death. He has also recorded and performed with Shane McGowan, Robbie Williams, Sinéad O'Connor, Robert Wyatt and Paul McCartney. He has recorded two albums with Robert Wyatt, who describes him as "one of the few musical geniuses I've ever met".
Atzmon has collaborated, recorded and performed with musicians from all around the world, including the Palestinian singer, Reem Kelani, Tunisian singer and oud player Dhafer Youssef, violinist Marcel Mamaliga, accordion player Romano Viazzani, bassist Yaron Stavi, violinist and trumpet-violin player, Dumitru Ovidiu Fratila, and Guillermo Rozenthuler on vocals.
Atzmon founded the Orient House Ensemble band in London in the 1990s and is currently touring with them. The band includes Asaf Sirkis on drums, Yaron Stavi on bass and Frank Harrison on keyboard. It has produced five albums in eight years.
Atzmon is on the creative panel of the Global Music Foundation, a non-profit organization formed in December 2004 which runs residential educational and performance workshops and events in different countries around the world., and also offers personal workshops to students.
Reviews
Atzmon and his ensemble have received favorable reviews from Hi-Fi World, Financial Times, The Scotsman, The Guardian, Birmingham Post, The Sunday Times and The Independent. Reviews of his 2007 album Refuge included:
- Manchester Evening News: The individuality of the music is extraordinary. No one is more willing to serve his music with raw political passion, and that curious cantor-like tone on clarinet is immediately arresting, like Artie Shaw writhing in his death throes.
- EjazzNews: "For sheer improvisational fireworks, quirky humour and genre-defying invention, one will be hard-pressed to find a bandleader as unique as Gilad Atzmon." ("EjazzNews," September 2008)
- BBC: "...the OHE is finding its voice in an increasingly subtle blend of East and West, that’s brutal and beautiful."
In November 2008 Chris Searle launched his book Forward Groove: Jazz and the Real World from Louis Armstrong to Gilad Atzmon at the London Jazz Festival. It "chronicles the development of jazz and its great exponents" alongside social developments and political protest movements. The reviewer noted that "the torch continues to be carried by contemporary musicians such as Israeli-born alto saxman Gilad Atzmon who dreams of a free and united Palestine."
In February 2009 The Guardian music critic John Fordham reviewed Atzmon's newest album In loving memory of America which Atzmon describes as "a memory of America I had cherished in my mind for many years". It includes five standards and six originals "inspired by the sumptuous harmonies and impassioned sax-playing of (Charlie) Parker's late-40s recordings with classical strings".
While John Lewis praises much of Atzmon's work, he notes that "trenchant politics often sit uneasily alongside music, particularly when that music is instrumental." Lewis criticized his 2006 comedy klezmer project, "Artie Fishel and the Promised Band," as "a clumsy satire on what he regards as the artificial nature of Jewish identity politics."
Awards
Atzmon was the recipient of the HMV Top Dog Award at the Birmingham International Jazz Festival in 1996–1998. Gilad Atzmon's Exile was BBC jazz album of the year in 2003.
Writing
Atzmon's novels have been published in 22 languages. His first novel A Guide to the Perplexed, published in 2001, is set in a future where by 2052 Israel has been replaced by a Palestinian state for 40 years. It largely reviews memoirs of the alienated Israeli Gunther Wunker’s rise to fame as a "peepologist," or voyeur. The perplexed are defined as "the unthinking Chosen" who "cling to clods of earth that don't belong to them." The novel excoriates what it describes as the commercialization of the Holocaust and "argues that the Holocaust is invoked as a kind of reflexive propaganda designed to shield the Zionist state from responsibility for any transgression against Palestinians." The Independent reviewer wrote that "Those who still thrill to the pages of Sixties underground "comix" may find some of this amusing, however laboured. Yet even those semi-sympathetic to its politics will find it cheap and "provocative" in the worst possible sense." He also wrote that the book has "just enough connection with reality to give it a certain unsettling power." The Guardian review notes it is "odd to mix knob gags with highly serious assertions" but that it works because "Atzmon writes with so much style and his gags are so hilarious."
Atzmon's second novel, My One and Only Love was published in 2005, and features as a protagonist a trumpeter who chooses to play only one note (extremely well) as well as a spy who uncovers Nazi war criminals and locks them inside double bass cases which then tour permanently in the protagonist's orchestra's luggage. The book also is comedic take on "Zionist espionage and intrigue" which explores "the personal conflict between being true to one’s heart and being loyal to The Jews'.
More recently Atzmon's political writings have been published in CounterPunch, Al Jazeera, Uruknet, Middle East Online and Dissident Voice. Many of his published papers are available on his personal website. He is a co-founder of and contributor to the web site Palestine Think Tank.
Politics
Atzmon describes himself as a political artist and says that his band, the Orient House Ensemble, plays music for the Palestinian cause. He has spoken and written widely in support of the Palestinian right of return and the one-state solution in the Israeli-Palestinian conflict.
After Turkish prime minister Recep Tayyip Erdoğan cited Atzmon during a debate with Israeli president Shimon Peres, music critic John Lewis wrote in The Guardian: "It is Atzmon's blunt anti-Zionism rather than his music that has given him an international profile, particularly in the Arab world, where his essays are widely read." Writing about Atzmon's "wounds of the past," Jim Gilchrist notes that Atzmon attributes his opposition to Israel to his military service during the 1982 Lebanon War which Atzmon says "left a big scar."
Several of Atzmon's statements regarding Judaism have triggered allegations of antisemitism. The Board of Deputies of British Jews, criticized Atzmon for saying, "I'm not going to say whether it is right or not to burn down a synagogue, I can see that it is a rational act." Atzmon responded in a letter to The Observer that he meant "since Israel presents itself as the 'state of the Jewish people’ ... any form of anti-Jewish activity may be seen as political retaliation" for Israel's actions. Also in 2005 David Aaronovitch criticized Atzmon for writing in his essay "On Anti-Semitism" that "We must begin to take the accusation that the Jewish people are trying to control the world very seriously." Journalist Nick Cohen compared him to members of the far right with a paranoid mentality, after Atzmon told the Oxford Literary Festival that, "Jewish ideology is driving our planet into a catastrophe" and "the Jewish tribal mindset—left, centre and right—sets Jews aside of humanity." In 2007 the Swedish Committee Against Anti-Semitism criticized the Swedish Social Democratic Party for inviting Atzmon to speak, saying he had worked to "legitimize the hatred of Jews.”
According to Martin Gibson, Atzmon denies he is an antisemite but does blame “Jewish ideology” for Israel’s “brutality” against the Palestinians. He states he does not attack Jews or Judaism but Zionism and what he calls “Jewishness,” which he describes as "very much a supremacist, racist tendency." He told one interviewer “The anti-Semitic slur is a common Zionist silencing apparatus,” and told another about “crude and banal attempt to silence me by spreading lies, slander and defamation.”Others characterize charges of antisemitism against Atzmon as an attempt to silence or “gag” his criticism of Israel and Zionism.
Discography
- "In loving memory of America" - Label: Enja - January 2009
- Refuge - Label: Enja - October 2007
- Artie Fishel and the Promised Band - Label: WMD - September 2006
- MusiK - Label: Enja - October 2004
- Exile - Label: Enja - March 2004
- Nostalgico - Label: Enja - January 2001
- Gilad Atzmon &The Orient House Ensemble - Label: Enja - 2000
- Juizz Muzic- Label: FruitBeard - 1999
- Take it or Leave It - Label: Face Jazz - 1999
- Spiel- Both Sides - Label: MCI - 1995
- Spiel Acid Jazz Band- Label: MCI - 1995
- Spiel- Label: In Acoustic&H.M. Acoustica - 1993
Books
- A guide to the perplexed, English translation by Philip Simpson. London : Serpent's Tail, 2002. ISBN 1852428260
- My one and only love. London : Saqi, 2005. ISBN 0863565077 (pbk.). ISBN 9780863565076 (pbk.)
References
- ^ St. Clair, Jeffery (July 19, 2003). "You Must Leave Home, Again: Gilad Atzmon's "A Guide to the Perplexed"". CounterPunch. Retrieved 2008-10-28.
- ^ Gilchrist, Jim (22 February 2008). "'I thought music could heal the wounds of the past. I may have got that wrong'". The Scotsman. Retrieved 2009-03-21.
- ^ Gilad Atzmon, How jazz got hot again, The Telegraph, October 13, 2005.
- ^ "Manic beat preacher" interview with John Lewis, The Guardian, March 6, 2009. Cite error: The named reference "Lewis" was defined multiple times with different content (see the help page).
- The Times, 6 March 2009, Gilad Atzmon: In Loving Memory of America
- ^ Gibson, Martin (23 January 2009). "No choice but to speak out - Israeli musician 'a proud self-hating Jew'". Gisborne Herald. Retrieved 2009-03-21.
- ^ "Gilad Atzmon". People. Global Music Foundation. Retrieved 2008-10-28.
- ^ Cry freedom, The Spectator August 9, 2003. Cite error: The named reference "CryFreedom" was defined multiple times with different content (see the help page).
- Barnaby Smith, Sax With An Axe To Grind, London Tour Dates, October 5, 2007.
- ^ "Profile - Gilad Atzmon". Rainlore's World of Music. March 21, 2003. Retrieved 2008-10-28.
- University of Essex news release, Dec 14, 2007 notes Atzmon is a "graduate."
- ^ Atzmon, Gilad (2007). "GILAD ATZMON - MUSICIAN, COMPOSER, PRODUCER, EDUCATOR, WRITER". Gilad Atzmon. Retrieved 2008-10-28.
- Shackleton, Kathryn (October 16, 2006). "Gilad Atzmon: Artie Fishel And The Promised Band". BBC. Retrieved 2008-10-28.
- Atzmon, Gilad (2007). "ARTIE FISHEL & THE PROMISED BAND". Gilad Atzmon. Retrieved 2008-10-28.
- Gilad Atzmon, Not Strictly Kosher, Jazzwise, January 17, 2007.
- Mixing it feature, BBC Radio, October 6, 2006.
- Stephen Robb, The old Blockheads shows go on, BBC News, January 25, 2007.
- ^ Kathryn Shackleton, Gilad Atzmon & The Orient House Ensemble, Refuge, BBC, October 1, 2007.
- "About GMF". Global Music Foundation. Retrieved 2008-10-28.
- Atzmon, Gilad (2007). "MUSIC EDUCATION". Gilad Atzmon. Retrieved 2008-10-28.
- Gilad Atzmon web site.
- Alan Brownlee, Gilad Atzmon & The Orient House Ensemble - Refuge (Enja), Manchester Evening News, August 30, 2007.
- John Stevenson, Gilad Atzmon liberates the Americans: Orient House Ensemble, Ronnie Scott’s London, August 30th 2008, EJazzNews.com, September 01, 2008.
- Ian Soutar, Former head chronicles a passion for jazz and justice, Sheffield Telegraph, November 14, 2008.
- John Fordham, Gilad Atzmon: In Loving Memory of America, The Guardian, February 27, 2009.
- Jazz winners span generations, BBC, July 30, 2003.
- Matthew Reisz, A crude - and rude - assault on Israel misfires, The Independent, December 7, 2002.
- Darren King, Mr. Peepology, The Guardian, January 25, 2003.
- Sholto Byrnes,, The Independent, 25 March 2005, Talking Jazz
- BBC book launch announcement, BBC, Jun 3, 2005.
- Examples of Gilad Atzmon in Counterpunch: Collective Self-Deception: The Most Common Mistakes of Israelis, August 28, 2003; The Left and Islam: Thinking Outside of the Secular Box, July 10-12, 2009.
- Examples of Gilad Atzmon in Al Jazeera: Caught between sobbing and war chants, July 30, 2008;Deception, spin and lies, October 22, 2009.
- Gilad Atzmon, Purim Special, From Esther to AIPAC, Uruknet, March 3, 2007.
- Examples of Gilad Atzmon in Middle East Online: Vengeance, Barbarism and Tarantino's Inglourious Basterds, September 22, 2009; Autumn in Shanghai, October 20, 2009.
- Examples of Gilad Atzmon in Dissident Voice: Who Is a Jew?, October 6, 2009; The Pathology of Evil:PM Netanyahu’s UN Speech, September 29, 2009.
- Writings section at Gilad Atzmon web site.
- Rizzo, Mary. The Gag Artists, Who's Afraid of Gilad Atzmon?, CounterPunch, June 17, 2005
- Curtis, Polly. Soas faces action over alleged anti-semitism, The Guardian, May 12, 2004.
- Gilad Atzmon, Letters to the Editor,The Observer, April 4, 2005
- Aaronovitch, David. How did the far Left manage to slip into bed with the Jew-hating Right? The Times, June 28, 2005.
- Gilad Atzmon, On Anti-Semitism, originally at his personal web site, December 20, 2003.
- Cohen, Nick. The unlikely friends of the Holocaust memorial killer, The Observer, June 14, 2009.
- Social Democrats invited known anti-Semite to seminar, The Local, March 23, 2007.
- Barnaby Smith, Sax With An Axe To Grind, Interview with Gilad Atzmon in London Tour Dates magazine, October 5, 2006
- Gilad Atzmon interview, in "Eleftherotypia" (Greek Sunday Paper), 11 January, 2009
- Martin Gibson writes: “There have been numerous attempts to silence Mr Atzmon, including inevitable charges that he is anti-Semitic, although he is Jewish himself.”
- Mary Rizzo’s “The Gag Artists: Who’s Afraid of Gilad Atzmon?” details an "edict" that Atzmon is an antisemite, as well as attempts to prevent him from speaking in at least two venues.
- Oren Ben-Dor, 'The Silencing of Gilad Atzmon', CounterPunch, March 15, 2008. “I am firmly convinced that these vulgar attempts at silencing of Gilad and other courageous voices offends against supremely thoughtful, compassionate and egalitarian intellectual endeavours....We need free speech in order to understand what might be the deep origin of Zionism and in order to contemplate Zionism's so-successful use of the Holocaust 'memory'. By simplistically condemning any free speech about the mystery of the Holocaust as 'anti-Semitic' or 'holocaust denial' the silencers suck all energy from our thinking.”