This opening should serve as hindsight to Amy Horowitz’s book about the musiqa mizrahit Given its inclusive title  one would expect this book to be a scholarly study of the process that took musica mizrahit from its beginnings in the Tel Aviv neighborhoods of Kerem ha-Teymanim and Ha-Tikva in the 1970s  through the controversies surrounding its artistic and cultural value in the 1980s  to the gradual shift of its status in the 1990s  up to its thriving success in the new century